Alas, I don't yet have 'Bix Restored', so many of my more obscure Whiteman Victors are on the 5-LP French RCA set, which is generally OK, but variable in sound quality.
So, after returning from Racine & Davenport this March, the first thing I did of course was to play the 78s from my 'Great American Bix Centennial Souvenir': my virtually-mint 1936 Bix Memorial Album.
Imagine me, if you will, very tired (but very happy!) playing all these gorgeous silky immaculate (round label) Victor 78s with my 3.5 thou' truncated elliptical stylus, with the top end expanded and the volume high...
And along comes Vi 25366, 'Mississippi Mud'. Great, fine, wow! What sound!
And then... that Tram break!
It's fascinating of course, but also completely incomprehensible! (More so I think, on this take 2 that the 'normal' take 3).
I mean: is Tram just playing inside-out, or merely backwards? Or possibly both??
We may never know!
But in the case of 'Riverboat Shuffle', the 2 Tram breaks at the end are something of a microcosm of Tram. The first break (which contains a jump of darn near two octaves) is red hot: for me at any rate, it is the 'hottest' Tram break on record.
But then, maybe he thought: 'H'mm! That was a pretty fiery break! Maybe I better play a complementary break now...' and proceeds to play what sounds to us now like 'Yeeuggh!'
But that was Tram: a guy who could very often come out with something you weren't expecting! Of course, Bix did this all the time, and his music is intact and (mostly) sublime to this day.
But 'time has laid a heavy hand' on some things... and, alas, that second sax break on 'Riverboat Shuffle' is one of them!