and it also lacked electricity, ensuring that the shop closed at sundown. The shop was filled with old jazz records, historical memorabilia, musical instruments and equipment, books, magazines, and a collection of sheet music. Being dark and cluttered on the inside, the store was not made for browsing. Rather, if a patron had a specific request, Burke would recall whether he had the object in stock, and if so, would have to find it in the collection. Al Rose claims that the store averaged about two dollars of income per day. However, he also argues that the store had another, more musically important purpose. Throughout the work day (from 1pm to sundown) musicians would seek Burke at the Rabais to play with him. These sessions were informal and unattended, consisting of Burke's clarinet and whatever instrument the player(s) had brought. By the end of any given day, Rose estimates that up to a dozen musicians would have stopped by to play with Burke. Among these men were amateurs as well as distinguished musical talent. Popularity While Burke was an active musician for most of his life, he did not achieve mainstream popularity or commercial success. He was known for playing modestly, and in large ensembles his clarinet could easily be overpowered. Burke also refused to let contemporary music influence his sound for commercial reasons, and played in what many considered an outdated style. Another possible factor in Burke's obscurity is his association with "Second Line" jazz. Although the term has several different meanings, it has been used to differentiate white musicians who played New Orleans Style jazz from black or Creole musicians. Since New Orleans jazz is typically associated with the African American population in that city, "Second Line" can be used negatively to refer to white musicians who have imitated and simplified this style. Thus, Charles Suhor argues that Burke, as well as other talented white New Orleans Jazz musicians, was neglected throughout much of his early career and not taken seriously. According to John Steiner, 1939 was an important year for the discovery of Burke's music, as well as for other relatively low key jazz musicians. This year marked the availability of cheap, portable recorders. Jazz enthusiasts would bring these devices to local jam sessions and record their favorite musicians. Among these collectors, recordings were passed around, and Burke's audience increased gradually over the next two decades. As