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Beiderbecke in 1924Background informationBirth nameLeon Bismark BeiderbeckeBorn( 1903-03-10)March 10, 1903, Iowa, U.S.DiedAugust 6, 1931 (1931-08-06) (aged 28), New YorkGenresOccupation(s)Musician, composerInstruments, pianoYears active1924–31Labels/Leon Bismark ' Bix' Beiderbecke (March 10, 1903 – August 6, 1931) was an American cornetist, pianist, and composer.Beiderbecke was one of the most influential jazz soloists of the 1920s, a cornet player noted for an inventive lyrical approach and purity of tone. His solos on seminal recordings such as and ' (both 1927) demonstrate a gift for extended that heralded the jazz ballad style, in which jazz solos are an integral part of the composition. Moreover, his use of extended chords and an ability to improvise freely along harmonic as well as melodic lines are echoed in post-WWII developments in jazz. ' (1927) is the best known of Beiderbecke's published piano compositions, and the only one that he recorded.
His piano style reflects both jazz and classical (mainly impressionist) influences. All five of his piano compositions were published by Robbins Music during his lifetime.A native of, Iowa, Beiderbecke taught himself to play the cornet largely, leading him to adopt a non-standard fingering technique that informed his unique style.
He first recorded with Midwestern jazz ensemble in 1924, after which he played briefly for the Detroit-based Orchestra before joining for an extended engagement at the Arcadia Ballroom in St. Louis, also under the auspices of Goldkette's organisation. Beiderbecke and Trumbauer joined Goldkette's main band at the Graystone Ballroom in Detroit in 1926. The band toured widely and famously played a set opposite at the in New York City in October 1926. He made his greatest recordings in 1927. The Goldkette band folded in September 1927 and, after briefly joining player 's band in New York, Trumbauer and Beiderbecke joined America's most popular dance band: and his Orchestra.Beiderbecke's most influential recordings date from his time with Goldkette and Whiteman, although he also recorded under his own name and that of Trumbauer's. The Whiteman period marked a precipitous decline in his health due to his increasing use of alcohol.
Treatment for alcoholism in rehabilitation centers, with the support of Whiteman and the Beiderbecke family, failed to stop his decline. He left the Whiteman band in 1929 and in the summer of 1931 he died in his, apartment at the age of 28.His death, in turn, gave rise to one of the original legends of jazz. In magazine articles, musicians' memoirs, novels, and Hollywood films, Beiderbecke has been envisaged as a hero, the ' (a novel, later made into a movie starring, and ). His life has often been portrayed as that of a jazz musician who had to compromise his art for the sake of commercialism. Beiderbecke remains the subject of scholarly controversy regarding his full name, the cause of his death and the importance of his contributions to jazz.He composed or played on recordings that are jazz classics and standards such as ', ', ', ', ', and '.
Beiderbecke, age 8, poses with a neighbor, Nora Lasher, in 1911.The son of Bismark Herman and Agatha Jane Hilton, Beiderbecke was born on March 10, 1903, in Davenport, Iowa. There is disagreement over whether Beiderbecke was christened Leon Bix or Leon Bismark and nicknamed 'Bix'. His father was nicknamed 'Bix', as was his older brother, Charles Burnette 'Burnie' Beiderbecke. Burnie Beiderbecke claimed that the boy was named Leon Bix and biographers have reproduced birth certificates that agree. More recent research — which takes into account church and school records in addition to the will of a relative — suggests he was named Leon Bismark. Regardless, his parents called him Bix, which seems to have been his preference. In a letter to his mother when he was nine years old, Beiderbecke signed off, 'frome your Leon Bix Beiderbecke not Bismark Remeber '.The son of German immigrants, Beiderbecke's father was a well-to-do coal and lumber merchant named after the of his native Germany.
Beiderbecke's mother was the daughter of a Mississippi riverboat captain. She played the organ at Davenport's First Presbyterian Church and encouraged young Beiderbecke's interest in the piano.Beiderbecke was the youngest of three children. His brother, Burnie, was born in 1895, and his sister, Mary Louise, in 1898. He began playing piano at age two or three. His sister recalls that he stood on the floor and played it with his hands over his head. Five years later, he was the subject of an admiring article in the Davenport Daily Democrat that proclaimed, 'Seven-year-old boy musical wonder! Little Bickie Beiderbecke plays any selection he hears.'
