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The road open by Armstrong and Beiderbecke was dominant among the Big Band trumpets of the years, the great orchestras were also impulsed at a type of trumpeter specialized in the acute records of the instrument, until almost impossible tests, such as Cat Anderson, to the Killian O Maynard Ferguson. However, it was precisely Allen who initiated a new path of development of the jazz trumpet, transferring the emphasis from the soundness to phrasing. The road initiated by Allen and continued, above all, by Eldridge, led to Dizzy Gillespie.
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Other trumpets of this generation should be highlighted, either for their work with first level artists such as Jack Walrath with Mingus, well for its quality, within the mainstream of the Neo BOP: Bobby Shew, Tom Harrell, Jimmy Owens or Wynton Marsalis. The trombone is part of the Brass SECTION, a term referred to in the Big Bands to the metal group formed by trumpets and trombones, as opposed to the reed section of tongue, the group of saxophones and clarinets.
Charlie Green was another one of the pioneers of the instrument, and the first of the great soloists of the Fletcher Henderson orchestra, which he arrived shortly before Louis Armstrong.
Jimmy Harrison was one of the first trombonists capable of running alone melodic content and filled with expressiveness in the trombone, and also one of the first to achieve the mordant sound of the trumpet with his instrument. In New York, Mif Mole was, in certain aspects, Harrison’s white counterpart, definitely placing the trombone as a full-full solo instrument and powerfully influencing Chicago-style trombonists such as Tommy Dorsey or Jack Teagarden.