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| Riverboat Shuffle - Original 1924-1929 Recordings |
| Bix Beiderbecke |
| első megjelenés éve: 2001 |
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| (2001)
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CD |
| 3.819 Ft
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| 1. | Riverboat Shuffle
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| 2. | Davenport Blues
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| 3. | Singin' The Blues
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| 4. | For No Reason At All in C
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| 5. | Blind Mice [Rhythmic Theme In Advanced Harmony]
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| 6. | Krazy Kat [Tone Poem In Slow Rhythm]
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| 7. | In A Mist (Bixology)
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| 8. | Royal Garden Blues
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| 9. | Goose Pimples
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| 10. | Wringin' An' Twistin'
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| 11. | Sorry
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| 12. | Since My Best Gal Turned Me Down
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| 13. | Thou Swell
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| 14. | Louisiana
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| 15. | The Love Nest
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| 16. | Ol' Man River
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| 17. | Futuristic Rhythm
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| 18. | Somebody Stole My Gal
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Jazz / Early Jazz
1. RIVERBOAT SHUFFLE
The Wolverines
Recorded 6th May, 1924, Richmond, Indiana
2. DAVENPORT BLUES
Bix and his Rhythm Jugglers
Recorded 26th January, 1925, Richmond, Indiana
3. SINGIN' THE BLUES
Frankie Trumbauer and his Orchestra
Recorded 4th February, 1927, New York
4. FOR NO REASON AT ALL IN C
Tram, Bix and Eddie
Recorded 13th May, 1927, New York
5. THREE BLIND MICE (RHYTHMIC THEME IN ADVANCED HARMONY)
Frankie Trumbauer and his Orchestra
Recorded 25th August, 1927, New York
6. KRAZY KAT (TONE POEM IN SLOW RHYTHM)
Frankie Trumbauer and his Orchestra
Recorded 28th September, 1927, New York
7. IN A MIST (BIXOLOGY)
Bix Beiderbecke, piano solo
Recorded 9th September, 1927, New York
8. ROYAL GARDEN BLUES
Bix Beiderbecke and his New Orleans Lucky Seven
Recorded 5th October, 1927, New York
9. GOOSE PIMPLES
Bix Beiderbecke and his New Orleans Lucky Seven
Recorded 25th October, 1927, New York
10. WRINGIN' AN' TWISTIN'
Tram, Bix and Lang
Recorded 17th September, 1927, New York
11. SORRY
Bix Beiderbecke and his Gang
Recorded 25th October, 1927, New York
12. SINCE MY BEST GAL TURNED ME DOWN
Bix Beiderbecke and his Gang
Recorded 25th October, 1927, New York
13. THOU SWELL
Bix Beiderbecke and his Gang
Recorded 17th April, 1928, New York
14. LOUISIANA
Bix Beiderbecke and his Gang
Recorded 21st September, 1928, New York
15. THE LOVE NEST
Frankie Trumbauer and his Orchestra; Charles Gaylord, vocal
Recorded 9th October, 1928, New York
16. OL' MAN RIVER
Bix Beiderbecke and his Gang
Recorded 7th July, 1928, Chicago
17. FUTURISTIC RHYTHM
Frankie Trumbauer and his Orchestra; Frankie Trumbauer, vocal
Recorded 8th March, 1929, New York
18. SOMEBODY STOLE MY GAL
Bix Beiderbecke and his Gang
Recorded 17th April, 1928, New York
The first real white jazz stylist, cornetist, pianist and composer Bix Beiderbecke was a great jazz original, an innovator whose individual genius and technically controlled, restrained, crystal-clear playing contrasts with -yet in its way matches- the flamboyance of Louis Armstrong. He was born Leon Bismarck Beiderbecke on March 10, 1903 in the river town of Davenport, Iowa, the youngest of the three children in a German immigrant family. His father, Herman, ran a successful coal and timber business, so his upbringing was well-to-do, middleclass. As a child he showed an unusual aptitude for music which his mother, Agatha, actively encouraged: he had a fine ear and could play virtually anything without music. At seven he had some formal training on piano and his parents envisaged a career for him as a concert pianist, but having heard records of the Original Dixieland Jazz Band he took up the cornet instead. Self-taught and technically unorthodox in his approach, he would sit cross-legged on the floor and join in with "Tiger Rag" and other records on the Victrola.
