Okeh used the images of Louis Armstrong and Johnson in ads for the "Defender." In December 1927, Johnson recorded in Chicago as a guest artist with Louis Armstrong and His Hot Five, paired with the banjoist Johnny St. Cyr. He played on the sides "I'm Not Rough", "Savoy Blues", and "Hotter Than That." The most famous of the three sides, "Hotter than That," encompassed the New Orleans traditions of polymetric tension, scar, dialogue, collective improvisation, and timbral diversity. In an unusual move, Johnson was invited to sit in with many OKeh jazz groups. In 1928, he recorded "Hot and Bothered", "Move Over", and "The Mooche" with Duke Ellington for Okeh. He also recorded with a group called the Chocolate Dandies (in this case, McKinney's Cotton Pickers). He pioneered the guitar solo on the 1927 track "6/88 Glide", and on many of his early recordings he played 12-string guitar solos in a style that influenced such future jazz guitarists as Charlie Christian and Django Reinhardt and gave the instrument new meaning as a jazz voice. He excelled in purely instrumental pieces, some of which he recorded with the white jazz guitarist Eddie Lang, with whom he teamed in 1929. These recordings were among the first to feature black and white musicians performing together, although Lang was credited as Blind Willie Dunn to disguise the fact.