If this book is another instance Of Bix's name and image, if not so much his music, gradually seeping into the cultural consciousness, which, from what we've heard of it so far, it seems to be, then this site and Albert in particular should stand up and take a bow and accept credit where credit is due for the relentless pursuit of demonstrating that Bix is relevent and still matters today, besides catching some extraodinary music. Like I told Linda earlier, Albert is the Winston Churchill of Bix scholars, and while he may have left a few stiffs in the trenches, men must truly say, that so far anyway, that this is Bix's finest hour.
I think I'm maybe suffering some post post'em depression now that the Goldkette Henderson thread has petered out, leaving so much more that could have been, should have been said, and this thread on Bix's present day image raised a question in my mind, related to that thread, that perhaps you people or some of you, anyway, are not satisfied with the direction that the official Bix legacy seems to be heading. He seems to have been usurped, to have been seized and carried off by the Dixielanders, the raccoons of jazz, as their particular champion, and I suspect this may not sit well with all Bix fans, as it doesn't with me.