a result, Burke became especially popular with jazz insiders rather than the public. According to Steiner, jazz enthusiasts feared that Burke could become another forgotten jazz great, similar to Buddy Bolden, and so attempted to spread his music. Style characteristics Raymond Burke played in the Dixieland style. According to Charles Suhor, Dixieland is characterized by "more conventional tones of wind instruments, rejection of rapid vibratos, greater instrumental facility, and considerable attention to solos, which are routinely 'passed around' in between opening and closing ensemble choruses." Burke's repertoire consisted primarily of old standards. New York Times reviewer, John S. Wilson claimed that Burke "used mellow, woodsy lower notes to build delightfully catchy little phrases and runs."He also noted that Burke would wriggle around in his seat while playing, and that, during solos, he would play from a strange, semi-crouched position. He also commended Burke's "unhurried" approach. Although Dixieland is often assumed to be a campy imitation of past music, Wilson notes that Burke does not depend on musical stereotypes or clichés. Al Rose also claims that although Burke's music was traditional it wasn't nostalgic. Instead of imitating the musical style of 1920s jazz, Rose felt that Burke remained an innovative musician who happened to work through that particular style of music. A concert in 1965 exemplified many of his musical characteristics. This concert brought Burke together with Chicago style pianist Art Hodes. Although the reviewer claims that the group was prone to "ragged endings" and occasional uncertainty and hesitation, he applauds Burke's ability to play with Hodes and feed off his spontaneity. The reviewer notes Burke's economic solo lines and argues that he was a master of spreading out musical ideas. The review asserts that Burke had an excellent handling of the lower register of the clarinet, known as the chalumeau register. Burke would often begin a solo line with an unexpected high note, then proceed down in pitch until he reached this register. Even within the Dixieland style, Burke's playing was viewed as eccentric. Al Rose claimed that, "He just doesn't play a clarinet part! The tourist expects to hear the really conventional harmony, and Raymond just won't stick to it. He's got all that ingenious counterpoint on his mind—and you know, if it's on his mind, he blows it!" He refused to play music which he deemed too fast or too slow. He believed that playing music at a