Louis Armstrong may not have been the first to use "chops” to refer to a musician’s embouchure. He does seem to deserve credit for transmuting it to mean technical ability, as in his celebrated description of a jam session: "Chops was flyin’ everywhere.” Like so many terms originated by jazz musicians, the word has worked its way into the general language. A reviewer, for instance, describes an actor who delivers an inspired performance as having his chops up. Taking it back a step, Joe Pass and Niels-Henning Ørsted Pedersen in this album give a living demonstration of the Armstrong definition. No two more technically gifted musicians have ever worked together. But in jazz, as Louis proved all his life, technique alone does not suffice. With Pass and NHØP, chops are only means to the expression of ends. Like swing, and heart, and soul.