Ed Claypoole’s name continues to be just normally mutated into Ed Claypole by bleary-eyed typesetters as his intricate piano compositions were mangled and bungled by parlor players squinting on the sheet music. Claypoole was one of the better known & most important composers from an interval of American musical background when sheet music greatly outsold recordings as well as the ragtime genre was insanely well-known, although few enthusiasts could actually describe what made a bit of music ragtime. Claypoole’s area of expertise had not been rhythms but florid shows of key pad virtuosity, certainly an element from the genre. His “Ragging the Size,” created in 1915 was, for an interval, the main one to duplicate for composers who lacked creativity of their very own, faced some type of deadline, and noticed the decision for increasingly more ragtime sheet music, probably coming from straight outdoors their cubicle doorways. A pianist who got made serious usage of parlor practice period would more than likely select a Claypoole piece when it had been period for a screen of chops. “Jumping for the Keys” was another from the composer’s sheet music problems, although a as well literal interpretation from the name might subsequently need a visit through the piano tuner. By 1929, Claypoole got stretched his creativity to the world of “Oriental Illusion,” yet it’s the relatively earlier, decidedly even more down-home “Alabama Jigger” which has received probably the most cover-version recordings over time. Included in these are one by pianist Utmost Morath, which received wide publicity for the coattails from the 1st Scott Joplin revival within the ’70s. These recordings by additional artists will be the places to essentially listen to Claypoole’s music, since he really was a sheet music, not really recording studio, kind of man. The Tom Lord Jazz Discography lists him showing up on only 1 recording like a pianist during his whole career.