Having a name that appears like a make of special salad cutlery, this early banjoist appeared to have dropped from the scene in the ’30s after a appealing begin to his career toiling in the Dixieland combos of leaders like the great clarinetist Johnny Dodds and trumpeter Tommy Ladnier. He was also an associate of drummer Harry Dial’s Bluesicians, an organization whose exciting 1930 recordings for the Vocalion label included the amusing “Crazy Fumble,” the harmful “Poison,” as well as the extremely opinionated but likeable “I LOVE What I LOVE Like I LOVE It.” This materials is on the Frog reissue entitled That’s My Stuff, Chicago 1929-1930. Probably Eustern Woodfork was even more focused on the banjo than his string-playing peers, the majority of whom flocked to playing your guitar as the banjo was ushered from the jazz from the past due ’30s like someone snoring within a cinema. Banjoists such as for example Woodfork have a tendency to be a number of the least-documented performers in jazz background, probably due to the limited function they were permitted to play in the music itself. Research workers might be motivated to research Ladnier, for instance, because of one of is own red-hot cornet solos, while banjoists within this music had been limited to mainly unexciting two- and four-bar breaks, if indeed they received solos in any way. Woodfork is certainly no exception to the guideline, despite his amusing name.