Beiderbecke's childhood home at in Davenport, Iowa, is listed on the. It was purchased and renovated by Italian director for portions of his biopic during the summer of 1990.Burnie recalled that he stopped coming home for supper to hurry to the riverfront, slip aboard an excursion boat, and play the. A friend remembered that Beiderbecke showed little interest in the Saturday matinees they attended, but as soon as the lights came on he rushed home to duplicate the melodies the accompanist had played.When Burnie returned to Davenport at the end of 1918 after serving stateside during World War I, he brought with him a phonograph and several records, including ' and 'Skeleton Jangle' by the. From these records, Beiderbecke learned to love hot jazz; he taught himself to play cornet by listening to 's horn lines. He also listened to jazz from the riverboats that docked in downtown Davenport. Louis Armstrong and the drummer claimed to have met Beiderbecke when their excursion boat stopped in Davenport. Historians disagree over whether such an event occurred.Beiderbecke attended from 1918 to 1921.
During this time, he sat in and played professionally with various bands, including those of, Floyd Bean, and Carlisle Evans. In the spring of 1920 he performed for the school's Vaudeville Night, singing in a vocal quintet called the Black Jazz Babies and playing his cornet. At the invitation of his friend Fritz Putzier, he subsequently joined Neal Buckley's Novelty Orchestra. The group was hired for a gig in December 1920, but a complaint was lodged with the American Federation of Musicians, Local 67, that the boys did not have union cards. In an audition before a union executive, Beiderbecke was forced to sight read and failed. He did not earn his card.On April 22, 1921, a month after he turned 18, Beiderbecke was arrested by two Davenport police officers on an accusation that he had taken a five-year-old girl named Sarah Ivens into a neighbor's garage and committed a lewd and lascivious act with her—a statutory felony in Iowa. According to the police ledger, the girl accused Beiderbecke of “putting his hands on her person outside of her dress.” The ledger went on to state that Beiderbecke and the girl “were in an auto in the garage and he closed the door on the girl and she hollered,” attracting the attention of two young men who were across the street.
The young men “went over to the garage and the girl went home.” Beiderbecke was released after a $1,500 bail bond was posted. Sarah's father, Preston Ivens, requested that the Scott County grand jury drop the charge to avoid “harm that would result to her in going over this case,” and in September 1921, the grand jury returned no indictment, whereupon the County Attorney filed a dismissal of the case. It is not clear from the official documents if Sarah herself had identified Beiderbecke, but the two young men had told her father, when he questioned them a day after the alleged incident, that they had seen Beiderbecke take the girl into the garage. The surviving official documents concerning the arrest and its aftermath - including two police entries and Preston Ivens' grand jury testimony – were first made available in 2001 by Professor Albert Haim on the Bixography website. Jean Pierre Lion in his 2005 biography discussed the incident briefly and printed the texts of the documents. Earlier biographies had not reported the alleged incident.In September 1921, Beiderbecke enrolled at the, a boarding school north of Chicago in. Atc program director. While historians have traditionally suggested that his parents sent him to Lake Forest to discourage his interest in jazz, others believe that he may have been sent away in response to his arrest.
Regardless, Mr. Beiderbecke apparently felt that a boarding school would provide their son with both the faculty attention and discipline required to improve his academic performance, necessitated by the fact that Bix had failed most courses at High School, remaining a junior in 1921 despite turning 18 in March of that year. His interests, however, remained limited to music and sports. In pursuit of the former, Beiderbecke often visited Chicago to listen to jazz bands at night clubs and, including the infamous, where he sometimes sat in with the. He also traveled to the predominantly African-American to listen to classic black jazz bands such as 's Creole Jazz Band, which featured Louis Armstrong on second cornet.
'Don't think I'm getting hard, Burnie,' he wrote to his brother, 'but I'd go to hell to hear a good band.' On campus, he helped organize the Cy-Bix Orchestra with drummer Walter 'Cy' Welge and almost immediately got into trouble with the Lake Forest headmaster for performing indecorously at a school dance.Beiderbecke often failed to return to his dormitory before curfew, and sometimes stayed off-campus the next day. In the early morning hours of May 20, 1922, he was caught on the fire escape to his dormitory, attempting to climb back into his room. The faculty voted to expel him the next day, due both to his academic failings and his extracurricular activities, which included drinking. The headmaster informed Beiderbecke's parents by letter that following his expulsion school officials confirmed that Beiderbecke 'was drinking himself and was responsible, in part at least, in having liquor brought into the School.'
