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| 1. | Trumbology
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| 2. | Clarinet Marmalade
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| 3. | Singin' the Blues
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| 4. | Ostrich Walk
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| 5. | Riverboat Shuffle
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| 6. | I'm Coming Virginia
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| 7. | Way Down Yonder in New Orleans
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| 8. | For No Reason at All in C
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| 9. | Wringin' an' Twistin'
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| 10. | Humpty Dumpty
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| 11. | Krazy Kat
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| 12. | The Baltimore
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| 13. | At the Jazz Band Ball
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| 14. | Royal Garden Blues
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| 15. | Jazz Me Blues
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| 16. | Goose Pimples
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| 17. | Sorry
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| 18. | Cryin' All Day
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| 19. | A Good Man Is Hard to Find
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| 20. | Since My Best Girl Turned Me Down
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| 21. | Sugar
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| 22. | In a Mist
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| 23. | Flashes
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| 24. | In the Dark
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| 25. | Candlelights
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Jazz
Recorded: New York, 1927.
Collective Personnel:
Bix Beiderbecke (cornet on all tracks, except #22-25)
with
Frankie Trumbauer (C-melody Sax), Jimmy Dorsey (cl, as), Pee Wee Russell (cl, ts), Don Murray (cl), Bill Rank (tb), Bobby Davis (as), Adrian Rollini (bs), Frank Signorelli (p), Joe Venuti (vln), Eddie Lang (g), Chauncey Morehouse (d)
Track #22 is a piano solo by Bix Beiderbecke
Tracks #23-25 are Bix Beiderbecke piano solo compositions recorded by Jess Stacy
Includes his most celebrated combo works, his only solo piano recording and solo piano versions of his compositions by pianist Jess Stacy.
A DEFINITIVE COMPILATION OF BIX BEIDERBECKE'S BEST WORKS.
The great Bix Beiderbecke is arguably the only cornet player whose brilliance could be compared in any way to the genius of Louis Armstrong in the 1920s, despite the obvious differences in their styles. Louis' powerful tone and explorations in the upper register contrasted with Bix's cool sound and his improvisations in the middle register. The two musicians did share, however, an abundance of creativity and a complete commitment to music. From 1924 on, Bix would record hundreds of wonderful sides backed by some of the finest musicians of his era (all white, of course, for interracial recordings were still rare at the time of Bix's death), including the likes of Benny Goodman, Pee Wee Russell, Frankie Trumbauer, Joe Venuti, Eddie Lang and Eddie Condon. He was also a prominent soloist in the celebrated Paul Whiteman orchestra. His own insecurity, however, led him to alcoholism and in his last years he became an unreliable musician, who at times simply couldn't play a note. This CD concentrates on the very best of his recorded output, including most of the small group sides he recorded under his own name or in formations fronted by Frankie Trumbauer. These are the recordings that gained him a place in jazz history as the brilliant jazz improviser that he was.
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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