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A vehicle for Bixophiles and other interested individuals to ask questions, make comments and exchange information about Bix Beiderbecke and related subjects. Any views expressed in the Bixography Forum represent solely the opinions of those expressing them and are not necessarily endorsed or opposed by Albert Haim unless he has signed the message.
 
 
Bix and A.D.(H)D. Is Don Murray the Young Man to the Left of Bix in the Bix and the Rhythm Jugglers Photograph?  Who Wrote "A Bit of Fancy"? Whiteman Love Nest Best Complete Bix that's available? 1970's Bix show on PBS
Tommy Gargano Lodwig-Beiderbecke Solos in "Georgia on My Mind"  Bix's World There'll always be an ebay Is the Unidentified Musician in the Photo Bix?
 The legendary Whiteman 'Special Record' to England...
Reissues of Gennett Wolverines From Monday On? Whiteman Love Nest Broadway Bell Hops I Don't Know The Goldkette Reunion Photos
It's tough being a Bix fan: A modest proposal Sound Quality on Bix Reissues just wanted to say unusual records Steve Brown 2 Sugars in my Tea
Finished-up my X-mas chores Too much Copenhagen,already! A photo of Tommy Rockwell Mike Mosiello Tribute to Bix, part XIII Vote for Josh Duffee and His Orchestra, and the Bix Beiderbecke Memorial Jazz Festival 
Brad's Bix signature Bix in Syracuse A little something for Bix? Nice Site KEM Records Baby Duffee
Louis Bellson





Bix and A.D.(H.)D. . Brad Kay on May 09 2000
        Psychological Quackery. . Philip Colston. on May 09 2000
        Interesting . . Scott Black on May 09 2000
        Dyslexia Is A Different Matter.. Philip Colston. on May 09 2000
             If That's The Case. . Scott Black on May 10 2000
                  Not A Cure. . Philip Colston. on May 10 2000
                                   Bix, A.D.D. and us. . Brad Kay on May 10 2000
                                        Fitting In. . Philip Colston. on May 10 2000
 
 
 

Bix and A.D.(H.)D.
      by Brad Kay

   The recent heated discussions of Bix's sexuality, and what relevance it may have had to his
   music, has prompted me to raise another area of speculation:

   Could Bix have been afflicted with A.D.(H.)D. (Attention Defecit (Hyperactivity) Disorder)?

   According to the authors of "DRIVEN TO DISTRACTION - Recognizing and Coping with
   Attention Deficit Disorder from Childhood through Adulthood" (E.M. Hallowell and J.J.
   Ratey, MDs / Touchstone Books, 1994), these are the classic symptoms of A.D.D. in adults,
   any fifteen of which are enough to warrant a diagnosis:

   1. A sense of underacheivement, of not meeting one's goals (regardless of how much one has
   actually accomplished).

   2. Difficulty getting organized.

   3. Chronic procrastination or trouble getting started.

   4. Many projects going simultaneously; trouble with follow-through

   5. Tendency to say what comes to mind without necessarily considering the timing or
   appropriateness of the remark.

   6. A frequent search for high stimulation.

   7. An intolerance of boredom.

   8. Easy distractability, trouble focusing attention, tendency to tune out or drift away in the
   middle of a page or a conversation, often coupled with an ability to hyperfocus at times.

   9. Often creative, intuitive, highly intelligent.

   10. Touble in going through established channels, following "proper" procedure.

   11. Impatient, low tolerance for frustration.

   12. Impulsive, either verbally or in action, as in impulsive spending of money, changing plans,
   enacting new schemes or career plans, and the like.

   13. Tendency to worry needlessly, endlessly; tendency to scan the horizon looking for
   something to worry about, alternating with inattention to or disregard for actual dangers.

   14. Sense of insecurity.

   15. Mood swings, mood liabliity, especially when disengaged from a person or a project.

   16. Restlessness.

   17. Tendency toward addictive behavior - substance abuse or activities such as gambling,
   shopping, eating or overwork

   18. Chronic problems with self-esteem.

   19. Innacurate self-observation. Seeing oneself as less effective or powerful than other people
   do.

   20. Family history of ADD or manic-depressive illness or depression or substance abuse.

   How many anecdotes have we read about Bix that fit this profile? His trouble concentrating in
   school. His youthful daredevil exploits. His singleminded hyperfocus on music. Endless stories
   of him getting lost or misdirected. His always leaving the organizing to somebody else. His
   chronic self-medicating with alcohol. His boundless creativity, to the point of being unable to
   play the same thing twice. His inability/impatience with "proper" musical training, and his
   constant frustrating search for that later in his career. His self-deprecation "I'm just a musical
   degenerate..." His impulsive generosity. And in the end, his crushing sense of failure, of never
   having acheived anything worthwhile (in the famous phone call to Bobbie Nichols).

   These are just some of the incidents that come to mind; no doubt you will recall others. All I
   can say, as a certified A.D.D. sufferer myself, these anecdotes seem to me like red flags,
   pointing to Bix's obvious condition, a syndrome that didn't even have a name in his era. Just as
   his music was 50 years ahead of his time, so were his problems!

   Bix's sexual orientation may or may not have had a direct bearing on his creativeness as a
   musician, but a condition like Attention Deficit Disorder definitely would. Seen in the light of it,
   much of his behavior, both creatively and self-destructively, makes perfect sense to me,
   especially when seen in context with his outer world, which didn't have the slightest clue about
   either.

   N.B.: Hallowell and Ratey have this to say about A.D.D. and creativity: "Throughout history
   there have been many great men and women who have had various learning disabilities that
   they managed to overcome. Although it can't be proved he had it, Mozart would be a good
   example of a person with A.D.D.: impatient, impulsive, distractible, energetic, emotionally
   needy, creative, innovative, irreverent, and a maverick. Structure is one of the hallmarks of the
   treatment of A.D.D., and the tight forms within which Mozart worked show how beautifully
   structure can capture the dart-here, dart-there genius of the A.D.D. mind... Albert Einstein,
   Edgar Allan Poe, George Bernard Shaw and Salvador Dali were all expelled from school,
   and Thomas Edison was at the bottom of his class. Abraham Lincoln and Henry Ford were
   pronounced by their teachers to show no promise. The novelist John Irving nearly flunked out
   of high school because of an undiagnosed learning disability..."

   'Nuff said. Responses?

                        Posted on May 09 2000, 06:44 PM
 
 

Psychological Quackery.
       by Philip Colston.

   "Attention Deficit Hyperactivity Disorder" is a quack diagnosis used to justify the medical
   treatment of people whose personalities happen to fall outside of the standards of the ordinary
   people who make up the "cattle-herd" of human population. I could not fail to notice that the
   majority of the "symptoms" you listed in your posting were in fact traits that are highly
   desirable, particularly in creative individuals.

   The diagnosis of ADHD has been used as an excuse to employ the administration of
   psychotropic drugs for the purpose of controlling the behaviour of children and adults. This
   practise is outrageous. Having failed by physical means and coercion to deny children the
   ability to exercise their rights, parents and educators have now turned to the use of
   mind-altering medication to force them into submission. This is akin to the replacement of
   strait-jackets by drugs like Thorazine in mental institutions. It is sad that people are so
   obsessed with uniformity, conformity, and compliance, that the most creative people are now
   chemically crushed in the name of medicine.

   Bix had a terrible problem with alcohol, but in spite of this, his far too brief career was loaded
   with extraordinary creativity and accomplishment. Rather than lament what was not recorded,
   or what might have been but failed to come to pass, we ought to thank our lucky stars for the
   immense body of work that has survived Bix, never mind his extensive influence on the work
   of countless other musicians.

   Philip Colston.

                        Posted on May 09 2000, 07:23 PM
 
 
 

Interesting.....
      by Scott Black

   I am now 46 years old. I've been playing the cornet since the age of 5. In spite of having many
   teachers, both in public, and private, I could never learn to read music. So, I just accepted
   that as my lot in life.
   After reading several articles about A.D.D., I decided to go to a doctor to find out more.
   Guess what? I found out that, not only did I have A.D.H.D, but was also dyslexic. So I
   thought I'd try the medication. Within ONE year, I could read music. Within TWO years, I
   was conducting FIVE different shows a week on the Mississippi Riverboat the DELTA
   QUEEN. Since then, I've become a published and recorded songwriter with BMI. This is
   something I wouldn't have ever thought of before being treated. I've always had close to
   perfect pitch, perhaps nature compensates us in other ways, when dealing with some kind of
   infliction.
   So, I agree with Brad that this could well have been a reason for Bix's trouble with reading
   music. And again, as much as everybody has a right to their opinion, you seem to voice yours
   without checking the facts, or doing your homework.Quackery? I'm sure it has been abused
   by many doctors as a cure all for hyper children, but it does help those who truly have the
   disorder. In fact it can change their lives.

                        Posted on May 09 2000, 08:38 PM
 
 
 

Dyslexia Is A Different Matter.
      by Philip Colston.

   Dyslexia is an actual disorder that greatly interferes with the ability to decipher written or
   printed symbols. It is unrelated to intelligence, and is amenable to treatment: special training in
   milder cases, and medication in more intractable cases. Your former inability to read music
   was due to the dyslexia.

   I think that Bix was likely able to read music early on, in the sense of knowing what the
   symbols and note positions on the staves meant. His trouble was in "sight reading", that is,
   playing an instrument whilst reading the score directly and without prior examination. Fluency
   in this skill takes practice, to which I imagine Bix devoted little time or effort. In spite of this, it
   appears that Bix eventually became sufficiently proficient in sight reading to satisfy the
   requirements of his professional employment.

   I stand by my statements regarding "ADHD". It is possible that some adults "feel better" when
   taking medication for this supposed disorder. This is likely due to the potent psychoactive
   qualities of the drugs prescribed. All people should think very carefully before ingesting
   chemicals that cross the "blood-brain barrier". Long-term use can lead to permanent
   physiological brain damage.

   Philip Colston.

                        Posted on May 09 2000, 09:29 PM
 
 
 

If That's The Case...
      by Scott Black

   Then the medication is also a cure for Dyslexia. This is a major news story, and should be
   treated as such. I, like others learned at an early age, how to deal with it. It doesn't hamper
   my ability to read words, some times spelling looks odd. But I could read by the age of three,
   and was reading novels by the age of five. I can read and retain a five hundred page book in
   four hours.No problem, at the same time, the spelling of a simple word looks like a typo to
   me. So, I don't bother. The only time I worry about it, is when writing. My spelling can go out
   the window, and I don't realize it until after it's sent.
   A.D.D. is a very real disorder, probably over used by some doctors, but at the same time a
   very real problem that can be dealt with. As for the side effects, after 10 years so far, there
   has been one. A better life.

                        Posted on May 10 2000, 05:56 AM
 
 
 

Not A Cure.
      by Philip Colston.

   With the notable exception of anti-pathogenic agents, most drugs do not "cure" physiological
   or psychological ailments. Rather, they are used to manage disorders and control or alleviate
   symptoms and associated conditions. There is no drug cure for dyslexia. However, for some
   who are afflicted with this condition, the concentration required in learning to overcome its
   bizarre effects can be aided with medication. The traits associated with ADHD are likewise
   not permanently alterable. The medication must be taken indefinitely, except in cases where
   the psychological evolution of the individual negates the "symptoms" for which the medication
   was sought. This is what happens when children are said to "grow out of" ADHD (which I
   maintain is not a true disorder, but a set of personality traits, many of which are positive in
   nature).

   You have clearly overcome the problems of dyslexia. I note that your spelling easily surpasses
   that of the majority of Americans. I did not say that the ingestion of psychoactive drugs will
   with certainty cause brain damage, but that it can do so. This is well documented. Also, I
   believe that any conscientious physician would agree with me when I say that such drugs
   should be used only when nothing else will work, for genuine disorders, and then only after
   very careful consideration.

   Philip Colston.

                        Posted on May 10 2000, 09:41 AM
 
 
 

Bix, A.D.D. and us.
      by Brad Kay

   Mr. Colton and Mr. Black,

   Thank you for your heartfelt responses. I find it fascinating how different they are, one of you
   being an A.D.D. sufferer; the other, obviously, not.

