Vance Dixon

Any bandleader that titles one combo following a common term for lunatics and another afer a composing implement is worth scrutiny. Vance Dixon brought both Dixon’s Jazz Maniacs and Vance Dixon and His Pencils towards the music picture from the ’30s, presumably creating divisions between enthusiasts that might be more comfortable within an crazy asylum or an workplace supply shop. Dixon himself was a flexible entertainer who could single on either alto saxophone or clarinet and break right into a music if which was what the group needed. He also got serious ambitions like a bandleader coupled with abilities as an arranger and innovator, talents which were currently getting him locations in the first section of his profession. In 1925 Dixon resigned from his placement as music movie director of Lois Deppe’s Sereneaders to become listed on the Sammy Stewart music group in Chicago. The prior employment had currently lasted “a long time” based on biographer John Chilton; maybe Dixon had opted to operate for the music group when he was still an adolescent. Additional Chicago collaborations adopted such as using Clarence Jones in 1928 and Erskine Tate in 1930. He started leading his personal groups because the fresh decade started, but his reign as manager only lasted a couple of years. From 1933 he was also connected with a house music group in the Brooklyn Casa Mia golf club offering the banjoist Ikey Robinson. The reedman and singer’s last professional association of any take note appears to have been with trumpeter June Clark in 1936. From then on the Vance Dixon path runs out; he’s assumed to become dead, however the why and whereabouts are unfamiliar.