Soon after, Beiderbecke began pursuing a career in music.He returned to Davenport briefly in the summer of 1922, then moved to Chicago to join the Cascades Band, working that summer on Lake Michigan excursion boats. He gigged around Chicago until the fall of 1923, at times returning to Davenport to work for his father. Career Wolverines.
The Wolverines with Beiderbecke at Doyle's Academy of Music in Cincinnati, Ohio, in 1924Beiderbecke joined the Wolverine Orchestra late in 1923, and the seven-man group first played a called the Stockton Club near. Specializing in and recoiling from so-called sweet music, the band took its name from one of its most frequent numbers, 's 'Wolverine Blues.' During this time, Beiderbecke also took piano lessons from a young woman who introduced him to the works of.
Lane's and were self-consciously American whilst also having allusions, and influenced Beiderbecke's style, especially on '.' A subsequent gig at Doyle's Dance Academy in became the occasion for a series of band and individual photographs that resulted in the image of Beiderbecke—sitting fresh-faced, his hair perfectly combed and his cornet resting on his right knee.On February 18, 1924, the Wolverines made their first recordings.
Two sides were waxed that day at the studios in Richmond, Indiana: 'Fidgety Feet', written by Nick LaRocca and from the Original Dixieland Jazz Band, and 'Jazz Me Blues', written. Beiderbecke's solo on the latter heralded something new and significant in jazz, according to biographers and Philip R.
Evans:Both qualities—complementary or 'correlated' phrasing and cultivation of the vocal, 'singing' middle-range of the cornet—are on display in Bix's 'Jazz Me Blues' solo, along with an already discernible inclination for unusual accidentals and inner chordal voices. It is a pioneer record, introducing a musician of great originality with a pace-setting band. And it astonished even the Wolverines themselves.The Wolverines recorded 15 sides for Gennett Records between February and October 1924. The titles revealed a strong and well-formed cornet talent.
Beiderbecke's cornet solo in 'Singin' the Blues' recorded on February 4, 1927, in New York.Problems playing this file? See.Although the Goldkette Orchestra recorded numerous sides for Victor during this period, none of them showcases Beiderbecke's most famous solos. The band found itself subjected to the commercial considerations of the popular music sector that Victor deliberately targeted the band's recordings at. The few exceptions to the policy include 'My Pretty Girl' and 'Clementine', the latter being one of the band's final recordings and its effective swan song. In addition to these commercial sessions with Goldkette, Beiderbecke and Trumbauer also recorded under their own names for the OKeh label; Bix waxed some of his best solos as a member of Trumbauer's recording band, starting with 'Clarinet Marmalade' and 'Singin' the Blues', recorded on February 4, 1927.
Again with Trumbauer, Beiderbecke re-recorded Carmichael's 'Riverboat Shuffle' in May and delivered two further seminal solos a few days later on 'I'm Coming, Virginia' and '. Beiderbecke earned co-writing credit with Trumbauer on ', recorded under the name Tram, Bix and Eddie (in their Three Piece Band). Beiderbecke switched between cornet and piano on that number, and then in September played only piano for his recording of '. This was perhaps the most fruitful year of his short career.Under financial pressure, Goldkette folded his premier band in September 1927 in New York. Hoped to snatch up Goldkette's best musicians for his traveling orchestra, but Beiderbecke, Trumbauer, Murray, and instead joined the bass saxophone player Adrian Rollini at the Club New Yorker. The band also included guitarist Eddie Lang and violinist Joe Venuti, who had often recorded on a freelance basis with the Goldkette Orchestra.
Another newcomer was, a schooled trumpeter who could play improvised jazz solos and read complex scores. When Ahola introduced himself, Beiderbecke famously stated 'Hell, I'm only a musical degenerate'. When that job ended sooner than expected, in October 1927, Beiderbecke and Trumbauer signed on with Whiteman. They joined his orchestra in Indianapolis on October 27. Whiteman The Paul Whiteman Orchestra was the most popular and highest paid dance band of the day.