   Pardon me while I free-associate:

   The issue of A.D.D. medication as a behavioral control for unruly, overcreative children is a
   moot point here. The symptoms I posted are those of the classic ADULT case of A.D.D.,
   which, again, I am suggesting dogged Bix all his life.

   The contemporary term "Attention Deficit Disorder" has an unfortunate, perjorative ring. It is a
   way of typing people with certain traits who don't fit in a goal-oriented world that has always
   been hostile and sometimes downright homicidal to the dreamers, the shamans, the creators.
   In an alternate universe where such types were honored rather than scorned, Bix might have
   lived a long and productive life, sure of his place in a society that appreciated those qualities.
   In such a world, the traits we identify as "A.D.D." would manifest very differently, and might
   be considered enviable.

   However, those traits are quite real (Mr. Colton!), and we and Bix are stuck with society as
   we know it, and those of us who are stuck with those traits and this society have a mighty
   tough time coming to terms with both.

   Speaking from experience, I, at age 48, a life-long posessor of those traits, have had a hell of
   a hard time coping with the ordinary realities. I have found it nearly impossible to hold down
   normal jobs and regular relationships, and have traditionally found refuge in my piano, my horn
   and my pipe. (I gave up the latter recently in the interest of clear thinking. Turns out I play
   better when feeling lousy but straight, than when I'm "groovy" and high.) I tried Ritalin and
   other medications, and they helped somewhat, but the best help came from IDENTIFYING
   THE PROBLEM, and learning to cope with it on its own terms.

   People with A.D.D. who have no idea what they're up against, have a tendency to
   self-medicate with the poison of their choice, to lessen the frustration of trying to play by rules
   they can't understand. I find it significant that Bix has been reported as drinking prodigiously,
   but seldom seeming intoxicated. More than one account has him playing with the same
   accuracy and aplomb after a full evening of boozing as at the start. Apparently, his drinking
   was more about containing his reality than about just getting high.

   Also significant in the light of A.D.D. is Bix's level of abstraction. A couple of incidents come
   to mind. One is how he rehearsed with the Charley Straight band in 1925: The band would
   run down a new arrangement twice. The first time, Bix, instead of playing, would be staring
   into space, or reading a dime novel, seemingly paying no attention whatsoever. The second
   time, he would pick up his horn and create a part for himself that one of the musicians said
   was, "like the cellophane wrapping around our basket of fruit." Another is the notation in the
   trumpet part of one of his Whiteman section-mates, "Wake up Bix," as if that were a matter of
   course. A.D.D. people are famous for seeming to be there/not there simultaneously.

   To me, the reason why Bix has been and continues to be such an object of fascination and
   investigation is that we are all transfixed with wonder at the origin of genius. Where does it
   come from? Why him and not me? How did he do that?? By suggesting that Bix had the
   syndrome that is lately and unfortunately labeled A.D.D., I am pointing out some of the
   aggravating, pearl-producing qualities from which genius has been known to emerge. Again,
   Bix is hardly alone here. In this harsh world, invention is the child of necessity.

                        Posted on May 10 2000, 05:09 PM
 
 
 

Fitting In.
      by Philip Colston.

   Please understand that I never said that the traits you outlined in your initial posting did not
   exist, but rather, that I do not consider them to represent a "disorder". It is quite possible that
   Bix shared many of these traits with you and Mr Black, although they would have been
   accompanying characteristics of his genius rather than the cause of it. I consider many of these
   traits to be positive attributes!

   The reason that these personality qualities are to-day considered symptomatic of disorder is
   that mankind, especially in America, has become increasingly obsessed with uniformity. I can
   certainly understand how the ignorant masses should desire to control and subvert those who
   fall outside of their standards. What I can not understand is why those different (and often
   much more creative and intelligent) outsiders should desire to conform to the mindless cattle.
   Why do they allow the propaganda of disorder and defect to make them feel as if there is
   something wrong with them? One could argue that it is the ignorant masses who are due for
   improvement!

   Man has advanced himself from the cave-man by adapting his environment to his needs,
   rather than by adapting himself to it as animals do. I call upon those who feel they have
   ADHD to reject the criticism of others, and to reject mind-altering medication. They should
   live their lives as their unique personalities dictate. The world needs more truly creative
   people, and less interchangeable non-entities.

   By the way, all Bix followers owe you a debt of gratitude for your fascinating "Cradle of
   Love" scholarship.

   Philip Colston.

                        Posted on May 10 2000, 08:24 PM

############################################################################

Is Don Murray the Young Man to the Left of Bix in the Bix and the Rhythm
     Jugglers Photograph? . Alex Revell on Jan 12 2000
        If not Murray, who? . Mike Heckman on Jan 19 2000
        Murray or not? . Hans Eekhoff on Jan 31 2000
        URGENT PLEA FOR HELP . Mike Heckman on Jan 31 2000
        Good Copies of Photos. Albert Haim on Feb 01 2000
          Don Murray Photographs . Frank Manera on Feb 19 2000
            We Need GOOD Photos of Don Murray . Albert Haim on Feb 21 2000
               We don't have good photos, but it IS Don Murray . Albert Haim on Mar 04 2000

Is Don Murray the Young Man to the Left of Bix in the Bix and the Rhythm  Jugglers Photograph?
       by Alex Revell

   I've always been puzzled by the clarinet player in the photo of the Rhythm Jugglers session,
   the one with Bix's arm round his shoulder. I don't think he in any way resembles Don Murray,
   who is said to have been on the session. The playing on the record doesn't sound like Murray
   either, but then they were all so high it's hard to tell! If you look at the many photos of Don I
   feel he has a different shape of face, hair and general appearance altogether from the man in
   the Rhythm Jugglers photo. I had some correspondance with Phil Evans over this and we had
   to agree to differ. I have the very greatest respect for Phil's research - none better, what a
   great loss -but he was basing his view on the memories of people, and speaking as a
   reseacher in another field, I know just how dangerous that can be. I'd beinterested in other
   readers' views on this photo.

                        Posted on Jan 12 2000, 11:44 AM
 
 

If not Murray, who?
         by Mike Heckman

   I agree that the clarinetist does not look much like other pictures of Don Murray. But, Hoagy
   in 1946 and Tommy Dorsey in 1937 (through their respective ghost writers) and Paul Mertz
   in 1958 said it was Murray.

                        Posted on Jan 19 2000, 09:18 AM
 
 

Murray or not?
         by Hans Eekhoff

   Dear Alex,
   I agree that it doesn't look much like Don but it is not totally different either.
   It is my experience that pictures taken when one is sloshed (as they all were at that
   session)make one often look completely different!
   Also I know most pictures of clarinet players from that time and this guy looks more like
   Murray than any of those.
   My bet is therefore still on Don but I've lost bets before.
   Kind Regards,
   Hans Eekhoff

                        Posted on Jan 31 2000, 09:33 AM
 
 
 

URGENT PLEA FOR HELP
         by Mike Heckman

   Alex and I have been engaged in numerous trans-Atlantic emails about this topic and, I was
   on the point of being convinced he was right, that it's not Murray in the Rhythm Jugglers
   photo. The clincher was the photo on p.113 of Evans-Evans showing Bix and Murray in
   1922. Murray's hairline looks higher than the Jugglers' clarinettist's 2 1/2 years later.

   Then Alex inquired if I had heard the story that Murray's death was caused by a beating
   inflicted by gangsters. My thought is that his informant was thinking of the story wherein
   Tommy Dorsey, with the Scranton Sirens playing at a mob joint in Philadelphia, was warned
   not to even think about going out with the gangsters' molls who hung around the club. Tommy
   said: "Aw, who's afraid of those guys." (Stop me if you've heard this one.)

   Those guys heard and TD was marked for a roughing up. Tommy heard about it and left in
   haste to join Jimmy in the Goldkette band. The gangsters then mistakenly leaned on a sax
   man. I tracked down the source of that story and Bingo!

   The source is Richard DuPage's notes in a booklet I got with the Columbia Stringing the Blues
   album C2L 24. The hapless saxist was not Don Murray but a Jimmy Crossan. AND, better
   than that, at the top of the page with that information is a large picture of the Goldkette band
   in 1924 (the same personnel that recorded It's the Blues). Don Murray sits in the front row
   glaring at the camera.

   The urgent plea is for someone to produce a decent copy of that picture. The one in the
   booklet is muddy and does not xerox or scan well. A good copy will, I think, settle the
   question of the identity of the Rhythm Juggler.

                        Posted on Jan 31 2000, 01:37 PM
 
 

Good Copies of Photos
          by Albert Haim

   I have asked Rickey Bauchelle (the daughter of Doc Ryker) and Alann Krivor (the grand
   nephew of Jean Goldkette) for copies of photos of the Godlkette band from around 1925 and
   of any photo of Don Murray in their possesion. They are looking through their collections and
   will get back to me soon. When I hear from them, I will report on the findings.
   I have been wavering on this issue. However, last night, after examining every photograph that
   I could find, I came to the conclusion that the fellow on Bix's left in the Rhythm Jugglers photo
   is indeed Don Murray. I will expand in a future message.
   I am grateful to Alex for questioning the identity of the clarinet player. It is important to keep
   an open mind on these matters and to research in depth every unresolved issue related to Bix.

                        Posted on Feb 01 2000, 03:56 AM
 
 

Don Murray Photographs
         by Frank Manera

   Dear Albert:
   Have taken a look at Storyville Magazine #122 December 1985-January 1986 "Don
   Murray-The Early Years(1904-1923)" by W.K. Plath.
   I remember sending you a copy of this issue, a long time ago and failed to make note of it
   during our telephone conversation a few weeks ago.
   In looking over the Rhythem Jugglers photo in where Bix is embracing both Don Murray and
   Tommy Dorsey, I find it safe to state that the guy on Bix's left is Murray.
   The c.1922-23 photo (centerfold) with Dellie Coon's Original Royal Purple Orchestra,
   Murray is posed, holding tenor sax.
   I see "sort of" a resemblance of Murray in comparing both photos, although differently posed,
   under much different circumstances.
   Best Regards, Frank

                        Posted on Feb 19 2000, 11:42 AM
 
 

We Need GOOD Photos of Don Murray
          by Albert Haim

   Frank:
   Indeed, the photo of Dellie Coon's includes Don Murray. Unfortunately, the copy you sent me
   (I am grateful for the copy, don't get me wrong!), although with perfectly legible text, is not of
   the quality needed to solve the problem posed by Alex. What we would need is a good scan
   of the original photo and of any other Murray's photos of 23-25.
   Thanks for your contribution.
   Albert

                        Posted on Feb 21 2000, 10:03 AM
 
 

We don't have good photos, but it IS Don Murray.
        by Albert Haim

   Alex's questioning of the identity of the clarinet player to the left of Bix in the 1925 photo of
   the Rhythm Jugglers is eminently reasonable when one compares that photo with
   well-authenticated photos of Bill Murray from subsequent years. There are important
   differences between the "old" DonMurray and the clarinet player in the Jugglers photo. Don
   Murray is a lot heavier and his hairline has receded quite a bit. On some photos, Don's eyes
   are somewhat bulging and his lips seem thicker than those of the clarinet player with the
   Rhythm Jugglers. When Alex first brought up this question, I tended to agree with him.
   However, recently, Rickey Bauchelle (the daughter of Doc Ryker, the alto sax player in the
   Jean Goldkettte orchestra) sent me a copy of the September 1978 issue of the Mississippi
   Rag. There is a close-up of the sax section of the 1924 Jean Goldkette Orchestra with Doc
   Ryker, Jimmy Dorsey and Don Murray. I scanned the photo, cropped it and posted it in
   http://www.geocities.com/alberthaim/donmurray.htm
   Next to it I posted an image (courtesy of Hans Eekhoff) of the clarinet player in the Rhythm
   Jugglers recording session. Now we can make a fair comparison: the two photos are from
   approximately the same date. I must admit that the images are poor, but there is no question
   at all that the clarinet player in the Rhythm Jugglers records is indeed Don Murray. Note the
   identical widow's peak, eyebrows, ears, nose and chin. The main difference is, of course, the
   hair and the hairline. However, in the photo from the Goldkette orchestra Murray's hair is well
   combed and slicked down (as it is in all subsequent photos of Don Murray whereas the hair
   of the clarinet player in the Rhythm Jugglers photo is dishevelled (this is not surprising as there
   had been a lot of drinking throughout the recording session). I conclude that the clarinet player
   in the Rhythm Juggler photo is unquestionably Don Murray. I agree with Alex that in his later
   photos Don looks fairly different. Apparently, in a short time Don Murray put on a lot of
   weight and had lost hair. Thus, the difficult identification.
   As a footnote, one could compare the 1921 classic photo of Bix with the one that I recently
   posted in the photo gallery. Go to
   http://www.geocities.com/alberthaim/bixphotos.htm and then ask yourself, are these
   photographs of the same person?
   Albert

