When I [Redman] joined the Cotton Pickers they were pretty
much of a novelty outfit of around ten pieces. John
Nesbitt, an exceptional trumpet player was doing
all their arranging, and he knew his music, but he
was copying everybody else's records. They had
been known as the Synco Septette for years, ever
since they built their reputation at the Green Mill
in Toledo. I told Nesbitt to stop copying others work
because he had enough ability to do his own stuff,
and he eventually did turn out some fine things for
the Cotton Pickers.
He loved Bix and used to play a lot like him in his
own way. I'm thinking of doing one of his things this
year, Will You Won't You Be My Baby [sic]?
Thanks to Nick for the reference to the Jazz Studies article.
The most obviously Bix-influenced follower was cornetist Jimmy McPartland, who replaced Bix in the Wolverine Orchestra in late 1924, and continued to pay tribute to Bix throughout his long career (McPartland died in 1991). Bix's influence was most noticeable amongst white musicians, but there were also black players who fell under his spell, notably trumpeters and cornetists John Nesbitt (McKinney's Cotten Pickers), Rex Stewart (Fletcher Henderson's Orchestra, Duke Ellington's Orchestra), and Doc Cheatham (Cab Calloway's Orchestra).