In spite of Whiteman's appellation 'The King of Jazz', his band was not a jazz ensemble as such, but a popular music outfit that drew from both jazz and classical music repertoires, according to the demands of its record-buying and concert-going audience. Whiteman was perhaps best known for having premiered 's in New York in 1924, and the orchestrator of that piece, continued to be an important part of the band throughout the 1920s. Whiteman was large physically and important culturally —'a man flabby, virile, quick, coarse, untidy and sleek, with a hard core of shrewdness in an envelope of sentimentalism', according to a 1926 New Yorker profile. A number of Beiderbecke partisans have criticised Whiteman for not giving Bix the opportunities he deserved as a jazz musician.Benny Green, in particular, derided Whiteman for being a mere 'mediocre vaudeville act', and suggesting that 'today we only tolerate the horrors of Whiteman's recordings at all in the hope that here and there a Bixian fragment will redeem the mess.' Richard Sudhalter has responded by suggesting that Beiderbecke saw the Whiteman band as an opportunity to pursue musical ambitions that did not stop at jazz:Colleagues have testified that, far from feeling bound or stifled by the Whiteman orchestra, as Green and others have suggested, Bix often felt a sense of exhilaration.
It was like attending a music school, learning and broadening: formal music, especially the synthesis of the American vernacular idiom with a more classical orientation, so much sought-after in the 1920s, were calling out to him.Beiderbecke is featured on a number of Whiteman recordings, including 'From Monday On', ', ', 'Sugar', 'Changes' and 'When'. These feature specially written arrangements that emphasize Beiderbecke's improvisational skills. Bill Challis, an arranger who had also worked in this capacity for Jean Goldkette, was particularly sympathetic in writing scores with Beiderbecke in mind, sometimes arranging entire ensemble passages based on solos that Bix played.
Beiderbecke also played on several notable hit records recorded by Whiteman, such as ', ' and ', the latter featuring on vocals.The heavy touring and recording schedule with Whiteman's orchestra may have exacerbated Beiderbecke's long-term alcoholism, though this is a contentious point. Whiteman's violinist Matty Malneck said 'The work was so hard, you almost had to drink' adding 'He didn't get to play the things he loved with the Whiteman band because we were a symphonic band and we played the same thing every night, and it got to be tiresome.'
On November 30, 1928, whilst on tour in Cleveland, Beiderbecke suffered what Lion terms 'a severe nervous crisis' and Sudhalter and Evans suggest 'was in all probability an acute attack of ', presumably triggered by Beiderbecke's attempt to curb his alcohol intake. 'He cracked up, that's all', trombonist Bill Rank said. 'Just went to pieces; broke up a roomful of furniture in the hotel.' In February 1929, Beiderbecke returned home to Davenport to convalesce and was hailed by the local press as 'the world's hottest cornetist'. He then spent the summer with Whiteman's band in Hollywood in preparation for the shooting of a new talking picture,.
Production delays prevented any real work from being done on the film, leaving Beiderbecke and his pals plenty of time to drink heavily. By September, he was back in Davenport, where his parents helped him to seek treatment. He spent a month, from October 14 until November 18, at the in Dwight, Illinois. Recorded on May 6, 1924, and released as Gennett 5453B and Claxtonola 40336B, duration is 2:31Problems playing this file?. Yanow, Scott, retrieved September 26, 2013. For summaries of Beiderbecke's life, see Lion, Sudhalter and Evans, and the documentary film Bix: Ain't None of Them Play Like Him Yet (1981), written and directed by Brigitte Berman.
For a study of Beiderbecke's legend, see Perhonis. For example, see Ferguson. For example, see Carmichael, Condon, and Mezzrow.
For example, see Baker and Turner. For example, see, the 1950 film adapted from Baker's novel of the same name starring,. See also the English-language, Italian-produced film, (1991), from director.
Lion, p. 6; Johnson, p. 218. Evans and Evans, p. 17.
Evans and Evans, pp. 16–17; Sudhalter and Evans, p. 26. See Johnson; also Lion, p. 4. Evans and Evans, pp.
28–29. Evans and Evans, pp. 5–10.