                        Posted on Mar 04 2000, 05:37 AM

############################################################################
 

Who Wrote "A Whim of Fancy?" . Albert Haim on Mar 22 2000
        Pete King is the composer . Albert Haim on Apr 04 2000
 

Who Wrote "A Whim of Fancy?"
          by Albert Haim

   Hello Bixophiles:
   Marisa Samuels, the stepdaughter of Lou Raderman wrote on March 19, 2000 and made the
   following inquiry. Marisa is trying to find out the name of the composer of "A Whim of
   Fancy", an instrumental that Lou did and that she has on tape. In addition, she would like to
   know if the song was used in a movie, and if so, what is the name of he movie. Marisa asks if
   I, Mike May or Russell Sands (the grand nephew of Lou Raderman) ever heard of this piece.
   I gave Marisa a partial answer. Here is what I told her:
   **********
   "A Whim of Fancy" was recorded by Pete King in 1957. The song is one of many in an album
   (Liberty LP LRP-3042) entitled "Music for the Girl You Love". Incidentally, the album is
   available from http://www.worldwidewax.com/recs/06/0610.htm
   I don't have the album, but I imagine that the name of the composer will be on the record or in
   the liners. I found that the library at Bowling Green State University has a copy of the album. I
   wrote to one of the reference librarians asking her if she could look up the composer. She has
   not answered yet, but let's give her a couple of days. If I don't hear from her in the next two
   days, I will post your inquiry in the Bixography Forum and maybe one of the readers will have
   some information."
   *********
   I did not get an answer form the librarian at Bowling Green. I'll try again when I come back
   from the West Coast on March 31. In the meantime if any of you knows the information that
   Marisa wishes to have, please write to her at Lewsamuels@aol.com and copy me.
   Thanks.
   Albert
 

                        Posted on Mar 22 2000, 01:19 PM
 
 

Pete King is the composer
          by Albert Haim

   The librarian that I contacted at Bowling Green University provided the following information.
   "A Whim of Fancy" was written/published in 1957. Pete King, who is the conductor on both
   albums of instrumentals (the same album one monoaural, the other stereo), also wrote the
   tune. The Publisher is Liberty Songs, Inc. and it is an ASCAP song.

                        Posted on Apr 04 2000, 02:36 PM

############################################################################

Whiteman Love Nest . George Ferrick on Feb 18 2000
       Love Nest . Hans Eeklhoff on Feb 18 2000

Whiteman Love Nest
          by George Ferrick

   I have a copy of the whiteman "Love Nest" Vic 24105 that has lead in grooves. Is this a dub?
   The lable is a later victor with silver lettering. The inner area of the record has the usual VE in
   a circle. Dub or master pressing?

                        Posted on Feb 18 2000, 01:23 AM
 
 

Love Nest
        by Hans Eeklhoff

   If you can see avery faint "2" in the run-off area (indicating the take) it is probably not a dub,
   the run-in groove could be added later (usually this is visible) but I think it is dubbed, although
   why Victor would again reissue this record at a time when nobody cared for it remains a
   mystery, unless it was reissued in the late 30's (or even later)during the Bix revival.
   The original issue has gold lettering, (see the label page).
   Hans Eekhoff

                        Posted on Feb 18 2000, 05:07 AM

############################################################################

Best Complete Bix that's available? . Todd Brashear on Dec 09 1999
          Complete Set of Bix's Recordings . Albert Haim on Dec 09 1999
               Untitled . Malcolm Walton on Jan 27 2000

Best Complete Bix that's available?
         by Todd Brashear

   Hi,
   I'm a new convert to Bix after hearing several of his tunes in the Allen Lowe set "American
   Pop". I've been looking for the best way to get his complete recordings. I haven't had much
   luck finding "Bix Restored", but I did find a set at Collector's Choice of 9 CDs, but I can't tell
   who puts it out. Can anyone recommmend one or the other of these sets? How bout the best
   sound quality? Anyone have a source for the Bix Restored if indeed this is the set to get? The
   one I found at Collector's Choice is at
   http://www.ccmusic.com/ccm_detail.cgi?item_code=SUN0009

   Thanks,
   Todd Brashear

                        Posted on Dec 09 1999, 09:10 AM
 

Complete Set of Bix's Recordings
         by Albert Haim

   Hello Todd,

   The two "Bix Restored" sets (each containing three CD's)are available from cdnow.com and
   from worldsrecords.com The third set is in the works. A fourth set will be issued in the future.

   I suspect that the 9-CD set from Collector's Choice is an Italian set. If my suspicion is
   correct, we are dealing basically with the 14-LP Joker set from the 1970's with the addition
   of recordings that have been discovered since the initial issue of the Joker set.

   By far, the best sound quality is found in "Bix Restored". This was a labor of love with the
   best possible sources used to produce the masters.

   If you are patient, I would advise you to get the two issued volumes of Bix Restored set now
   and the remaining volumes as they are issued.

   Albert

                        Posted on Dec 09 1999, 05:12 PM
 

Untitled
         by Malcolm Walton

   Although I've not yet got "Bix Restored" (on order at present) I strongly suspect that it will be
   the best available sound to date as the transfers were originally done for the Bix 20 volume
   Sunbeam LP set by John R.T.Davies. Everything he does is remarkable (e.g the King Oliver
   Creole Jazz Band sides on Fountain Retrieval; he has managed to rebalance the front line so
   that you can hear all four horns at the right relative volumes - truly amazing!). At last we Brits
   excell at something connected with Jazz !! I do have some Parlophone and Victor 78's of Bix
   and there is no doubt that you can hear much more than on most microgroove re-issues (with
   the possible exception of John R.T.'s best efforts)

                        Posted on Jan 27 2000, 05:23 AM

############################################################################

1970's Bix show on PBS . Michael May on Oct 07 1999
          Video Tape of PBS Special on Bix . Albert Haim on Oct 07 1999
           thank you message! . Michael May on Oct 07 1999

1970's Bix show on PBS
       by Michael May

   When I was 12 (1976,) the local PBS channel broadcasted a program entitled "A Tribute to
   Bix" or words to that effect. The musicians featured were Jimmy McPartland, Marian
   McPartland, Dick Cary (playing his alto horn,) and I think Joe Venuti was on this, too. The
   only musical selection I remember, other than the various numbers featuring the ensemble, was
   Marian McPartland playing "In A Mist."

   Does this program exist on videotape? I have asked the local affiliate, and they profess no
   knowledge of this program. If it does exist, I would like to purchase a copy.

   Thanks!
   Mike

                        Posted on Oct 07 1999, 07:09 AM

Video Tape of PBS Special on Bix
        by Albert Haim

   Mike:
   Indeed, there is a video tape available. The title is "Jazz at the TOP! Remembering Bix
   Beiderbecke". The content of the tape is described briefly in the Bixography web site in the
   page on "Video Tapes".
   The video tape of the PBS special is available from The Jazz Store. Go to
   www.jazzstore.com and search the keyword Bix. You will get 10 hits. Four of the hits
   correspond to video tapes, one of which is the "Jazz at the Top" tape. The other three are "At
   the Jazz Band Ball", "Ain't None Played Like Him Yet" and "Interpretation of a Legend". All
   of these videos are described briefly in the Bixography web site.

                        Posted on Oct 07 1999, 10:25 AM
 

thank you message!
       by Michael May

   Hello, Albert!

   Thank you for the information. I'll check out the website today.

   It will be neat to see this show again!

   Mike

                        Posted on Oct 07 1999, 10:31 AM

############################################################################

Tommy Gargano
       by Michael May

   I recall reading in the book, "Hear Me Talking To Ya," a musician comment about the Rhythm
   Jugglers picture. This person spoke about, how, in so many years, three of the musicians in
   the picture had died young: none were named, but we definitely know that two were Bix and
   Don Murray.

   Vaguely, though, I remember reading that Tommy Gargano had died young also. Has anyone
   else seen this information?

   Mike

                        Posted on Mar 21 2000, 04:59 AM

############################################################################

Lodwig-Beiderbecke Solos in "Georgia on My Mind" . Jon Pytko on Apr 15 2000
      No peace I find . Frank Youngwerth on Apr 16 2000
          Bix, not down and out in 1930 . Albert Haim on Apr 16 2000
           Bix the emulator? . Malcolm Walton on Apr 17 2000
 

Lodwig-Beiderbecke Solos in "Georgia on My Mind"
        by Jon Pytko

   This question regards that excellent 1930 Hoagy
   Carmichael recording of "Georgia on My Mind." Perhaps the answer to it may be found in
   Mr. Evans' book, but I have not had access to it yet.
   Firstly, is the cornet/trumpet solo after the vocal by Bix? It is quite beautiful and poignant, and
   yet, to me, is so quiet and meek. The mute employed and the slight vibrato (if I am not
   mistaken), as well as the fact that it is so straight just made me ask this question- it just does
   not really seem like a Bix solo- assistance please, so that if it were he, I could appreciate him
   all the more for his versatility.
   Secondly, in the last sixteen bars (I believe- I have not listened to the record in quite a while),
   Lodwig and Beiderbecke trade solos, all derby muted, two very short ones bookending a
   longer one in the middle. The tones, of course, are different, but it is difficult for me to tell
   which is the trumpet, and which is the cornet- again, assistance please.
   Thank you.

                        Posted on Apr 15 2000, 10:01 AM
 

No peace I find
    by Frank Youngwerth

   I'm sure someone here can provide information on obtaining the Evans' 1998 book Bix. While
   not for beginners, it's absolutely essential (i.e. well worth the price) for any Bix scholar. The
   book's entry on "Georgia" answers your question. The somewhat maudlin solo after the vocal
   is Lodwig; the derby solo at the end is all Bix (over ensemble led by Lodwig, who plays a
   written lead-in to Bix's entrance). Not the meatiest of Bix spots (on his last known session),
   but all-in-all a gem of a record. I first heard it on the wonderfully programmed Paper Moon
   soundtrack LP.

                        Posted on Apr 16 2000, 12:35 AM
 

Bix, not down and out in 1930
       by Albert Haim

   First, the technical part. Evans and Evans describe the recording of "Georgia on My Mind" as
   follows: Soloists: C2 Lodwig (15), Venuti (9); Teagarden (6); C3 & coda, Bix (8 & 2). Thus,
   the solo following Hoagy's vocal is Lodwig. Bix comes in at he end, after Teagarden, and his
   tone is dominant and unmistakable.
   Second, my comments. Although some claim, including some of his fellow musicians, that Bix
   was down and out in 1930 and that he had lost "it", I totally disagree. Bix was an extremely
   versatile musician. There is not "one" Bix, there are several Bixes. He was full of surprises,
   from the beginning in 1924 to the end in 1930-31. We have the buoyant Bix getting the best
   out of some mediocre musicians in "Copenhagen". We have the profoundly lyrical Bix of "I'm
   Coming Virginia". We have the blazing Bix leading everyone in "At the Jazz Band Ball". The
   Bix solo of "Clementine" is described by Dick Sudhalter as "an almost startingly vocal solo,
   emphatic, yet ineffably gentle and bittersweet". We have the passionate Bix of "Sorry". We
   have the inspired and brilliant Bix of "From Monday On". Moving to 1930, we have the
   poignant Bix of "I'll Be A Friend "With Pleasure"", the brash Bix of "Barnacle Bill the Sailor",
   the expressive Bix of "Georgia on My Mind". Every recording of Bix awakes in the listener
   new and different emotions.
   Sometimes Bix does not seem to be Bix because he is one and all: gifted, resourceful, blue,
   joyful, exuberant, troubled, content, unsatisfied.