In 1919, in Davenport, he heard and met the great New Orleans cornettist Emmet Hardy who, it is said, helped him to perfect his technique. Indeed, when Hardy died in 1925, Bix reputedly wrote to Hardy's mother to the effect that "Emmet was the greatest musician I have ever heard. If ever I can come near your son's greatness, I'll die happy." In September 1921, at his parents' request, he entered the Lake Forest Academy but, for spending so much time in nearby Chicago pursuing his interest in jazz and playing with the dance band he had formed with fellow-student Walter ‘Cy' Welge, he was expelled. Subsequently, Bix spent a few months working in his father's East Davenport Fuel and Lumber Company until he decided, despite parental opposition, on a career in music.
Bix joined the Wolverines in Ohio late in 1923 and early the following year, in Richmond, Indiana, and with that band, still generally accredited with having been the first white outfit to play "black" jazz in true style, recorded fifteen published sides for Gennett (highly innovative, these pre-date Armstrong's first Hot Fives by almost two years), including a new composition by his friend Hoagy Carmichael entitled Riverboat Shuffle. In these monumental classics of early jazz he is both soloist and leader, but his presence is played down, coolly integrating with the rest of the ensemble, as it does in his own composition Davenport Blues, recorded in early 1925 with his Rhythm Jugglers.
By September 1924, Bix and the Wolverines were playing at New York's prestigious Cinderella Ballroom. There he was heard by pianist-bandleader Jean Goldkette (1899-1962) whose band, certainly the greatest white jazz outfit before Benny Goodman's, was at that time resident at Detroit's Graystone Ballroom and whose recordings were a new and lucrative addition to the Victor catalogue. Beiderbecke briefly joined the Goldkette orchestra and even recorded with them in November. Next, he shared digs in New York with fellow-cornetist Red Nichols (1905-1965) before joining the band of Illinois-born saxophonist and vocalist Frankie Trumbauer (1901-1956) at the Arcadia Ballroom in St. Louis. Trumbauer's musicianship and organisational skills complemented Bix's innovations and the pair became the mainstay of Goldkette's organisation from early 1926, on recordings, on radio and at live venues until it disbanded in September 1927.
Subsequently, prior to blending their voices with Paul Whiteman (1890-1967), Trumbauer and Bix immortalised their names through their recordings of such classics as "I'm Coming, Virginia" (a US Pop Charts No.5 hit in September 1927) and Singin' The Blues, Three Blind Mice and Krazy Kat. With guitarist Ed Lang (1902-33) they recorded, among other titles, For No Reason At All In C and Wringin' And Twistin', while Bix recorded the solo In A Mist (otherwise entitled "Bixology"). Here, his impressionistic piano-playing reflects the influence of Debussy and Ravel as well as the more localised influence of the American piano miniaturist Edward McDowell. This solo entered the US charts in February 1928, at No.20.
During their sojourn with the Whiteman Orchestra, Bix and Trumbauer were given several opportunities to record with various small groups, usually under their own names. However, Bix's dependence on alcohol undermined his health and caused frequent indisposition which, allied to financial strictures imposed on the commercially-minded Paul Whiteman ensuing from the 1929 Wall Street Crash, forced him to side-line and eventually to dismiss his star soloist. The ravages of drink, poor eating and constant travelling finally took their toll and Bix died in New York on August 7, 1931, his tragic self-destruction and early demise fuelling a legend.
That the legend has lived on since his death, however, stems from a tradition started almost three quarters of a century ago by Dorothy Baker's romanticised novel and by the enthusiastic but innaccurate 1950 Warner biopic which it inspired ("overwrought… occasionally risible", with Kirk Douglas cast as Bix, plus a trumpet over-dub by Harry James and a cameo appearance from Bix's erstwhile pal Hoagy). More recently, his name has been kept alive in the 1981 film biography Bix and later still by a trilogy of more loosely biographical TV documentaries which conferred on him a late 20th century cult status as one of jazz's seminal figures. But the intrinsic beauty of his playing also lives on, through his recordings.
---Peter Dempsey, 2001
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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