Ward and Burns, p. 81. Depending on the source. Feather and Gitler, p.
48, say age two; Fairweather, p. 125, says age three. Fairweather, p. 125; Ward and Burns, p. 81.
Ward and Burns, pp. 81–83. Lion, p.
12. Dodds, p. 24; Armstrong, p. 209. While Armstrong and Dodds both claimed that they met Beiderbecke in Davenport, many historians argue it never happened.
24) writes there is 'no evidence' the two met in Davenport, while Kenney (p. 123) writes that the two may have met in Louisiana, Missouri. Still, critic and Armstrong biographer Terry Teachout writes in 'Homage to Bix' that Beiderbecke did, in fact, hear Armstrong in Davenport.
Feather and Gitler, p. 48. Lion, p. 18.
Lion, pp. Retrieved May 28, 2018. Jean-Pierre, Lion (2005). BIX The Definitive Biography of a Jazz Legend. New York: The Continuum International Publishing Group Inc. Pp. 25–26. ^ Feather and Gitler, p.
49. For example, see Feather, p. 49. Lion, p.
26. Lion, p. 27. Lion, pp.
39–40. Ward, p. 83. Ward and Burns, p. 84. Lion, p.
43. Lion, 44–45. ^ Sudhalter and Evans, p. 95.
Lion, p. 60. For more about Gennett, see Kennedy. Sudhalter and Evans, p. 101. Fairweather, p.
127. The cornetist described his friend Beiderbecke as 'playin' stuff all his own. Didn't sound like Louis Armstrong or anybody else' (quoted in Teachout, 'Homage to Bix'). Lion, p. 78-79.
Fairweather, pp. 124–125. The Kirk Douglas character in Young Man with a Horn is forever shooting for high notes. 'I'm gonna hit a note that nobody ever heard before,' he tells Doris Day's character. Sudhalter and Evans, p. 119.
Sudhalter, Lost Chords, pp. 52–56. Lion, pp. 69–72.
Beiderbecke's replacement in the Wolverines was the 17-year-old Chicagoan, who emulated but generally did not copy Beiderbecke's style. During World War II, McPartland married the English pianist Marian Turner in Germany; went on to become a jazz great in her own right. Sudhalter and Evans, p. 188.
Sudhalter and Evans, p. 127.
Lion, pp. 338–339.
Green, p. 29. Sudhalter and Evans, pp. According to Lion, he was not expelled, but quit (pp. 94–95). Quotation from Trumbauer's journal; in Lion, p. 101.
Brooks, p. 104.
Lion, p. On October 15, 1931, a few months after Beiderbecke's death, the Fletcher Henderson Orchestra recorded a version of 'Singin' the Blues' that included performing a nearly note-for-note homage to Beiderbecke's most famous solo. ^ For complete Beiderbecke discographies, see Sudhalter and Evans, pp. 403–472; and Lion, pp. 308–339. Organizations like the one run by Jean Goldkette often operated multiple bands. During the summer of 1926, for instance, Goldkette split his personnel into two bands, with Beiderbecke, Trumbauer, and company playing Hudson Lake.
Goldkette also managed the all-African American, a band that at one time or another featured, and. Sudhalter and Evans, p. 211.
Lion, pp. 154–163.
Quoted in Sudhalter, Lost Chords, p. 423. Sudhalter, in Lost Chords, writes of Whiteman as having been cast 'a villain' in the Beiderbecke story (pp. 18–19) complains that, after Beiderbecke joined the band, 'Whiteman moved farther and farther away from the easy-going, rhythmically inclined style of his earlier days', becoming 'more subservient to his business sense'. He goes on to suggest that this artistically compromised Beiderbecke, in part causing his death (p.
77). Green, p. 38; also quoted in Sudhalter, Lost Chords, p. 423. Sudhalter, Lost Chords, p. 423.
Sudhalter and Evans, p. 235. Bix: 'Ain't None of Them Play Like Him Yet' (1981), film documentary, directed and produced by Brigitte Berman. Lion, p. 203; Sudhalter and Evans, p. 264. Sudhalter and Evans, p.
264. 'Bix Beiderbecke' in Davenport Sunday Democrat, February 10, 1929; see Lion, p. 209.
Lion, pp. 230–234. Lion, p. 233.