                        Posted on Apr 16 2000, 05:40 PM

Bix the emulator?
     by Malcolm Walton

   Further to Albert's assessment of the many facets of Bix's performances, how about his ability
   to emulate others ? I can only bring one instance to mind - that is during Rocking Chair , by
   Hoagy Carmichael's Orch in 1930, during a passage in which Bubber Miley employs his own
   "growl" attack,
   Bix can be clearly heard growling behind him. I would be interested to hear of other examples
   of Bix using another trumpet player's idiosyncracies.

                        Posted on Apr 17 2000, 09:15 AM

############################################################################

Bix's World . Richard Iaconelli on May 26 2000
          A Possible Book . Albert Haim on May 26 2000
          Our Times . Mike Heckman on May 27 2000
          Read Robert Benchley . Mark Hale on May 31 2000
               I second the motion, but.. . Mike Heckman on Jun 01 2000
                    Of Course, But.. . Mark Hale on Jun 01 2000
          Magazines . Brad Kay on Jun 01 2000

Bix's World
      by Richard Iaconelli

In reading the many recent postings, one thing that I become aware of is the need to immerse oneself in the era in which Bix lived. It is important to know the social world, not just the musical world, that
Bix walked (some might say sleep-walked) through. It almost goes without saying, that the 1920's was a time of profound social change, with the growth of urban culture, cars, radio, and changing values, etc. I can't help but think that Bix was deeply affected by tumultuous 1920's culture, even if one argues, it caused him to become more withdrawn or introspective. Imagine the contrast at that
time, between Davenport--and New York city. This cultural gulf probably also affected his family's attitude towards him.
Has anyone read any general history or social history of the 1920's that really captures the flavor of the times (aside from what is portrayed in the standard works on Bix)? I have read Frederick Allen's ONLY YESTERDAY, for instance, but it's not completely satisfying.

Everyone, have a fine Memorial Day week-end!

                     Posted on May 26 2000, 7:08 AM

A Possible Book
       by Albert Haim

William Howland Kenney, clarinetist and Professor of History and American Stories, has written a scholarly book entitled "Chicago Jazz, A Cultural History, 1904-1930", Oxford University Press, 1993. It is a well-written book that addresses some of the topics you mentioned in your posting.
I realize that you wanted a general treatment of cultural and societal issues. However,Kenney's book, although centering on Chicago jazz, places an emphasis on the cultural history.

Albert Haim

     Posted on May 26 2000, 4:48 PM

Our Times
       by Mike Heckman

Our Times is a six volume work about the United States in the first 25 years of the 20th century written by Mark Sullivan, a newspaperman. It will amuse you to know that all the arguments we've just heard about when the new century begins were extensively discussed as January 1, 1900 neared. Volume 6 is about the post WWI period up to 1925 and Sullivan was too close to it to see it clearly. It is instructive in the earlier volumes to see how the attitudes of the 1920s were shaped by
the immediate past. The bucolic, parochial America, into which Bix was born, was violently altered by the entry of the country into WWI. We've read about how this affected Bix who nearly got into a fight when a schoolmate taunted him by referring to him as Bismarck. The post war period was marked by Prohibition (the causes of which are many and confusing) and an attempt to retreat to "normalcy", an attempt doomed to erratic success because of a considerable disillusionment with the
somewhat hysterical wartime propaganda blitz that blanketed America and a resultant cynicism about any new official crusades, coupled with an attitude expressed in the song "How Ya Gonna Keep 'Em Down on the Farm After They've seen Paree?", and a major breakdown in public "morality" caused, in part, by the desire of a significant percentage of the population to circumvent the Volstead Act. Bix's places of employment were frequently gangster-owned speakeasies, places where
no law applied, and no one monitored personal behavior or inspected the product being sold except the gangster owners. More than just jazz music may have influenced the Beiderbecke clan to resent Leon's chosen occupation. (I try to imagine my reaction if my son died his hair purple, put a big ring in his nose, played a guitar at 110 decibels and worked at a notorious drug dealer's nightclub and freely sampled the owner's stock showbiz but the widespread police corruption and growth of the power of the mob affected everyone. I think the feel of the era is captured in John O'Hara's Appointment in Samarra. Newspaper editorialists and preachers blamed jazz music itself for the breakdown in society. It seems clearer to us that society in the 1920s was undergoing an unprecedentedupheaval for many reasons and that jazz was only the music on the soundtrack.

                     Posted on May 27 2000, 10:26 AM
 

Read Robert Benchley
        by Mark Hale

Most people live through a period, rather than in it- for example, most
people who lived during the 60s didn't march with King, fight in
Vietnam, see the Beatles or take LSD. Those things were all part of their
world,but mainly as background noise- things you read about or watched
on TV,but not as important as your job or your family or how much
money you had in the bank. Bix lived through the 20s,but he lived in a
very small part of it- the world of a dance band musician in Manhattan
and Chicago. He was probably touched by the social upheavals of the
20s the way we are touched by the Clinton/Lewinsky farce and
Columbine and gangsta rap- that is,just about as much as we choose to
be. If you're interested in the world of Bix,you might want to read some
Dorothy Parker,Robert Benchley,Ring Lardner (another Midwestern genius
who lived in Manhattan during the 20s) or Bix's fave P G Wodehouse.
Parker and Benchley in particular will give you an idea what it was like
to be young and drunk in Manhattan during the "Jazz Age"- in
addition,they're as much fun to read as Bix is to listen to (I'll bet you a
shiny new quarter that Bix read them now and then).

                     Posted on May 31 2000, 10:00 PM

I second the motion, but..
      by Mike Heckman

Yes, by all means read Benchley, Lardner, Parker, Thurber, Donald
Ogden Stewart, Don Marquis, et al. Coincidentally, I just finished
rereading Lardner's Big Town yesterday. It's about a family from a small
city in Michigan that goes to live in NY in 1920. There is a funny movie
called So This Is New York based on the book. I own a number of
Benchley first editions and compilations of most of the rest. But, these
whimsical portrayals of slices of life set in, but not necessarily of, the
1920s have no real bearing on the grimmer reality of Bix's life. The
O'Hara story catches that, I think, with its hero drinking more, acting
badly as a result, drinking more, getting in more trouble, drinking more
until his social standing is kaput, his wife leaves him and he fools
around in public with the girl friend of a very jealous gangster, and
suicide is the only course open that makes sense, even from the
reader's point of view. In contrast, Benchley's essays are on timeless
subjects such as the crushing boredom of Christmas Day afternoon after
dinner, a club treasurer's panicky report to the club, taking a long train
ride with a child, etc. Besides, Benchley did not start drinking 'til after
he went to Hollywood in the 30s. He and Thurber and, to an extent,
Lardner, celebrated the humorous mishaps of the middle class (Lardner
tended to emphasize baseball players whose problems are sui generis).
Their subjects' problems were not Bix's problems. They battled the
telephone company or overbearing wives. Bix battled himself.

So, yes, read Benchley for the enjoyment of it. I think Benchley himself
would have been the last person to suggest his wrtings had "social
significance".

                     Posted on Jun 01 2000, 10:08 AM

Of Course, But..
      by Mark Hale

Exactly- Bix battled himself. We can never know what was going on in
Bix's head,and reading Benchley and Thurber will get us no closer to the
inner Bix. But it might get us closer to Bix's outer world- it might help us
get a slight sense of what it was like to be part of the night life of
Manhattan in 1928. For one thing,it was a time and place when there
was no stigma or disgrace attached to heavy drinking- in fact,H L
Mencken said that the 20s generation took pride in being the hardest
drinkers in American history. There was no AA,no "interventions",no one
calling alcoholism a "disease"- and if anyone thinks this was
unusual,remember that no one thought cocaine was any big deal in the
early 70s either.

                     Posted on Jun 01 2000, 10:46 PM

Magazines
       by Brad Kay

I'll bet dimes to donuts that Bix spent a good deal of his idle time
perusing the weekly humor magazines - LIFE, Judge and College Humor,
to name a few. In LIFE, besides the usual one-liners and cartoons, there
were theater reviews by Bencheley (just as spit-take funny as anything
else he ever wrote), movie reviews by George Jean Nathan, John Held,
Jr. covers and woodcuts, occasional pieces by all the Algonquin
Round-tablers, and after 1928, even record reviews. (I saw a nice
mention of OK 41001, "Best Gal"/"Sorry" in one column.) Here is a swell
bit of LIFE that would have had Bix in stitches, as it does me:

LESSONS IN NEW YORKESE No. 1
Poetry

"Well cannabil leemee eyes Tessie! Chagot unnaya awm?"
"Owello Mae. Sa book."
"Sa book fagunnessakes? Cha gettit?"
"Inna liberry."
"Whattizzit deerie sumpin snaappy?"
"Nowittaint snaappy. Sa booka potry."
"Cha mean potry? Howtamake jugsan bowls annat junk?"
"Voises yassap voises."
"Osa booka voises. Chassayso. Givvus alook attit Tessie."
"Dobe givvinyaseffa branefeeva now."
"Chaworry kid...Olissenna this---
'Innexna doodid Koobla Kohn
Astaley plejjadom degree:
Were Ralpha scared rivvaran---'"
"Ostoppit May fatha luvvapeet! Stearabil."
"Wellen heresa fois wunninna book--
'Summerizza cumminnin,
Loudsing kookoo...'"
"Youseddit! Isayits kookoo."
"Chawanna getta bookfa inna foisplace?
"Ididin getta booka goilinna liberry gimmeit."
"Wellya astferrit didincha?"
"Ididnawt! Ises tothagoil gimme agood booka potry anshe gimme this
herenow 'The Awxfid Booka English Voise.' Anbeleemee Imgointa takeit
backan tell her afew."
"Whawas yawantin abooka voisesia anniehow? Yin luvva sumpin?'
"Soitinlynawt! Fiyam Snobiddy's Bizniss neetha."
"Wellya musta wantida booka potry awya woodena gottit."
"Yareely wantaknow fowhatta gottitfa Miss Snozey?"
"Well, I know yamusta gottit fasome reezin."
"Izzat so? Wella gotta becawsa thawtit wood helpme tawrite awinnin
annsa inna limmerick contest!"

Henry William Hanemann LIFE, Jan. 14, 1926, p. 23

                      Posted on Jun 01 2000, 6:16 PM

*****************************************************

There'll always be an ebay . Mark Hale on Jul 04 2000
          what's with html on this board? . Mark Hale on Jul 04 2000
               html enabled . Albert Haim on Jul 05 2000
          Add Insult to Injury . Albert Haim on Jul 05 2000
 

There'll always be an ebay
             by Mark Hale

<a
href=http://cgi.ebay.com/aw-cgi/eBayISAPI.dll?ViewItem&item=362855557>click
here for Bix on the 'bay</a>

                      Posted on Jul 04 2000, 8:36 P

what's with html on this board?
        by Mark Hale

That link worked when I previewed it- wha' happen? That's OK- it wasn't
that funny (someone listed a UHCA reissue for $149- and noted that it
was pressed for the United Hot Rod Club).

                      Posted on Jul 04 2000, 8:39 PM
 

html enabled
    by Albert Haim

Sorry! I did not have "html" enabled checked in my options. Now you
should be able to use html.

Albert

                      Posted on Jul 05 2000, 3:31 AM

Add Insult to Injury
     by Albert Haim

Another error: Bix's name is misspelled as BIX BEINDERBECKE. By the
way, the auction ended with NO bids. Maybe the item will be relisted at
a bargain price of $139.99!

