Jazz / Early Jazz
Adrian Rollini Sax (Bass)
Al Lynch Vocals
Alan Roberts Engineer, Programming, Research
Bill Givens Producer
Bill Rank Trombone
Billy Murray Vocals
Bix Beiderbecke Piano, Performer, Cornet
Bob Gillette Banjo, Guitar
Brian Rust Engineer
Charles Wareing Engineer
Chauncey Morehouse Drums
Clude McKee Engineer
Danny Polo Clarinet
Dick Voynow Piano
Doc Ryker Sax (Alto)
Frank Bessinger Vocals
Frankie Trumbauer Sax (C-Melody)
Fuzzy Farrar Trumpet
George "Happy" Johnson Sax (Tenor)
George Brunies Trombone, Kazoo
George Williams Reeds
Howdy Quicksell Banjo
Itzy Riskin Piano
Jean Goldkette Performer
Jess Stacy Piano
Jim Rumph Graphic Design
Jimmy Dorsey Clarinet, Sax (Alto)
Jimmy Hartwell Clarinet
Joe Venuti Violin
John McNicholson Engineer
John R.T. Davies Engineer, Research, Programming, Digital Mastering, Re-Engineer
Lloyd Turner Trombone
Miff Mole Trombone
Mike Kieffer Audio Consultant, Engineer
Min Leibrook Tuba
Paul Mertz Discographical Information, Piano
Ray Lodwig Trumpet
Rube Bloom Piano
Spiegle Willcox Trombone
Steve Brown Bass
Tom Gargano Drums
Tom Pletcher Engineer, Discographical Information
Tommy Dorsey & the Pied Pipers Trombone
Vic Berton Drums
Vic Moore Drums
The first in an excellent series of three-disc box sets reissuing Bix Beiderbecke's catalogue, this collection finds the revered jazz cornetist/pianist performing in the mid 1920s with a variety of ensembles, including the Wolverines and Jean Goldkette's Orchestra. Regardless of the group, Beiderbecke is almost always immediately discernible, particularly with his bold, crystal-clear cornet lines, as on the lively "Riverboat Shuffle." With fidelity superior to many other similar offerings, this Beiderbecke collection is easily one of the best available.
the complete recordings and alternates, Vol. I, Feb. 1924 through Sept. 1927, 3 CD set
It has long been said that every note that exists of the legendary short-lived cornetist Bix Beiderbecke is well-worth owning and savoring. Happily, the Sunbeam label (on its BX subsidiary) has been reissuing every selection that Beiderbecke appeared on, in a series of four three-CD sets. Where this reissue series differs from previous ones is that even the numbers where Bix cannot be heard (but it is known that he is playing in the ensembles) are included. The first three-fer (which covers 1924 to September 1927) has all of Beiderbecke's recordings with the Wolverines, the Sioux City Six, his Rhythm Jugglers, and Jean Goldkette's Orchestra. In addition, Bix is heard on his first (and most significant) sessions with Frankie Trumbauer's combos and performing his piano solo "In a Mist." The set is rounded off by Jess Stacy's early piano versions of Beiderbecke's other impressionistic pieces ("Flashes," "In the Dark," and "Candlelights") from 1935 and 1939, since Bix never did record them himself. While the Goldkette selections are generally commercial (other than "Clementine"), there are many classics with the other bands on this perfectly conceived set, including "Jazz Me Blues," "Riverboat Shuffle," "Royal Garden Blues," "Big Boy," "Davenport Blues," "Clarinet Marmalade," "I'm Coming Virginia," "Way Down Yonder in New Orleans," and Bix' most famous solo, "Singin' the Blues." This set (and the other editions in the series) is essential for all serious collectors of 1920s jazz. ~ 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 |