^ July 7, 2015, at the. Sudhalter, Stardust Melody, pp.
In his Carmichael biography, Sudhalter actually charts the similarities between recorded Beiderbecke solos in 'Singin' the Blues', 'Jazz Me Blues', and 'Star Dust', writing: 'The high spot of 'Star Dust's' first recorded performance is Hoagy's own full-chorus piano solo, its chordal devices clearly echoing Bix's fascination with the Impressionists and such 'moderns' as Igor Stravinsky—and his admiration for the now almost forgotten American composer Eastwood Lane.' 110). Lion, p.
177. Lion, p. 256. Lion, pp. 279–281; Evans and Evans, p. 549.
Evans and Evans, pp. 544–545. Evans and Evans, p. 546.
Berton (p. 6) identifies the doctor as Dr.
Haberski and (alone among Beiderbecke commentators) has Beiderbecke dying in. Sudhalter and Evans (p. 329) identify the doctor as John James Haberski, Beiderbecke's across-the-hall neighbor. 278) calls him Dr. Haberski, while George Kraslow referred to Haberski as a woman (Evans and Evans, p.
546). See Spencer, pp. 99–106, for an in-depth discussion of Beiderbecke's cause of death, informed by both medicine and history. Evans and Evans, p. 549.
Lion, p. Xiv. Cedar Rapids Evening Gazette and Republican, August 11, 1931, cited in the Bixography Forum. ^ Blumenthal, p. 99. ^ Ferguson, p. 19.
Mezzrow, p. 78. Shapiro and Hentoff, p. Italics in original.
Berton, p. 254. ^ Condon, p. 85. Baker, p.
The National Book Review. Retrieved September 4, 2018. See Sudhalter biography at the February 21, 2008, at the. Retrieved November 5, 2009. See the NRHP website for. Retrieved November 5, 2009. January 18, 2012, at the.
Retrieved August 8, 2009. Gray, Frank (April 30, 2005). Retrieved October 18, 2009. Fairweather, p. 122.
Teachout, 'Homage to Bix', p. See also Teachout, Pops.
Teachout in 'Homage to Bix', for instance, contrasts Beiderbecke's and Armstrong's personalities, styles, and the approach historians have taken to their stories. 'Beiderbecke's style, which was all but fully formed when he made his first recordings, was completely different from that of the New Orleans-born cornet and trumpet players who preceded him, Armstrong included,' Teachout writes. 'Unlike them, he played with precise, at times almost fussy articulation and a rounded, chime-like tone sticking mostly to the middle register and avoiding the interpolated high notes that became an Armstrong trademark.' . Evans and Evans, p. Xxii. For the blues influence on Armstrong, see Brothers, especially Chapter 7, 'Ragtime and Buddy Bolden' (pp.
For Bix's listening, see Lion, pp. 78–79. Sudhalter and Evans, p.
196. Green, p. 34. Gioia, The History of Jazz, pp. 71–72. Condon, p.84; quoted in Berton, p. 89.
Carmichael, Sometimes I Wonder, p. 110; quoted in Berton, p.
91. Mezzrow, p. 80; quoted in Gioia, The History of Jazz, p. 73. Quote in Lion, p. 65.
Hadlock, p. 81. Sudhalter and Evans, pp. 100–101. Lion, p.
156. Williams, p. 136. Lion, p.
339. Alexander, Scott with Dennis Pereyra. Retrieved September 14, 2010.
DownBeat Critics (August 31, 1962). Retrieved October 18, 2009. Evans and Evans, pp.
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Essential Jazz Lines In The Style Of Clifford Brown Pdf Editor Youtube
Sudhalter, Richard M. And Philip R.
Essential Jazz Lines In The Style Of Clifford Brown Pdf Editor Pdf
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New York: Oxford University Press, 1970, 1993.External links Wikimedia Commons has media related to. – A series of nineteen one-half-hour radio programs from 1971.
Includes interviews with Frank Trumbauer, Louis Armstrong, Gene Krupa, Eddie Condon, Bing Crosby, Hoagy Carmichael, and Bix's brother Charles 'Burnie' Beiderbecke. – An mp3 of Beiderbecke's first recording under his own name. by Brendan Wolfe,. by Brendan Wolfe,.