Albert

                      Posted on Jul 05 2000, 3:40 AM

Is the Unidentified Musician in the Photo Bix? . Albert Haim on Jun 06 2000
          Probably . Albert Haim on Jun 16 2000

Is the Unidentified Musician in the Photo Bix?
                              by Albert Haim

Frank Hagenbuch sent me on 6/5/00 an image of a photograph of the
Paul Whiteman orchestra (go to
http://www.geocities.com/alberthaim/whitemanmysterytrumpet.JPG to
view the image). Frank asks for help in identifying the second musician
from the left. I believe that the unknown musician is the same as the
guy in the middle of another photograph of the Paul Whiteman orchestra
uploaded some time ago in the images satellite web site (go to
http://www.geocities.com/alberthaim/whitemanphotosigned.jpg to view
the other image). Can anybody help? Frank really wonders if the
unidentified musician is Bix.

                      Posted on Jun 06 2000, 3:45 AM

Probably
  by Albert Haim

I guess I'll answer my own question.
The two photos in question are very reminiscent of the cover of the Paul
Whiteman concert tour that started on October 7, 1928 at Carnegie Hall.
If the photos were taken during or just before the tour for publicity
purposes, then very likely the unknown musician would indeed be Bix.

Albert Haim

                      Posted on Jun 16 2000, 2:01 PM

***********************************************8
 

The legendary Whiteman 'Special Record' to England...
by Norman Field

Am I right in assuming that this has finally, if regretfully, been laid to rest? Namely, that Whiteman had made a special recording in which all, or some, of his band members, recorded their verbal greetings to
send to a 'fan' of the band in England, who was in hospital, seriously ill? And, obviously, if it existed, that Bix may have spoken on it?

Of course, it's too good to be true, but does anybody know how this one started in the first place?

Truly, romance is a hardy shrub...

Norman Field.

                              Posted on Jun 25 2000, 1:20 PM

************************************************

Reissues of Gennett Wolverines, NORK. Michael May on Oct 7, 1999
          Reissues on CD of Wolverines and NORK recordings. Albert Haim on Oct 7,
          1999
          not all 78s are 78s. Mike Heckman on Feb 13, 2000
               record speeds and key signatures. Michael May on Feb 14, 2000
                    correct speed or correct pitch?. Hans Eekhoff on Feb 15, 2000
               You should know better,. Michael May on Sep 27, 2000

Reissues of Gennett Wolverines, NORK by Michael May

The Milestone CDs which have the Gennett Wolverines recordings, and
another with the Gennett New Orleans Rhythm Kings recordings: these
are nice, but I was wondering if they would be remade soon.

I own and enjoy both CDs, but the sound quality has the treble rolled
off. Recently, I've had the occasion to hear original discs, and these do
contain a wider frequency range than the reissues. Does anyone know if
another disc is available, or if Milestone plans to update these reissues?

Lastly, I did some speed testing, and I'll cite my results with one disc
here. I had the great opportunity to listen to and tape "Tin Roof Blues,"
by the NORK on the Gennett disc. To make it play in the key of B-flat
(which is the key of virtually every later recording of this song, in the
examples I could find,) the Gennett disc has to be played at 80 rpm. For
this testing, I have been using an electronic tuning device (for band
instruments,) a KAB SL-BD 78 turntable (with pitch control, for
adjustable speed,) and the KAB strobe disc, for precise measurement.

Mike May

                      Posted on Oct 7, 1999, 7:25 AM

Reissues on CD of Wolverines and NORK recordings  by Albert Haim

I do not know if Milestone plans on updating the CD's of the Wolverines
and NORK.
There are other CD's with reissues of the Wolverine Orchestra
recordings. The ones that come to mind immediately are the volume 1 of
Bix Restored, the volume 1 of the Masters of Jazz series on Bix, and a
recent Timeless.
For the NORK, I know of, aside from the Milestone, a German import,
MSI 60782, and a French import BTS 4050.

                     Posted on Oct 7, 1999, 11:17 AM

not all 78s are 78s by Mike Heckman

78RPM was the standard speed to play records prior to the development
of the LP in the late 1940s. However, not all records were made to play
at 78RPM. For some reason, some companies issued records with the
notation "79RPM". I think I may have also seen one marked "80RPM" but
I'm not sure. Playing these records on the old Victrola or Graphanola was
not a problem as they contained a speed control lever. Under the lever
was a scale showing quite a range of possible speeds from possibly 70
to 85RPMs. I'm not aware of any records being made to play at either of
these extremes. The lever was useful for young musicians, like Bix, who
learned to play the songs they liked in different keys by speeding up or
slowing down the turntable.

Does your Gennett disc show a speed?

                     Posted on Feb 13, 2000, 9:33 AM

                         Respond to this message

                            Goto Forum Home
 

                    record speeds and key signatures
                              by Michael May

Mike,

I have been experimenting for the past four years, trying to determine
what speeds the records from the 1920s should actually be played. I
play both the trombone and cornet, and I enjoy playing along with the
records.

When I play a record from the 1920s at 78rpm, in some cases, the key
signature of the performance is "band-instrument friendly:" in concert
keys of B-flat, E-flat, F, C, or A-flat. If a record recorded at 80rpm is
played back at 78rpm, and the original key signature is "F" (recorded at
80, remember,) it becomes "E" at the slower speed-- a challenging and
"unfriendly" key signature on band instruments (ask any musician, if you
don't believe me!)

I have several other performances of "Tin Roof Blues," most of which
occur on LP. Since the LP is standardized at 33, I used an electronic
tuning device to determine the key signature of these performances, all
of which were in Concert B-flat. When I went to tape the Gennett disc,
to make it "play" to the key signature B-flat, I had to play the disc at
80. Every other acoustic Gennett I've tried at this speed gives me the
same results: band-friendly key signatures.

No ,the Gennett record does not say "80rpm." According to my
experiments, though, a great number of companies used 80 as their
speed. Note that, the time frame for my research ends at 1929.
Aditionally, Vince Giordano confirmed to me that the original
arrangement of "Dippermouth Blues," held by the Library of Congress, is
written in the key of C: to make this Gennett disc "play" in this key, the
disc must be played at 80rpm.

Mike May

                     Posted on Feb 14, 2000, 6:38 AM

correct speed or correct pitch?  by Hans Eekhoff

Hello Mike,
You're absolutely right, the only way to establish the correct speed is to
sit down with a trumpet (or if one can't play anything, use an electronic
tuning device of the type that bass players often use)and indeed find
the band-friendly key. Watch out though, you sometimes get an
improbable key which you can adjust both ways, for instance if one find
the record plays in concert E one has to choose between F or Eb, and if
the original key it was written in is unknown the best thing to do is just
listen and determine what feels most comfortable.
All our reissues in the Timeless CD series are pitched this way by John
R.T. Davies who does the remastering.
Hans Eekhoff

                     Posted on Feb 15, 2000, 7:26 AM
 

You should know better,  by Michael May

because Gennett discs do not have the speed listed on them.

Have you done any testing on this subject? What information do you
have to justify your comment that "78rpm was the standard speed,etc."?
What about Edisons? Edison specialists in the know (Ray Wile, for one)
can attest that 80 is the speed for Edison Diamond Discs.

My testing equipment includes a variable speed turntable, and an
electronic tuner. Why have I done this? Because there is so much
disinformation about the subject. Too long, I have read that record
speeds varied from day to day (not true,) that remasterers should play it
at the speed that "sounds good:" this is hellish to those of us who have
perfect pitch, and scientifically inaccurate. A collector sent me a tape
once, with a disc that included a low-register clarinet solo--in this
particular re-recording, the clarinet was playing "lower" in pitch than it
was supposed to be able to play.

Lastly, if you don't believe me, why is it that John RT Davies can confirm
my findings? Why would Vince Giordano tell me that 1920s era
Columbias and Okehs are all recorded at 80 rpm?
 

Mike

                     Posted on Sep 27, 2000, 5:38 PM

*********************************************
The Goldkette Reunion Photo. Albert Haim on Feb 27, 2000
          my two cents worth!. Michael May on Feb 28, 2000
               Reunion Picture. Hans Eekhoff on Mar 1, 2000
                    Fred Farrar, Jr.. Michael May on Mar 1, 2000

                      The Goldkette Reunion Photo
                              by Albert Haim

Who is the "unknown" in the Goldkette reunion photograph? Hans
identified him as Lou Longo, but this was done as a "bait" to elicit
responses from readers. Mike (Feb. 23) says it is Irving Riskin. Malcolm
(Feb. 24) favors Steve Brown.
What is your opinion? In trying to answer the question, consult
Sudhalter and Evans, p. 178. Useful "mug shots" of the members of the
Jean Goldkette orchestra are provided.

                     Posted on Feb 27, 2000, 5:11 AM

                           my two cents worth!
                             by Michael May

Based on pictures I've seen in the past, I think the unidentified man
Irving Riskin.

Another photo of an earlier Goldkette reunion may be found in the
Storyville article on Spiegle Willcox.

                     Posted on Feb 28, 2000, 4:53 AM
 

                              Reunion Picture
                              by Hans Eekhoff

The photo in the Storyville article about Spiegle Willcox is from the
same Goldkette reunion and taken at the same day.
Our unknown does indeed resemble Riskin but I'm not 100% convinced.
It's definitely not Steve Brown though.
Hans Eekhoff

                     Posted on Mar 1, 2000, 12:37 AM
 

                              Fred Farrar, Jr.
                              by Michael May

In the Storyville picture, a young man is identified as "Fred Farrar, Jr.".
Does anyone know of his current whereabouts? (I have tried finding him
in switchboard--almost too many people named "Fred Farrar!")

Perhaps he could give us stronger info about both pictures.

Mike

                      Posted on Mar 1, 2000, 5:10 AM
 

***************************************

I Don't Know. Mike Heckman on Feb 20, 2000
          Dr. Eddie and Mr. King. Brad Kay on Mar 21, 2000
               Eddie King. Frank Youngwerth on Mar 22, 2000
          Did Bix flub?. Mike Heckman on Apr 7, 2000
               Yes, in the 12th full bar of his solo.... Frank Youngwerth on Apr 10,
               2000
                               I Don't Know
                             by Mike Heckman

I can remember when RCA LPM 2323 showed up in the record store with
the first release of the long lost "I Didn't Know" recorded by the
Goldkette band Nov. 24, 1924. The liner notes with the album said it
was rejected because of a Bix mistake in his solo. I listened to that
track over and over and couldn't say there was really a mistake. We also
hear that Eddie King, the Victor recording supervisor, rejected the take,
not because of a mistake, but because it was too jazzy. OK, Eddie King
is a recurring villain in the Bix story and this seems to be in his
character.

Now, a couple of months ago, I bought Lost Chords, the book and
companion CDs. Mr. S. draws our attention to a Goldkette session 8
months earlier than "I Didn't Know". In March, 1924, Goldkette recorded
"It's the Blues", with Edward T. King recording supervisor. If you haven't
heard it, go now to www.redhotjazz.com and click on "Goldkette" and
listen to it. In concept and execution "It's the Blues" is more radical
than "I Didn't Know". Yet, "It's the Blues" was released and "I Didn't
Know" sat in the vault for 35 years.

Even if King personally disliked Bix, King's departure from Victor in
October, 1926 did not result in a significantly more sympathetic
treatment from the subsequent directors. Bix was now an acknowledged
star of the band but Goldkette had to hire Venuti for record dates to
play in the spots Bix took in the live performances, or Challis wrote
trumpet section choruses based on Bix's solos. And, the repertoire
remained mostly dreary.

The point of this (in case you were wondering) is that it wasn't just
Eddie King, but more corporate policy that was to blame for the
mediocre recorded Goldkette output and the lack of appreciation for
what Bix was doing.

                     Posted on Feb 20, 2000, 2:30 PM
 

                          Dr. Eddie and Mr. King
                                by Brad Kay

Here's something more to ponder about the career of the supposedly
jazz-hating Victor exectutive Eddie King. Not long after he is supposed
to have thwarted the hot instincts of Bix and the Goldkette band, he
directed and played on some of the most ambitious, unique and utterly
satisfying hot jazz records of the whole decade.

