These titles are some of the most authentic White Jazz of the early twenties to be heard, and may be regarded as the avante garde of a Chicago style which flourished in the succeeding years. They show that the New Orleans style conception of collective improvisation had not then been crowded out to make way for a number of solo choruses, although a certain number of them do appear. Volly de Faut is one of the lesser-known clarinet players of jazz, but he was much admired by Jelly Roll Morton and can be heard on the Jelly Roll Morton's Jazz Trio duet side My Gal. At the time when Bucktown Five recorded he was immersed in the dance orchestra The Benson Orchestra of Chicago, so it must have been a red-letter day for him to be able to play the Jazz he loved so well.

The name of the band has an interesting link with New Orleans, for Bucktown was the name of the settlement which opened on the near shore of Lake Ponchartrain soon after the closing of Storyville, and which became a smaller edition of that famous district. Hence, of course, the title of a well-known jazz tune Bucktown Stomp.

Nearly eighteen months later virtually the same group recorded in Chicago under the name of the Stomp Six.

Taken from the book Recorded Jazz: A Critical Guide by Rex Harris and Brian Rust.