I've mentioned all this before, but in this thread it bears repeating: This same Eddie King, who gave Bix and the Goldkette band such a hard time, actually supervised some of the most unusual, progressive jazz records of the whole 1920s - the great 1927-'28 Victor sides by Fats Waller (on pipe organ), with Thomas Morris' Jazz Babies ("Please Take Me Out of Jail," "Savannah Blues," "Geechee," etc. etc.).
King presided over these Camden sessions, and he is heard throughout on tom-tom, woodblock and cymbal. He does a good, workmanlike job, nothing fancy, just solid percussion, never getting in the way. In fact, he holds everything together: As producer, he acted here as the "click track," keeping everybody in synch. Anyone who has played pipe organ knows that it's hard to keep steady time on one, especially at brisk tempos and even more especially when other instruments are involved. Even though Fats Waller had cosmic, superhuman timekeeping talent, the results with the jazz band still could have been soupy and disjointed had not Eddie King deployed his percussion just so. I'd bet money that putting Fats' pipe organ and a jazz band together on records was entirely King's idea.
All in all, I still find it puzzling that Eddie King could have masterminded such an unprecedented jazz experiment, and at the same time have been so hostile to Bix's brand of "hot."