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| The Art of Bix Beiderbecke |
| Bix Beiderbecke |
| első megjelenés éve: 2006 |
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| (2007)
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2 x CD |
| 3.631 Ft
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| 1. CD tartalma: |
| 1. | Singin' the Blues
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| 2. | Trumbology
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| 3. | Clarinet Marmalade
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| 4. | Riverboat Shuffle
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| 5. | I'm Coming Virginia
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| 6. | Way Down Yonder in New Orleans
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| 7. | Fidgety Feet
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| 8. | Jazz Me Blues
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| 9. | Copenhagen
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| 10. | Sensation
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| 11. | I'm Glad
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| 12. | Toddlin' Blues
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| 13. | Davenport Blues
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| 14. | In a Mist
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| 15. | For No Reason at All in C
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| 16. | Wringin' and Twistin'
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| 17. | Three Blind Mice
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| 18. | Humpty Dumpty
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| 19. | Krazy Kat
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| 20. | The Baltimore
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| 2. CD tartalma: |
| 1. | At the Jazz Band Ball
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| 2. | Royal Garden Blues
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| 3. | Jazz Me Blues
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| 4. | Goose Pimples
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| 5. | Sorry
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| 6. | Clementine (From New Orleans)
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| 7. | Changes
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| 8. | There Ain't No Sweet Man That's Worth the Salf of My Tears
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| 9. | Lonely Melody
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| 10. | You Took Advantage of Me
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| 11. | Rockin' Chair
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| 12. | Barnacle Bill the Sailor
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| 13. | Mississippi Mud
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| 14. | The Japanese Sandman
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| 15. | Cryin' All Day
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| 16. | A Good Man Is Hard to Find
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| 17. | Since My Best Gal Turned Me Down
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| 18. | Somebody Stole My Gal
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| 19. | Rhythm King
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| 20. | Ol' Man River
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Jazz / Big Band, Swing, Early Jazz
In 2006 Primo brought out a 40-track collection entitled The Art of Bix Beiderbecke. Loosely covering a time span extending from June 20, 1924 to May 21, 1930, this pleasantly jumbled portrait touches briefly upon Bix's early work with the Wolverine Orchestra and the Sioux City Six; revisits his collaborations with C melody saxophonist Frankie Trumbauer, and stirs in examples of Beiderbecke leading his Rhythm Jugglers, his Gang and his Orchestra. Also included is evidence of Bix's adventures as a member of the Paul Whiteman Orchestra and two titles -- "Rockin' Chair" and "Barnacle Bill the Sailor" -- recorded at what turned out to be the second to last session Bix would ever participate in. Already ill and seated in a chair, he blew his cornet alongside trumpeter Bubber Miley, another brilliant musician whose life and career would soon be snuffed out by alcoholism. This group, led by vocalist Hoagy Carmichael, also included trombonist Tommy Dorsey, clarinetist Benny Goodman, tenor saxophonist Bud Freeman, violinist Joe Venuti, guitarist Eddie Lang, drummer Gene Krupa and featured vocals (on "Barnacle Bill") by a gruff-voiced character named Carson Robison. Stepping back and admiring Primo's The Art of Bix Beiderbecke as a dizzy blend of classic jazz recordings cut over a transitional six year period, it seems like an excellent way to listen to highlights from the Beiderbecke legacy. The other way to do it is to consult tidier, better organized, chronologically stacked "Bixologies." The more casual method, in this case, works nicely even if it gives the listener no sense whatsoever of a temporal stylistic progression. That is clearly not what the folks at Primo had in mind. ~ arwulf arwulf, 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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