Jazz / Big Band, Swing, Early Jazz
Adrian Rollini Sax (Bass)
Al Gande Trombone
Al Rinker Vocals
Arthur Rothstein Cover Photo
Benny Goodman Sax (Alto), Clarinet
Bill Challis Piano, Arranger
Bill Rank Trombone
Bing Crosby Vocals
Bob Gillette Banjo
Boyce Cullen Trombone
Carl Kress Guitar
Charles Gaylord Vocals, Strings
Charles Strickfaden Sax (Baritone), Flute, Sax (Alto), Sax (Tenor), Reeds
Charlie Margulis Trumpet
Chester Hazlett Flute, Sax (Alto), Sax (Tenor), Reeds, Sax (Baritone)
Daniel Nevers Selection, Liner Notes
Danny Polo Sax (Alto), Clarinet
Dick Voynow Piano
Don Murray Reeds, Sax (Baritone), Clarinet, Arranger
Eddie Pinder Trumpet
Frank Signorelli Piano
Frank Trumbauer Sax (C-Melody), Reeds, Bassoon, Flute, Arranger
Gene Krupa Drums
Gil Rodin Sax (Tenor)
Harold McDonald Drums
Harry Barris Piano, Vocals
Harry Goldfield Trumpet
Hoagy Carmichael Vocals
Howdy Quicksell Banjo, Arranger
Irene Taylor Vocals
Irving Brodsky Piano
Irving Kaufman Vocals
Jack Fulton Trombone, Vocals
Jack Teagarden Trombone, Soloist
Jimmy Dorsey Clarinet, Sax (Alto), Cornet, Sax (Tenor)
Jimmy Hartwell Clarinet
Joe Venuti Violin
Kurt Dieterle Strings
Lawrence "Bud" Freeman Sax (Tenor)
Lennie Hayton Piano
Lloyd Turner Trombone
Mario Perry Strings
Matty Malneck Violin, Strings, Arranger
Mike Pingatore Banjo
Mike Trafficante Bass
Min Leibrook Sax (Baritone), Tuba, Sax (Bass)
Mischa Russell Strings
Paul Mertz Arranger, Piano
Pee Wee Russell Sax (Alto)
Ray Lodwig Trumpet
Red Mayer Flute, Sax (Alto), Sax (Tenor), Reeds, Sax (Baritone)
Roy Bargy Piano
Rube Crozier Bassoon, Reeds, Sax (Tenor), Flute
Steve Brown Bass
Tommy Dorsey Trombone
Tommy Gargano Drums
Tommy Satterfield Arranger
Vic Moore Drums
Wilbur Hall Trombone
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 |
