Rex Stewart had been taught the responsibility of commanding respect for his race and to this end he maintained an offstage image very deliberately. [... He] was always posing to some extent and never really relaxed. It is possible that tensions and conflicts came from this and were apparent in his music, but he was an exciting player who made a big contribution during the years he was with us--1934-45. He was extremely versatile and we made use of his virtuosity on "Trumpet in Spades" and "Boy Meets Horn." His half-valved effects on the latter have never been forgotten[.]