Buster Bailey was an excellent clarinetist who also, although known for his clean and quiet using John Kirby’s sextet, occasionally really slice loose with some crazy solos (including on the saving called “Guy Having a Horn Moves Berserk”). Expertly qualified by the traditional instructor Franz Schoepp (who also trained Benny Goodman), Bailey caused W.C. Handy’s music group in 1917. He relocated to Chicago in 1919 and was quickly dealing with Erskine Tate and Ruler Oliver’s Creole Jazz Music group. He obtained some popularity in 1924 when he became a member of Fletcher Henderson’s orchestra in NY. Bailey was with Henderson on / off during 1924-1934 and 1936-1937, also using Noble Sissle as well as the Mills Blue Tempo Music group (1934-1935). Next up was the cool-toned golf swing of John Kirby’s sextet (1937-1946), a job he fit flawlessly. With the finish from the Kirby music group, Bailey was mainly used in Dixieland configurations with Wilbur DeParis (1947-1949), Big Key Russell Moore (1952-1953), Henry “Crimson” Allen (1950-1951 and 1954-1960), Crazy Costs Davison (1961-63), as well as the Saints and Sinners (1963-1965), concluding using the Louis Armstrong All-Stars (1965-1967). Perhaps one of the most officially skilled from the clarinetists to emerge through the 1920s, Buster Bailey under no circumstances modernized his design or became a head, but he added his abilities and periodic wit to some many rewarding and essential recordings.