Bailey's Lucky Seven was a series of Gennett recording sessions organized by bandleader Sam Lanin. The musicians on the records were often the Original Memphis Five with the addition of Red Nichols. According to the highly interesting information on starrgennett org, "nobody named Bailey was ever a part of this group (...). While Red Nichols cornet work was most notable, Lanin also used Earl Oliver, Jules Levy, Jr., Henry Gluck, Vic d’ Ippolito, and Hymie Farberman. (...) The group recorded over a 100 sides for Gennett in five years (from October 1921 until late 1926). Yet the group is virtually forgotten or ignored in the annals of jazz history and not even dismissed as unimportant, possibly explainable because the group was never consistent in its personnel and trod a fine line between a pop dance band and a hot jazz band. (...) Despite this lack of attention, the available records echo display a capable band that both hits upon the pop sound and highlights various members’ virtuosity or innovative playing. (...) The core members of Bailey’s Lucky Seven (...) consisted of Phil Napoleon on cornet, Irving Milfred ‘Miff’ Mole on trombone, Jimmy Lytell on clarinet, Frank Signorelli on piano, and Jack Roth on drums. (...) In late 1921, the Gennett studio began a series of recordings organized by popular New York bandleader and agent, Sam Lanin. Lanin hired Red Nichols to add an invigorating second cornet line to capitalize on what was becoming the popular sound at the time. Nichols quickly became the most in-demand and recorded cornetist in dance music. (...) The other main cornetist in Bailey’s Lucky Seven was Phil Napoleon, who was also formally trained. Like Nichols and Beiderbecke, Napoleon merged his training with the open-endedness of the genre into a pioneering approach and sound. (...) Perhaps the true jazz all-star of the Lucky Seven was trombonist Miff Mole, whose playing is best heard on his Gennett sides, despite the poor acoustic recording equipment used in making them. Mole was a ground-breaking and trend-setting trombonist in the jazz world because of his ability to use the composition as a vehicle through which to interact with the other members of the ensemble. He started his musical studies playing violin and as a result, brought a learned musical approach to the ensemble. Mole’s playing on Gennett’s recordings of Bailey’s Lucky Seven makes them worth a serious listen. He first recorded with the band in March of 1923 and appeared on “Wet Yo’ Thumb,” “Everything is KO in KY,” and “Carolina Mammy.” He then became the mainstay trombonist on almost every side Bailey’s recorded from December 1923 until the band’s final Gennett session in February 1926." This outstanding record was made in 1922.