I am referring, of course, to the to the Victor sessions by Fats Waller on
pipe organ, with Thomas Morris' Hot Babies, from May and September of
1927. Fats had made several solo organ sessions previously, and these
were so successful that someone at Victor had the inspiration to
combine Fats' pipe organ with a small jazz band. I don't know if this was
Eddie King's idea, but it fell to him to supervise and play on the
sessions. He blows some sturdy, workmanlike cymbal, woodblocks and
tom-toms throughout these sides. This served the dual purpose of
keeping everyone in synch (a formidable task with pipe organ!) and also
adding some percussive spice to the potentially dense and soupy mix.
This is one instance where Mr. King's reported finickiness and attention
to detail paid off handsomely. Every one of these titles - "Savannah
Blues," "Fats Waller Stomp," "He's Gone Away," "Please Take Me Out of
Jail," et cetera, is a pure jazz delight. They are totally unlike any other
records before or since, and not incidentally, offer some of the highest
of high fidelity recording of the era, with splendid balances and the
heightened acoustics of Victor's Camden church studio.

As producer, Eddie King deserves the praise and gratitude of all hot
record fans. As a percussionist, while he's no Sonny Greer or even a
Chauncey Morehouse, he keeps a good honest beat and serves as the
rhythmic reference point in the midst of what could have been complete
chaos.

I find it hard to reconcile this Eddie King with the one who made life so
difficult at Victor for Bix and the Goldkette band.

                     Posted on Mar 21, 2000, 4:31 PM
 

                                 Eddie King
                           by Frank Youngwerth

King probably clung to the conventional label view of the time
(discussed in Lost Chords) that white audiences expected dance
orchestras to keep it polite and respectable, while black customers liked
their jazz hot and nasty. He gave the respective peoples what he
thought they wanted.

Now, how would King have felt about/handled Fats together with Ted
Lewis's band, or Bubber Miley sharing Leo Reisman sides with Lee
Wiley?

                     Posted on Mar 22, 2000, 10:21 PM
 

                               Did Bix flub?
                             by Mike Heckman

Maybe the original message had too much in it. Nobody has addressed
the question: was I Didn't Know suppressed because Bix made a
mistake in his solo?

                     Posted on Apr 7, 2000, 11:04 AM
 

                   Yes, in the 12th full bar of his solo...
                           by Frank Youngwerth

...or at about 1:20 on the Bix Restored set, CD1. My guess is that Bix
started off playing a red hot chorus that King wouldn't allow, insisting
instead that Bix stick close to the melody as written. Even at this Bix
does a pretty good job, but King probably seized on the slightest
awkwardness (which is what happens in bar 12, rather than any
full-fledged mistake) as proof that Bix just didn't belong in the company
of Victor recording artists. I doubt King would have been all that
disturbed by the more progressively arranged "It's the Blues" compared
to an inexperienced Bix blowing more like a black jazz man of the time
than most dance band trumpet soloists dared. Still, two years earlier
Victor had released Whiteman's best-selling "I'll Build a Stairway to
Paradise" with trumpeter Tommy Gott offering up one of the hottest
solos committed to wax to date by anyone, on a side a catalog
description of the period claims "...out-jazzes the jazz, out-blues the
blues." So then just how conservative a label was Victor in the early
20s?

                     Posted on Apr 10, 2000, 2:46 PM
***********************************

Broadway Bellhops. Malcolm Walton on Feb 18, 2000
          No Bix?. Albert Haim on Feb 20, 2000
          It swings; it's Bix.. Mike Heckman on Feb 20, 2000

                            Broadway Bellhops
                            by Malcolm Walton

Does anyone share my long held view that Bix is not the soloist on
"There ain't no land like Dixieland"? There is a distinct difference in
approach and execution to the solo on "Cradle in Caroline ", which is
unmistakenly Bix. On my Parlophone LP "The Rare Bix" PMC1237, which
was issued in the early 1960's, the personnel given by Brian Rust include
Bix and Red Nichols. I would agree with this and say that the "Ain't no
land" soloist has all the Nichols hallmarks. It has always been said that
they both took part in a recording session around this period and it
seems to me that the answer has been staring us in the face all this
time. What is not clear is why Rust subsequently changed his mind and
listed the other trumpet as Hybie Faberman in his American Dance Band
Discography. There is by the way a third track from this session
"Rainbow of Love", which I have never heard. Has anybody heard it ?

                     Posted on Feb 18, 2000, 1:33 AM
 

                                  No Bix?
                              by Albert Haim

For the benefit of the readers who may not be familiar with Malcolm's
reference to the possibility that Bix and Red were together in a recording
session, I would like to quote two entries from Sudhalter and Evans'
"Bix: Man and Legend".
p. 408. "Stories have persisted throughout the years to the effect that
Bix accompanied Red Nichols to a recording date and took part during
the time in March 1925, when the two were staying together at the
Pasadena Hotel in New York."
p. 420: "These titles are included [There Must Be Somebody Else, Sugar,
Where Is My Meyer; recorded by Sam Lanin and His Orchestra on October
20, 1927] because of a check made out by Sam Lanin to Bix Beiderbecke
and dated October 20, 1927. This has spurred speculation that Bix may
have taken part in the above date. The authors have heard "There Must
Be Somebody Else" and "Sugar'; Bix is not in evidence, and only two
trumpets/cornets can be heard, one of them probably Nichols . While it
is possible that the check may have been in payment for the Broadway
Bell-Hops session of September 29 [the session where There Ain't No
Land Like Dixieland to Me and There's a Cradle in Caroline were
recorded], there remains the possibility that this Lanin date was the one
to which Red Nichols referred when he spoke of taking part in a
recording session with Bix."
Turning to the question raised by Malcolm as to whether Bix plays the
solo in There Ain't No Land, I think it is definitely Bix. Because the
Harmony Record Co. was using acoustic methodology as late as 1927
when most other record companies had moved into electric recording,
these Bell-Hops recordings have a bit of the sound of the early California
Ramblers and perhaps Bix's special sound did not come through loud and
clear (but see below). However, the unique creativity and special
inventiveness that, of all cornet/trumpet players in the world, only Bix
possessed are present in the solo. Bix's solos are not improvisations,
they are compositions in which each note is chosen carefully and with a
powerful imagination. I think it is Bix.
In the booklet included in Bix Beiderbecke Giant of Jazz three-record set
(Time-Life Records), Dick Sudlhater writes: "There Ain't No Land Like
Dixieland to Me was the first and the best of the three sides cut at that
session. It begins unremarkably enough - a no-frill commercial
arrangement of a rather dreadful song celebrating the mythical delights
of the Old South, even containing a topical reference to the transatlantic
flight four months earlier of Mr. Lindbergh. But Lanin's arrangements
often left generous space for jazz solos , and Bix bursts in at the end of
Irving Kaufman's vocal to bring the performance to light. The tone,
precise, mellow and warm, cuts through even the acoustical recording
still used at that time by the five-and-dime Harmony label. Rank lurches
through the bridge like a man not quite in control of a Pogo stick; Bix
then returns, calm and sweet, to restore order. Trumbauer follows with a
solo that, good as it is, seems an anticlimax, and Bix comes back to
wrap up the number. As Eddie Condon said of Bix, 'He could make
lemonade out of any old lemon'."

                     Posted on Feb 20, 2000, 7:24 AM

                             It swings; it's Bix.
                             by Mike Heckman

In spite of the poor recording quality, the tone comes through; the
jaunty intro, the relaxed swing , the humor, particularly the lip slur in
the 3rd measure of the solo chorus. I've tried to imagine that chorus as
played by Red. I hear a staccato march right up on the beat. My money's
on Bix.

                     Posted on Feb 20, 2000, 7:26 AM
********************************************

Whiteman Love Nest. George Ferrick on Feb 18, 2000
          Love Nest. Hans Eeklhoff on Feb 18, 2000

                           Whiteman Love Nest
                             by George Ferrick

I have a copy of the whiteman "Love Nest" Vic 24105 that has lead in
grooves. Is this a dub? The lable is a later victor with silver lettering.
The inner area of the record has the usual VE in a circle. Dub or master
pressing?

                     Posted on Feb 18, 2000, 1:23 AM

                                 Love Nest
                             by Hans Eeklhoff

If you can see avery faint "2" in the run-off area (indicating the take) it
is probably not a dub, the run-in groove could be added later (usually
this is visible) but I think it is dubbed, although why Victor would again
reissue this record at a time when nobody cared for it remains a
mystery, unless it was reissued in the late 30's (or even later)during the
Bix revival.
The original issue has gold lettering, (see the label page).
Hans Eekhoff

                     Posted on Feb 18, 2000, 5:07

****************************************
From Monday On ?. george ferrick on Feb 5, 2000
          Real or Wishful Thinking?. Albert Haim on Feb 6, 2000
          Far too late in the day. Malcolm Walton on Feb 7, 2000
                            From Monday On ?
                             by george ferrick

Anything new about the lost "From Monday On" by the Frank Trumbauer
Orch, the lost Goldkettes such as "Stampede", "Paint it Red"????????? I
beleive I heard Tom Pletcher say that someone found yet a third take to
"I'll Be A Friend With Pleasure" How about it? Is any body still looking
for these things? I'm new to this sight and I'm curious to know if there
is an active search for these lost records or has hope been given up?

                      Posted on Feb 5, 2000, 1:17 AM
 
 

                        Real or Wishful Thinking?
                              by Albert Haim

George:
As I read your message, I come to the conclusion that you are quite
familiar with Bixiana lore. Therefore, I hope you do not take my answer
as condescending. It is directed to readers who may not be familiar with
some of the details of Bix's recordings.
On January 20, 1928, Frankie Trumbauer and his Orchestra recorded two
sides in New York City (OKeh studios): From Monday On (# 400033-A)
and Mississippi Mud (#400034-A). From Monday On was rejected.
Mississippi Mud was released as OKeh 40979 and Parlophone A-6311,
among other issues. In the liners for the Columbia CD "Bix Beiderbecke,
Volume 2, "At the Jazz Band Ball", CK46175, Michael Brooks writes,
immediately after the liner for Mississippi Mud, the following Producer's
Note: "The second tune cut at this date, also with a Crosby vocal, From
Monday On, was never released and no master exists. A rumor persists
that some copies of Australian Parlophone 6311 had this title pressed by
mistake, instead of Mississippi Mud. However, no tape or bootleg issues
have ever surfaced and so, until proven wrong, I have to file it with
sightings of the Sasquatch and the Wendigo."
Brian Rust in "Jazz Records, 1897-1942" states: "A rumor persists that
copies exist of Australian Parlophone A-6311, using matrix 400033-A
when 400034-A was intended."
It appears that we are dealing only with unsubstantiated rumors. No
copy of Par 6311 with "From Monday On" has ever come to light.
The Jean Goldkette Orchestra held a recording session on 2/1/27 in New
York with the Victor Talking Machine Company. Three records were
made. Look at the World and Smile and My Pretty Girl were released in
due course. Stampede, the third record cut was unisssued. In their
biography of Bix, Evans and Evans state: "In 1996, Bertelsmann Music
Group (formerly Victor Records) officials did an extensive search for
information on STAMPEDE, but nothing was found."
Three takes were made of I'll Be A Friend With Pleasure on September 8,
1930 at the Victord Records Studio # 2 in New York. Takes 2 and 3 were
issued on October 24, 1930 and October 24, 1930, respectively. Take 1
was unissued. This is perhaps what Tom Pletcher was referring to.
When you say Paint it Redd, I imagine you mean Play It, Red. On May
23, 19 27, the Jean Goldkette Orchestra held a recording session in
Camden, New Jersey with the Victor Taking Machine Company. Two
records were cut: Play It, Red and In My Merry Oldsmobile. The latter
was released. In their Bix bigraphy, Evans and Evans state:"In 1996,
Bertelsmann Music Group (formerly Victor Records) officials did an
extensive search for information on PLAY IT, RED. Nothing was found."
I do not know that anyone is still searching for any of these records.
Albert

                     Posted on Feb 6, 2000, 7:39 A

                          Far too late in the day
                            by Malcolm Walton

I can only add one additional piece of information to what Albert has
already said. With respect to the unissued take of "I'll be a friend with
pleasure" ; there was a rumour that a copy existed in Australia, and this
rumour goes back to the 1960's - long before any commentary from Tom
Pletcher. However it seems to me that, such is the interest in Bix, by
now it would have surfaced if indeed it ever existed. The probability of
anything new emerging now must be close to zero. Having said that, I
guess we were all surprised that a test pressing of an unissued take of
"Thou swell" was found by Tom Pletcher a decade or so ago. I am not
totally sure of my facts here, but my assumption is that the musicians
present at recording sessions might have been allowed to take away
test pressings, some of which would have of necessity been of
subsequently unissued takes. Record company files often bear the
notation "hold for ...days, then destroy" against takes that were never
used. It would be extremely interesting to know the provenance of "Thou
swell" and whether in fact it could be traced back to a participating
musician. It is possible to speculate that an alternative take to, for
example, "Singin'the blues" might have originally existed as a test
pressing and might, just might !, be hidden away in an attic, together
with other uncared for odds and ends, by one of the descendants of the
original band members, being totally unaware of its presence or
importance. HOWEVER I VERY MUCH DOUBT THIS as I am sure that Phil
Evans and others will have thoroughly explored this avenue. The
likelihood of musicians ,who were constantly in and out of recording
studios,attaching anything other than ephemeral importance to test
pressings is remote. They would have probably thrown them away once
the issued record was available.

