Francis Joseph Julian "Muggsy" Spanier (November 9, 1901 – February 12, 1967) was a prominent cornet player based in Chicago. He was renowned as the best trumpet/cornet in Chicago until Bix Beiderbecke entered the scene. Muggsy led several traditional/"hot" jazz bands, most notably Muggsy Spanier and His Ragtime Band (which did not, in fact, play ragtime but, rather, "hot jazz" that would now be called Dixieland). This band set the style for all later attempts to play traditional jazz with a swing rhythm section. Its key members, apart from Muggsy, were: George Brunies - later Brunis - (trombone and vocals), Rodney Cless (clarinet), George Zack or Joe Bushkin (piano), Ray McKinstry, Nick Ciazza or Bernie Billings (tenor sax), and Bob Casey (bass). A number of competent but unmemorable drummers worked in the band. The Ragtime Band's theme tune was "Relaxin' at the Touro", named for Touro Infirmary, the New Orleans hospital where Muggsy had been treated for a perforated ulcer early in 1938. He had been at the point of death when he was saved by one Dr. Alton Ochsner who drained the fluid and eased Muggsy's weakened breathing. "Relaxin' At The Touro" is a fairly straightforward 12-bar blues, with a neat piano introduction and coda by Joe Bushkin. The pianist recalled, many years later: "When I finally joined Muggsy in Chicago (having left Bunny Berigan's failing big band) we met to talk it over at the Three Deuces, where Art Tatum was appearing. Muggsy was now playing opposite Fats Waller at the Sherman hotel and we worked out a kind of stage show for the two bands. Muggsy was a man of great integrity. We played a blues in C and I made up a little intro. After that I was listed as the co-composer of "Relaxin' at the Touro" (quoted by Richard B. Hadlock in the notes to the Bluebird CD 'Muggsy Spanier 1939 - The "Ragtime Band" Sessions', 07863 66550). In his time, Muggsy made numerous Dixieland recordings that still serve as favorites today. Apart from the famous Ragtime Band, his other most important ventures were the quartet he co-led with Sidney Bechet (the 'Big Four') in 1940 and the traditional band he co-led with pianist Earl Hines at the Club Hangover in San Francisco in the 1950s. Although Muggsy's real name was Francis Joseph Julian Spanier, he acquired the nickname "Muggsy" either because of his youthful enthusiasm for a baseball hero ("Muggsy" McGraw), or because of his obsession with King Oliver and Louis Armstrong. He was known to have shadowed and "mugged" both of them, copying their styles and incorporating them into his own music. He was allowed, on at least one occasion, to sit in with King Oliver's band (with Louis Armstrong on second cornet) at the Lincoln Gardens, Chicago, in the early 1920s. He ended his days in the 1960s, leading a traditional jazz band that included old friends like Joe Sullivan (piano), Pops Foster (bass) and Darnell Howard (clarinet). He was not a great technician or virtuoso, but he could lead a traditional ensemble with fire and guts. The (then) young pianist Joe Bushkin was in the Ragtime Band in 1939 and later said of Muggsy: "When he nailed something right, he stayed with it; he wouldn't fix it if it wasn't broke".
While Muggsy's classic style remains unchanged here, Bud's playing can be heard to have taken on more polish. Perhaps a result of his big band experiences his playing shows more of the swing style than the traditional dixieland approach. By the end of the V-Disc session, on the various takes of You Took Advantage Of Me, Bud clearly dominates the proceedings. Although he recorded the Rodgers and Hart standard frequently throughout the rest of his career, this recording is perhaps the definitive one. And if you thought Bud was not an improviser, listen to the differences in the takes presented here for the first time. Bud's own V-Disc session reflected his own sense of style as well as his unique sense of humour. By 1945, the jazz world had been split by the emergence of the boppers, and here Bud parodies current trends in both The Latest Thing In Hot Jazz and For Musicians Only, then aptly demonstrates how the music should be played on two standards. Although both Bud and Muggsy are regarded as stars of "Chicago jazz", their playing shows just how eclectic the category had become by the mid-1940s.