The banjo does not receive much credit as an important instrument in early jazz music, despite its presence in many ensembles. Part of the problem lies in sound recordings that survive from this era, as the already quick-to-decay sound of the banjo being plunked usually didn't make it onto the pressing with any kind of substantial sonic identity. The guitar would quickly overcome the banjo in terms of an extra string and chording instrument for a jazz rhythm section, especially once players discovered the magic of the electric guitar. But closer attention to the careers of early jazz banjoists such as Charlie Dixon indicate that perhaps these players were more important than anyone has given them credit for. Dixon's first professional job of any note was with the orchestra of Sam Wooding, a pianist and arranger who was one of the first American expatriates, choosing to largely tour overseas while many of his contemporaries were making names for themselves back home. Dixon jumped to Fletcher Henderson's bands and was closely associated with this man and his various projects for years. He was part of Henderson's band for the famous 1922 opening at Club Alabam. Not only did Dixon play in the Henderson bands, the banjoist was an arranger of some talent and came up with many of the scores Henderson used in concert and the studio. Since much of the bandleader's reputation was based on his innovative arrangements and new big band sounds, credit just has to be passed along to Dixon. Certainly the bandleader was fond of him and kept him close at hand in a steady rhythm section that also featured drummer Kaiser Marshall, tuba player Rafael Bob Escudero, and of course, Henderson on piano. Dixon's involvement with Henderson included not only the large bands, but small combos that sometimes recorded under pseudonyms, such as the Dixie Stompers. He regularly played alongside such jazz giants as saxophonists Coleman Hawkins and Don Redman, and trumpeter Elmer Chambers, the latter man one of Dixon's early associates in the Wooding bands. Dixon was also part of a hand-picked group of players who helped establish what was known as the classic blues sound, backing female singers such as Bessie Smith, Ma Rainey, Trixie Smith, and Alberta Hunter. These recordings from the mid-'20s tend to feature the players who represented the true cream of the crop of this era in jazz. The ad-hoc Georgia Jazz Band, few of whom were actually from that state, included trumpeter Louis Armstrong as well as Henderson. With Bessie Smith, this group recorded cuts such as Alexander's Ragtime Band and There'll Be a Hot Time in the Old Town Tonight. Box set reissues of Bessie Smith and Fletcher Henderson material are loaded with Dixon appearances, although as mentioned previously it isn't always that easy to hear what he is doing. Sessions involving female blues singers in which Satchmo was in the band have also been compiled into various historic re-release sets under his name as well. Perhaps getting lost in the mix was troublesome to Dixon and he didn't seem to be as interested in switching over to guitar as other banjoists of his generation, such as Eddie Lang. The final stage of Dixon's career involved a switch to solely providing arrangements and permanently stuffing the banjo case under his bed. He wrote for Henderson's band for a few years as the commercial success of the swing era began providing opportunities for such groups, then switched over to rival bandleader Chick Webb. For this band, Dixon's most well-known arrangements are That Naughty Waltz and Harlem Congo. ~ Eugene Chadbourne, Rovi