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punch of all time was in operation. In addition, Kid Ory was unquestionably the best trombonist of his time . . .
Johnny Dodds. . . whom some venerate as perhaps the most inspired artist ever to record . . . shows a basic restraint and a lyrical approach.
Ory [is] sometimes very interesting as a soloist . . . primarily bent toward ensemble playing, an art at which he is certainly most adept. It is doubtful whether any other recorded trombonist has shown himself Ory's master in this regard.
—Wm. Grossman-Jack FarxeU8
the early Hot Five, whose rhythm is extremely weak. Listen to Dodds* alto solo in Come Back Sweet Papa, Isn't it an excellent sample of not getting the notes in the right place, rich in rhythmic faults and anti-swing if anything ever was? . . .
. . . How stiff Kid Ory is and how heavily he leans upon the beat . . . Johnny Dodds* rudimentary technique does him a disservice; I can't help feeling uncomfortable when I listen to his fumbling on Big Butter . . .
It is not a question of disparaging Dodds and Ory, but simply of setting things straight. The shortcomings of these two musicians are not merely technical; both are deficient musically as well,
Do you have to play this all the way through? . . . This music stands for something, but as it is now, it seems quite a bit webby . . . time has just walked right by these guys. ... I won't rate this one.
—Count Basie (re Bunk Johnson record, When 1 Learn the World Behind).
I don't know what to say. I'm
prejudiced against people who are trying to take music back forty years. I think that just to make money, some people forget
Bunk's gift of ceaseless variational invention seems to derive from a perpetually youthful inspiration. No one has ever excelled him ... his recorded band work exemplifies the dissonant tendency of the classic style.
With a new trumpet Bunk played as well as ever—a grand old man of jazz. He was always clear and melodic.