                      Posted on Feb 7, 2000, 6:28 AM

***********************

It's tough being a Bix fan: A modest proposal
                                by Ken Byron

The problem with being a Bix fan is that his recorded material is so limited.
There's not a lot to begin with, and if you take away records where he is (1)
drunk, (2) hung over, (3) playing hack arrangements, (4) badly supported, or
(5) gets in just a few notes, there's not much at all.

May I suggest that Bix fans switch their attention to the great Django Reinhardt?
He has some of the Bix approach yet goes far beyond musically. Django's solos
last for a whole record, not just a few bars. Moreover, there are hundreds of
great cuts available. Instead of mining every tiny scrap of Bixophilia, go where
the material is vast and glorious.

                      Posted on Dec 28, 2000, 11:02 AM
 

                              My Wasted Life
                               by Albert Haim

I am profoundly grateful to you for your penetrating insights into the realm of the
jazz genre, for pointing out the serious deficiencies and confusion in my past
views, and for showing me the path to a shiny future. Indeed, now that you have
enlightened me, I recognize the paucity of Bix's creative output and the need to
move forward and study a more advanced musical inventor.
I will close down the Bixography and launch, early in the next millenium, an
internet site totally dedicated to Django. The title of the site will be "Django
Reinhardt Resources: A Djangography." I trust that you will be kind enough to
help me out with your vast knowledge and understanding of what it is to be truly
creative in jazz.
With my deepest gratitude and my best wishes for a Happy New Year, I remain
your humble servant,

Albert Haim

                      Posted on Dec 28, 2000, 3:18 PM

                             Goto Forum Home
 

                     Why not another trumpet player?
                            by Frank Youngwerth

Let's go with Wynton Marsalis instead. His recordings benefit from state of the
art digital technology, and he's been incredibly prolific, especially in the past year.
I think Sony has released at least 50 albums by him, some of them multi-disc
sets. And if you run out of works of his to analyze, you can move on to his dad
or one of his brothers.

                      Posted on Dec 28, 2000, 9:48 PM
 
 

                              I won't have it !
                               by Hans Eekhoff

No, No, No! It MUST be Guy Lombardo. Far more interesting. After all, you start
with FOUR brothers, then the band records for over SIXTY years, hundreds and
hundreds of records and nobody has paid them proper attention.
The men in the Lombardo band were NEVER drunk and always played solid
arrangements that were the sweetest music this side of heaven. What more do
we want?
Besides, why Reinhardt? Why another brilliant, unreliable outcast who died
young?
So let's throw Bix out (it was gettin' pretty boring anyway) and focus on
Lombardo. Or even better, MANTOVANI !!

                      Posted on Dec 29, 2000, 2:29 AM
 
 

                          Bix: A Fan's Wasted Life
                             by richard iaconelli

I agree that it is pointless to study Bix; there's not enough music out there to
make up a good "dance mix." I decided a few days ago to instead, study the
recorded output of the great Buddy Bolden. Another frustration. Today I have
purchased Russ Columbo's old dueling pistol, and I'm pointing it at my head as I
write. It's empty of cours--.........

                      Posted on Dec 29, 2000, 5:41 AM
 
 

                           Let's Be Serious,Guys
                                by Mark Hale

I could be wrong,but the responses in this thread seem to have a certain air of
sarcasm and don't address the valid points about Bix being badly supported (by
hacks like Trumbauer and Eddie Lang,for example) and only playing a few notes-
hey,when I buy a pizza I want double cheese and when I listen to music I expect
the same. Seriously,the man we should worship is Keith Jarrett. Badly
supported? Hack arrangements? Keith don't need no stinking arrangements or
other musicians- just give him a piano and get out of his way,and Jarrett can
play on and on and on and on for hours- and of course,it's all brilliant- it must be
or else he couldn't have made so,so many records,could he? Bix? You add up
every note he ever recorded and you won't get as many notes as Keith played
on one side of the Koln Concert LP. Beiderbecke did play a few OK solos,but the
first time you hear Keith is a truly magical experience- like the first time you saw
a Leroy Neiman painting or drank a Frappuccino.

                      Posted on Dec 29, 2000, 11:06 AM
 
 

                             Lombardo and Bix
                            by Frank Youngwerth

As I stated before, I'm very fond of Lombardo's music. I once read a biography
which reverently mentioned Bix himself as showing up one night to check the
band out--maybe even on Louis Armstrong's recommendation.

                      Posted on Dec 29, 2000, 10:28 AM
 
 

                               Lombardo CD
                             by richard iaconelli

Frank, there is an interesting Lombardo CD on the "Sensation" label. It has his
first four 1924 recordings for Gennett--and the rest of the bands' 1920's output,
all recorded in the USA. You can hear some fairly hot music and also, the later
Lombardo style in its infancy. Good sound, and good liner notes, too.

                      Posted on Dec 29, 2000, 11:43 AM
 
 

                              Thanks Richard
                            by Frank Youngwerth

I had heard but since forgotten that it was coming out. Has anyone been keeping
up with the Swingtime label? They promised a Nat Shilkret CD many months ago,
but I still haven't found it. Someone just called the store I work at looking for a
new Isham Jones on that label, but it hasn't been offered yet.

                      Posted on Dec 29, 2000, 3:03 PM
 

                  Shilkret, Lombardo and Worlds Records
                               by Albert Haim

The Shilkret CD from Swing Time is entitled "Nat Shilkret & His Victor Orchestra,
The Hot Dance Sides 1926 to 1930." It is available from
www.worldsrecords.com The Sensation CD of early Guy Lombardo is also
available from the same company.

I am not ashamed to plug Reynold Brown, the dedicated jazz fan from Novato,
CA. He states in his catalogue "Our Goal is to present the most complete and
diverse offering of Jazz, Pop, Big Band, Swing, Trad Jazz, Blues, Western Swing,
Rhythm and Blues available." He has most, if not all, of the small companies,
including some of the historic series from Timeless. Occasionally he even has
tangos -I once found a cd with a bunch of old tangos (that I did not have; a
miracle: I think my collection of tangos and French popular songs is even more
extensive than my jazz collection) recorded in France.

Albert

                      Posted on Dec 30, 2000, 5:59 AM
 
 
 

                         Timeless has issued them
                               by Hans Eekhoff

We have just issued an Isham Jones CD on the Timeless label (CBC 1-067) and
the Lombardo Gennetts have just been reissued again, On Timeless CD "Those
Fabulous Gennetts Vol. 1" (CBC 1-063) with very high sound quality.

                      Posted on Dec 30, 2000, 8:15 AM
 
 

                         For once, I will not argue!
                               by Albert Haim

I agree wih Frank. I like early Guy Lombardo, and I don't care whether it is
classified as jazz or not!

Albert

                      Posted on Dec 29, 2000, 5:06 PM
 

                           You've convinced me
                                by Ken Byron

You're right. I guess I'll go listen to that great arrangement of "Barnacle Bill" for
the 487th time and try to determine who mispronounces "sailor" so badly in the
last chorus.

                      Posted on Dec 31, 2000, 2:03 PM
 
 

                              Weird responses
                                by Ken Byron

Lots of sarcasm, not much content.
Let me take more direct approach. When a forum degenerates into breathless
discussions of what did or didn't happen in some dark garage, or endless
rehashes of Berton allegations, or secret documents that may or may not exist,
it may be because it's run low on musical material.

                      Posted on Dec 31, 2000, 1:22 PM
 
 

                                  Content
                               by Albert Haim

All right, I'll try for content. Here is what you said.

"There's not a lot to begin with, and if you take away records where he is (1)
drunk, (2) hung over,(3) playing hack arrangements, (4) badly supported, or (5)
gets in just a few notes, there's not much at all."

0. There's not a lot to begin with. Bix's recording career lasted 6 years, and he
didn't record much during the first three. His output in the last three years was
about 240 recordings or 80 per year, not high productivity, but not paltry either.
1, 2. drunk, hung over. Indeed, Bix drank excessively, but all the reports from
the contemporary musicians agree in the fact that Bix was not drunk when he
was recording. It is true that he missed a lot of recording sessions, in particular
with Paul Whiteman, probably because of drunkeness. However, all reports
indicate that he was a professional and when he came to a recording session, he
was in full possession of his faculties.
3. Playing hack arrangements. Perhaps some of the arrangements with the Jean
Goldkette Orchestra could be viewed as "hack", but there were also good
arrangements by Challis. The arrangers for the Paul Whiteman recordings were
by accomplished musicians such as Challis, Grofe, Satterfield, Bargy, Malneck.
The Tram and Gang sides are, in my opinion, examples of first class
arrangements and executions.
4. Badly supported. This has been a myth for a long time. Take the Jean
Goldkette and Frankie Trumbauer orchestras and consider the following
musicians: Eddie Lang, Joe Venuti, Don Murray, Tram, Steve Brown, Adrian
Rollini, Jimmy Dorsey, Bill Rank, Bobby Davis, Frank Signorelli, Pee Wee Russell,
Chauncey Morehouse. What about the Hoagy Carmichael sides with Bud
Freeman, Jimmmy Dorsey, Benny Goodman, Jack Teagarden, Eddie Lang, Gene
Krupa? Paul Whiteman was a very demanding leader of his musicians and there is
no question that Bix was supported by a group of highly competent musicians.
Do you think that the great jazz musicians I mentioned above could provide "bad
support"?
5. Getting just a few notes. Since when is quality dependent on quantity? Marcel
Proust wrote only one book, "A la recherche du temps perdu". Does this make
him less of a writer than some of his more prolific contemporaries? Less does
not mean necessarily worse.

In summary, I do not think that any of your assertions about Bix are supported
by the facts.

Certainly, Django was an excellent jazz guitarist and he recorded a good number
of sides in his career. Does Django musical output deserve extensive discussion
and analysis ? I will not argue against that premise. But for you to come to the
Bixography site and tell me and all my devoted fellow Bixophiles that we are
wasting our time on "not much at all" and that we ought to switch our attention
to Django is at best presumptuous and at worst impudent.

