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| Bix Beiderbecke and The Chicago Cornets |
| Bix Beiderbecke |
első megjelenés éve: 1925
76 perc |
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| (1991)
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CD |
| 3.851 Ft
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| 1. | Fidgety Feet
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| 2. | Jazz Me Blues
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| 3. | Oh Baby
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| 4. | Copenhagen
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| 5. | Riverboat Shuffle
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| 6. | Susie [2nd Take]
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| 7. | Susie [3rd Take]
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| 8. | I Need Some Pettin'
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| 9. | Royal Garden Blues
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| 10. | Tiger Rag
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| 11. | Sensation
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| 12. | Lazy Daddy [2nd Take]
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| 13. | Lazy Daddy [3rd Take]
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| 14. | Tia Juana
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| 15. | Big Boy
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| 16. | Flock o' Blues
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| 17. | I'm Glad
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| 18. | Toddlin' Blues
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| 19. | Davenport Blues
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| 20. | When My Sugar Walks Down the Street
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| 21. | Prince of Wails
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| 22. | Steady Roll Blues
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| 23. | Mobile Blues
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| 24. | Really a Pain
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| 25. | Chicago Blues
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| 26. | Hot Mittens
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| 27. | Buddy's Habits
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| 28. | Someday, Sweetheart
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Jazz / Early Jazz
Recorded: 1924-1925, Richmond, Virginia and New York
Bix Beiderbecke (cornet)
Frank Trumbauer (C melody saxophone); George Johnson (tenor saxophone); Jimmy McPartland, Muggsy Spanier (cornet); Guy Carey, Tommy Dorsey, Miff Mole, George Brunies, Al Gande (trombone); Min Leibrook (tuba); Volley DeFaut, Don Murray (clarinet); Jimmy Hartwell (clarinet, alto saxophone); Mel Stitzel, Paul Mertz, Rube Bloom, Dick Voynow (piano); Marvin Saxbe (banjo, guitar, cymbal); Bob Gillette (banjo); Tommy Gargano, Vic Berton, Vic Moore (drums)
Includes liner notes by Max Harrison from a previous Milestone reissue.
Not only does this superior double-LP set contain all of cornetist Bix Beiderbecke's recordings with the Wolverines in 1924 (much of which is classic), but it features him with the Sioux City Six and his Rhythm Jugglers (highlighted by the original version of "Davenport Blues"), the two titles cut by the Wolverines after Beiderbecke departed (with Jimmy McPartland in his spot), and seven performances by the Bucktown Five in 1924 (the recording debut of cornetist Muggsy Spanier). Collectors of '20s jazz should be familiar with most of this music, especially the Wolverines sides. Bix Beiderbecke, although only 21 years old at the time, already demonstrated the lyricism, inventiveness, and beautiful tone that one associates with him. ~ Scott Yanow, All Music Guide
Bix Beiderbecke
Active Decades: '20s and '30s
Born: Mar 10, 1903 in Davenport, IA
Died: Aug 06, 1931 in New York, NY
Genre: Jazz
Styles: Big Band, Swing, Early Jazz
Bix Beiderbecke was one of the greatest jazz musicians of the 1920s. His colorful life, quick rise and fall, and eventual status as a martyr made him a legend even before he died, and he has long stood as proof that not all the innovators in jazz history were black. Possessor of a beautiful, distinctive tone and a strikingly original improvising style, Beiderbecke's only competitor among cornetists in the '20s was Louis Armstrong but (due to their different sounds and styles) one really could not compare them.
Beiderbecke was a bit of a child prodigy, picking out tunes on the piano when he was three. While he had conventional training on the piano, he taught himself the cornet. Influenced by the original Dixieland Jazz Band, Beiderbecke craved the freedom of jazz but his straight-laced parents felt he was being frivolous. He was sent to Lake Forest Military Academy in 1921 but, by coincidence, it was located fairly close to Chicago, the center of jazz at the time. Beiderbecke was eventually expelled he missed so many classes. After a brief period at home he became a full-time musician. In 1923, Beiderbecke became the star cornetist of the Wolverines and a year later this spirited group made some classic recordings.
In late 1924, Beiderbecke left the Wolverines to join Jean Goldkette's orchestra but his inability to read music resulted in him losing the job. In 1925, he spent time in Chicago and worked on his reading abilities. The following year he spent time with Frankie Trumbauer's orchestra in St. Louis. Although already an alcoholic, 1927 would be Beiderbecke's greatest year. He worked with Jean Goldkette's orchestra (most of their records are unfortunately quite commercial), recorded his piano masterpiece "In a Mist" (one of his four Debussy-inspired originals), cut many classic sides with a small group headed by Trumbauer (including his greatest solos: "Singin' the Blues," "I'm Comin' Virginia," and "Way Down Yonder in New Orleans"), and then signed up with Paul Whiteman's huge and prosperous orchestra. Although revisionist historians would later claim that Whiteman's wide mixture of repertoire (much of it outside of jazz) drove Beiderbecke to drink, he actually enjoyed the prestige of being with the most popular band of the decade. Beiderbecke's favorite personal solo was his written-out part on George Gershwin's "Concerto in F."
With Whiteman, Beiderbecke's solos tended to be short moments of magic, sometimes in odd settings; his brilliant chorus on "Sweet Sue" is a perfect example. He was productive throughout 1928, but by the following year his drinking really began to catch up with him. Beiderbecke had a breakdown, made a comeback, and then in September 1929 was reluctantly sent back to Davenport to recover. Unfortunately, Beiderbecke made a few sad records in 1930 before his death at age 28. The bad liquor of the Prohibition era did him in.
For the full story, -Bix: Man & Legend is a remarkably detailed book. Beiderbecke's recordings (even the obscure ones) are continually in print, for his followers believe that every note he played was special.
---Scott Yanow, All Music Guide |
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