Joe Dixon, a historic jazz reed participant from New Britain who was simply especially mixed up in swing era, shouldn’t be confused with younger trombonist from the same name. There’s a stylistic and musical connection, non-etheless, large enough to become hooked on the finish of the trombone slide. The sooner Dixon shows up on a number of recordings by Tommy Dorsey, a bandleader and trombonist whose particular instrumental strategy is certainly crucial that you the present day trombone legacy. An assumption could be made, for individuals who thrive upon this sort of issue, that trombonist Dixon may have grown to be acquainted with the clarinet and saxophone playing of the various other Joe Dixon while looking into Dorsey. The previous horn was the first reed device studied with the player who was simply also connected with trumpeter and bandleader Bunny Berigan. If pancakes, Dixon’s acknowledged edges with Berigan and Dorsey by itself would fulfill a starving mob of frontiersmen. The reedman’s advancement from symphony clarinetist through high-school dance rings to Dorsey and various other essential swingers in the next half from the ’30s also comes after the fairly specific arc of well-known taste, producing a types well placed to give food to himself with work on the brand new York jazz picture of that period. Dixon was an associate of Dorsey’s famous Clambake Seven clothing and was also component of a Gus Arnheim lineup that also included the youthful Stan Kenton. Through the ’50s, Dixon kept forth, occasionally leading his very own bands, at NY swing enclaves such as for example Condon’s.