The Stomp Six was a recording group that appears to have had no existence outside the Autograph Catalogue, from which these, it's only known recordings, were taken. Reference may also be made to the Bucktown Five six of whose recordings for Gennett over a year before featured a similar line-up.

At the time these titles were made Francis Hogan "Muggsy" Spanier was still a teenager, full of enthusiasm for the playing of King Oliver, then the undisputed master of the Jazz idiom in Chicago. Spanier's work on this coupling pays tribute to his idol, and if others in the group, drawn as they were from commercial dancebands of the day, were less fervent, at least they acquit themselves very well. The early electric recording make the balance somewhat irregular, but there can be no doubting that this music comes from Chicagoan first-hand experience with the great New Orleans masters, assimilating more of their idiom than that of the more famous Austin High Gang youngsters. Volly de Faut, a mature musician from Arkansas, plays a sensitive, silvery-toned clarinet and must be regarded as the star of the performances. Both numbers were ordinary "pops" of the day that lent themselves to Jazz treatment. The second one was composed by Isham Jones in whose band Guy Carey, the trombonist of the Stomp Six, was playing at the time.

Taken from the book Recorded Jazz: A Critical Guide by Rex Harris and Brian Rust.