Using the elegant name of Elwood Graham, this cornet player and sometimes singer frequently sat alongside Freddie Keppard in bands led by Doc Cook in the next half from the ’20s. Keppard ultimately became a well-known Dixieland jazz name; for Graham, he’s yet another of the wonderful but mysterious music artists who have been employed by Make in bands such as for example Cookie’s Gingersnaps, Doc Make & His 14 Doctors of Syncopation, and Cook’s Dreamland Orchestra, the final of these titles inspired with a location, Paddy Harmon’s Dreamland Ballroom. Archivists searching for credits or any additional information regarding Graham after 1928 won’t discover a lot of anything. From the lineup of Doc Make & His 14 Doctors of Syncopation, this designer is one of the who didn’t appear to get over the tragedy of experiencing all their devices stolen quickly the bandstand throughout a break. With regards to sound and design, the real substance of jazz background, Elwood Graham most definitely lives on. He’s the perfect exemplory case of how playing designs are approved along, getting into the mainstream of the genre and becoming heard by a big audience with almost no from the listeners alert to who is in fact accountable. The Graham playing design, one aspect which was to help make the device sound as though it had been laughing, had been produced from someone else, a youthful brassman of Sicilian descent called Louis Panico. Wynton Marsalis recordings such as for example “Making Works?,” about mainly because broadly circulated a major-label jazz saving as one will get, include areas where Marsalis copies Graham copying Panico. Real recordings of Graham as well as the Doc Make bands have already been released on anthologies of early jazz aswell as beneath the titles of sidemen Keppard and clarinetist Jimmie Noone.