fast tempo was showing off and distracted the audience. On the other hand, he also insisted that jazz shouldn't be played too slow, claiming that "the blues ain't funeral music. Unlike many musicians who became associated with the New Orleans style, he did not flutter or play in an uncontrolled way. He would not sacrifice tone for a crowd-pleasing effect. He was known to stop during a performance and walk offstage if he felt one of his bandmates was pandering to the audience. Preservation Hall Preservation Hall was a concert space established in the 1960s which became the center of a revival in New Orleans jazz. In 1961, Icon Records executive Grayson Mills traveled to New Orleans in order to record veteran jazz musicians. Because many of these players were elderly, Mills conceived of Preservation Hall as a place to practice and gain back their skills in front of an audience. Preservation Hall was designed solely for listening to the musicians. The Hall served no food or drinks, had only a few rows of benches for seating, and lacked a dance floor. Donation was the only source of revenue for the club, as admittance was free. Mills hoped that, if the musicians were not worried about appealing to tourists or needy club owners, they would regain their creativity. He became a regular Preservation Hall musician for the rest of his life. In the mid 1960s, Allan Jaffe assumed management of Preservation Hall and expanded its operations. To ensure the financial survival of the Hall during low tourist seasons, Jaffe began looking at alternative ways for Preservation Hall to maintain an income. He began managing numerous "Preservation Hall Bands", negotiating recording contracts, and sending groups on international tours, even sending Burke to the Soviet Union in 1979. Influence According to Al Rose, although Burke is admired by jazz musicians and fans, he has had no influence. Because Dixieland is sometimes considered outdated, there are few players who approach it with the same creativity as Burke. Furthermore, his playing was considered eccentric even within the Dixieland style. For instance, in a Second Line magazine article, Rose recalls suggesting to musician George Girard that he adopt Burke into his band. His response was, "Man, that would be plain heaven, but if I had him i'd still need a clarinet player." References Sources Suhor, Charles. Jazz in New Orleans: The postwar Years through 1970.