It was while I was at the Paramount [1928-1931] that I met Bix. Of course, I knew his playing from the recordings he had made. When Bix was in town with Paul Whitemans band wed go up to Biltmore Hotel and stand in the hall and listen to Bix play. I was influenced by Bix and of course Louis; I suppose every trumpet player was to a certain extent.
The well-documented fact that so many trumpet players were influenced by Bix, and of course Louis, is corroborated again. A minor quibble. I don't think that Whiteman played in the New York Biltmore Hotel, at least when Bix was with him.
Another quote of interest.
The Ambrose band, with Henry Levine in its ranks, was the first to use Brunswicks new electrical recording equipment, installed in a rather cramped studio positioned above a restaurant in London. The date was June 1927 and the resulting records show what a fine modern stylist Levine was. He commands the section throughout "Possibly" (composed by another well know bandleader, Carroll Gibbons) and the forgettable comedy tune "Take Your Finger Out Of Your Mouth." On both these sides he plays jazz that is mature and assertive, still heavily influenced by Red Nichols but with Bixian overtones.
Henry Levine has several connections to Bix. Levine recorded with Bobby Davis, Charles Margulis, Arnold Brilhart, Irving Brodsky, Vic Berton, Pee Wee Russell, Don Murray, Stan King, Irving Kaufman. Did I miss others?
There is one mention of Henry Levine in Sudhalters Lost Chords. He is referred to as Henry "Hot Lips" Levine.
Nick, what Levine records where he is at his most Bixian should we listen to?