"ˈɔːl ðə sˈeɪm, hɪz staɪlˈɪstɪk mˈænɚɹˌɪzəmzðə dˈiːp hˈoːɹs blˈɜːɹɪŋz, ðɪ æθlˈɛɾɪk ɪnfɹˈʌntʌvðəbˈiːt tˈaɪmɪŋ, ðə flˈɛɹɪŋ ʃˈeɪksɑːɹ hˈaɪli kˈɑːnʃəs ðə wˈaɪld ɪz mˈoːɹ ɐ pˈɜːsənəl ðˌænə mjˈuːzɪkəl sˈɑːbɹɪkˌeɪ, ænd, ɪmpˈoʊzd æz ðeɪ ɑːɹ ˌɔn ɐ kənvˈɛnʃənəl ˈɑːɹmstɹɔŋ bˈeɪsɪs, mˌeɪk dˈævɪsən wˈʌn ʌvðə mˈoʊst ɛksˈaɪɾɪŋ ʌv wˈaɪt smˈɔːlbˈænd kˈɔːɹnɪtˌɪsts.
"All the same, his stylistic mannerisms-the deep hoarse blurrings, the athletic in-front-of-the-beat timing, the flaring shakes-are highly conscious (the 'Wild' is more a personal than a musical sobriquet), and, imposed as they are on a conventional Armstrong basis, make Davison one of the most exciting of white small-band cornetists.