Kansas City plopped itself on the border of Kansas and Missouri. As is typical for the record business, the discography of the Kansas City Four was created in New York City. Ironically, the name was concocted to lend jazz legitimacy to some of the participants, who were otherwise extremely busy in the studios creating the pop music of the Roaring Twenties: Tin Pan Alley, ragtime, and classic blues. The backgrounds of these musicians reveal that nobody involved had anything to do with Kansas City at all. Real Kansas City jazz players such as tenor saxophonist Lester Young would make use of similar combo names later on. Clarinetist and saxophonist Bob Fuller was a native New Yorker, while pianist Louis Hooper hailed from Prince Edward Island, Canada. Banjoist Elmer Snowden's personal distance from Kansas City can be determined from the fact that one of his own hometown bands was called the Washingtonians. As for others involved in these studio bands, at times expanding into the Kansas City Five, a more legitimate band name would have proposed a connection with South Carolina. Trombonist Jake Frazier came from Charleston and trumpeter Bubber Miley hailed from Aiken, a town bordering Georgia. The Kansas City Five, featuring the latter two brass players, backed singer Rosa Henderson on a demonstration session in the fall of 1924. The slimmed-down Kansas City Four returned to the studio with Henderson in February of the following year to cut the all-inclusive "Everything My Sweetie Does." Sides cut by the quartet on its own include the Clarence Williams command to "Get It Fixed" and a cover version of Papa Charlie Jackson's "Dark Girl Blues," dating from about a month after the second Henderson session. All of the material has been reissued by the Document and Challenge labels. ~ Eugene Chadbourne, All Music Guide