Albert Haim

                      Posted on Dec 31, 2000, 5:19 PM
 
 

                                Cheap Heat
                                by Mark Hale

Frankly,I question the,let's say "sincerity" of the message that started this
thread. I fell for it myself- the only explanation of that is that the general tone of
the posts on this board are so far above the AOL/Talk City level that I was
caught unawares by the old AOL/Talk City/pro wrestling tactic of "cheap heat" or
"how to get the maximum amount of attention with the minimum amount of
work". The way it's done in wrestling is for a mediocre wrestler with a lame
gimmick to come into the ring at a Pittsburgh show,grab the mike and yell
"Pittsburgh sucks!". It's guaranteed to get heat,and it didn't take a lot of effort
(although the better wrestlers will despise you for it). The way it's done on chat
boards is to pick a board- "60s rock" for example- skim through the posts to
find out what the posters like and dislike- like- Beatles/Stones,dislike- rap/disco-
and then post something like- "you old farts should stop listening to those stupid
old Beatles and Stones records and check out what's really happening- rap-
that's what's relevant today. And as for disco,at least it wasn't a bunch of
long-haired creeps banging out junk on their out-of-tune guitars." The trick is to
pick a board where you're SURE that no one will agree with you. If you posted
that message on a Popular Music board,some people would agree and some
people wouldn't and a discussion would start- a discussion that would take the
focus off of you. But absolutely no one will agree with that message on a 60s
music board- just like no one will agree with Mr Byron's message here- which
makes you the center of attention- you in one corner and everybody else yelling
at you. One way of recognizing cheap heat is that the follow-ups are usually
short and designed to keep the heat going- not detailed answers to the
responses,since the guy who posted the original message usually doesn't know
that much about the topic he posted on- just enough to get everybody riled- and
he doesn't want answers anyway,just heat. And BTW,if Mr Byron gets offended
at this post and comes up with a big message about how he's been a jazz fan
for 70 years and he has every record Bix ever made,etc.,etc.,I DON'T apologize
in advance. Look- you posted to get flamed,you got what you wanted- cool. I'll
admit the "Django" bit was kind of subtle- I mean,you could have said Kenny G
and then everybody would have just laughed instead of bothering to respond to
you. Now go find a NFL board and post about what a violent sport American
football is and how civilized societies prefer soccer.

                      Posted on Dec 31, 2000, 6:52 PM
 
 

                                  No mas!
                              by Mike Heckman

I think we should make swift work of Ken's modest proposal. If it was his
intention to get Bix fans' goats, he's going to need a big corral. Let's turn our
attention back where it belongs: on Frank who now says King Oliver rocks
harder than Louis. (See my previous message on Frank's comments.)

                      Posted on Jan 2, 2001, 10:29 AM
 
 

                             Proposal Rejected
                              by Arthur Carvajal

That's like asking a person who enjoys motoring to drive a Ford instead of a
Ferrari, just because there are a lot more of them available. You have missed the
point entirely, friend.

                      Posted on Jan 13, 2001, 4:48 PM

**********************
Sound Quality on Bix Reissues
 

                       Sound quality on Bix reissues
                               by Michael May

With the Bix compilations, might some note about the sound quality be included.

I understand that this is a monstrous project, to assemble all of these
recordings, all probably in various conditions, but it might be helpful to collectors
to know more about this factor, which would help in purchasing the best one.

I own the Joker set, and many of the selections included sound fine, albeit with
the higher frequencies rolled off. Do the CD issues improve on this matter? I
hope I don't seem like a pain on this subject, but the original discs do contain
more sound than what can be heard on some reissues. More importantly, since
we are so far away time-wise from the records themselves, it is important for
modern-day collectors to have the best possible sound on reissues.

Mike

                       Posted on Oct 7, 1999, 7:31 AM
 

                   BIX BOX SET - JOKER BOOTLEG LP'S
                            by ENRICO BORSETTI

THE BOX WAS MADE BY LINO PATRUNO IN MILANO, ITALY, IN EARLY 70'S.
RECORDINGS WERE OBTAINED FROM VARIOUS SOURCES, ORIGINAL 78'S, 45'S,
TAPES.
SOUND QUALITY ISN'T AS GOOD AS ORIGINAL 78 PRESSINGS OF COURSE. IF
YOU LISTEN CAREFULLY TO SOME TUNE, A CHANNEL DISAPPEAR, A DEFECT IN
THE RECORDING PROCESS.
SUNBEAM BOX SET HAVE TRANSFERS LACKING OF BASS FREQUENCIES AND
LIFE, AS USUAL BY JOHN R.T. DAVIES. I NEVER LIKED HIS WORKS.
FRENCH BIX CD'S ARE COPIED FROM LP'S!
NO EXCELLENT SOUND REISSUE ON CD'S ARE AVAILABLE TODAY IN MY
OPINION.

                      Posted on Aug 16, 2000, 6:36 PM
 
 

                           Never liked John R.T.?
                            by Frank Youngwerth

While I think the Bix Restored set (I bought a first edition volume 1) often leaves
something to be desired, especially on the Tram OKeh classics, the Gennett
sides' sound on disc 1 is terrific. This is the first time I've seen John R.T. Davies'
remastering work spoken of in less than glowing terms. I just got the Morton
Red Hot Peppers set on JSP, and John's transfers have plenty of life as well as
very nice deep bass. I'd like to hear the opinions of others.

                      Posted on Aug 21, 2000, 10:34 PM
 
 

                          78 ..... the best source!
                              by Enrico Borsetti

Frank,
if you have a Stanton cartridge with various sizes of stilii, the OWL 1 filter, a
Technics SP 15 or other good turntables, a nice copy of your favourite 78's,
there are no John R. T. that can compare your sound.
If you would like to hear the true 78 sound on CD I'll be glad that my friend
Steve D'Acquisto, IAJRC member of Brooklyn, will let you have a CD-R with your
favourite sides.
Then, your ears will judge.
With Regards
Enrico

p.s.: I hate No-Noise and Cedar too!!!

                      Posted on Aug 23, 2000, 3:48 PM
 
 
 

                         If 78s are the standard...
                            by Frank Youngwerth

...then we agree. I was only thinking in terms of judging John R.T.'s trnasfers in
comparison to other (commercial) CD reissues.

                      Posted on Aug 23, 2000, 9:56 PM

*****************************************

just wanted to say...
                                  by gilda

Happy Valentines Day
to everyone in the Bix forum

i decided to 'lurk-and-learn' for awhile, and its been great!

Hope each one of you has a swell V-day  Listen to some sweet
sounds...

gilda

                     Posted on Feb 13, 2001, 7:33 PM
 
 

                   A Friendly Message...for a change!
                              by Albert Haim

Dear Gilda:

On behalf of my fellow forum participants -friends and foes- I thank you
for the amicable message and I extend to you my wishes for a wonderful
V day.

Albert

                     Posted on Feb 14, 2001, 8:57 AM

**********************************
 

Unusual Records (?)
                                        by Bob Gardner

I have found several large (11") records with white labels that read "Okeh Phonograph
Company Not For Sale" with handwritten information added. Here is what is written on each
record:

9421 A Trumbauer Arcadians Sweet Man
9424B Trumbauer Arcadians Tiger Rag
9425 A Bix and Pee Wee Freckles
9426 B Bix and Pee Wee Deep Elm
9427 A Beiderbecke (piano) Sock Time
9428 A Trumbauer Arcadians Brown Eyes Why Are You Blue
9430 C Trumbauer Arcadians Weary Blues
9431A Trumbauer Arcadians Angry

I don't have a 78 record player, so I haven't heard them, but I assume from the names on
the labels that Bix Beiderbecke is one of the musicians involved. Since this web site is
devoted to him I'd appreciate it if someone would tell me if these records have any value,
or musical interest. Thanks for your trouble.

                               Posted on Apr 2, 2001, 12:42 AM
 
 

                                        Practical jokes
                                      by Paul Whitehorn

Does the tradition of playing practical jokes on 1 April survive in the USA as it does in this
country? If so take Bob Gardners posting with a large pinch of salt.

If he is serious however he should consign his finds to a bank vault before his property is
torn apart by Bix fans hunting for these suggestively titled discs.

Paul Whitehorn

                                Posted on Apr 3, 2001, 1:06 AM
 

                                       jazz symposium?
                                      by richard iaconelli

I have searched in vain for any follow-up stories on the "Jazz Symposium" that Albert
posted from the San Francisco Chronicle.

I tuned in the World Wrestling Federation and did not see Ken Burns or Richard Sudhalter
there, either. Anybody have any luck?

                                Posted on Apr 3, 2001, 5:34 AM
 

                                  April Fools Day is April 1st
                                       by Mike Heckman

The joke loses its effect if it is sent April 2nd.

                                Posted on Apr 3, 2001, 7:38 AM
 

                               it's great to play at that game...
                                        by norman field

Below is a short extract of a journal I attempted to write after my visit to Libertyville in '99,
on the very same subject of 'lost' Bix recordings...

Therefore, there has always been a Search for further Bix recordings on which he might have
cut loose. Had he ‘moonlighted’ on a recording session between 1924 and 1928, the
bandleader would have been crazy if he hadn’t said to Bix; "Give it one, kid…" Several
compilation albums have been issued of such material. (IT SOUNDS LIKE BIX and BIX - TO
BE OR NOT TO BE come to mind). These are very enjoyable as the recordings on them tend
to be fairly obscure. After all, one would not look for the Holy Grail in the window of Mappin
and Webb (I think Tiffany’s is the equivalent in America). On the contrary, Grails would tend
to be found in some tiny forgotten chapel, located within the twenty-foot thick wall of a
mediaeval castle; or below the ruins of an ancient abbey built over a fifth-century Celtic
wooden church.
The quest for Bix-Grails has not actually produced the sort of top-notch item we all desired.
such as:

9664-A SWEET THING OKeh 40618
9666-A DEEP HENDERSON OKeh 40618

Jack Mitchell and his Eldridge Hotel Orchestra. Unknown cornet, trombone, three reeds,
piano, banjo, brass bass and drums featuring Bix Beiderbecke (cornet). St. Louis, May 1926.

On the other hand, the search has not been entirely without success: a number of very
obscure alternate takes have turned up, perhaps the most exotic item being an alternate of
THOU SWELL by The Bix Gang. This particular pressing, being a 12" of the whole original
wax, contains the short test groove outside the area of the final 10" disc. In its turn, the
test groove contains a tantalisingly brief extract of the band running through a part of the
arrangement.
The Eldridge Hotel Orchestra? Sorry, I made that up. (But notice I indicated a missing
master number, 9665, which would almost certainly be still another Bix item to be
discovered in the future…!) Truly, romance is a hardy shrub . . .

As it still is, and justified by the new take of Tram's MY PET just reissued! What else lies in
the future??

Regards,

Norman.

                                Posted on Apr 3, 2001, 5:48 PM
 

                                 And a Very Good Game It Is
                                          by Brad Kay

Mr. Gardner plays a very good April Fools game. He knows his Bixian onions and has handed
us a delightully plausible Holy Grail: The matrix numbers and titles are all consistent with a
late October 1925 St. Louis recording session by Trumbauer and associates, hard on the
heels of an October 26th date by the Arcadian Serenaders. The only flaw here is that actual
OKeh test pressings from 1925 would be labeled "General Phonograph Co.", not "OKeh."
Plus the minor hitch that the records don't exist!!

It begs the question: Why DIDN'T the Trumbauer Arcadia Band make records?? Although no
record company was based in St. Louis, no less than three labels - Victor, OKeh and
Vocalion - visited there on field trips during the 1925-26 season. OKeh camped out there
twice, in October '25 and May, '26, when the Trumbauer band could have recorded. Some of
the bands that DID cut wax in St. Louis that season include:

The Arcadian Serenaders
Creath's Jazz-O-Maniacs
Powell's Jazz Monarchs
St. Louis Levee Band (Jelly Roll Morton!)
Herbert Berger's Coronado Hotel Orchestra
Dewey Jackson's Peacock Orchestra

Plus a fine assortment of blues and hillbilly artists.

The Arcadia Peacock Orchestra, Trumbauer's predecessors, the house band at the Arcadia
from 1923 to '25, had regular sessions for OKeh on previous field trips.

So what gives? To whom do I complain?:

to: OKeh Records
from: Brad Kay
April 4, 1926

"Dear Sir:

It seems odd to me that while practically every band in our fair city of St. Louis can be
found on record this year, by far the best and most popular one, Frank Trumbauer's
Arcadians, cannot. Will you please take steps to rectify the situation?

Sincerely,

B. K.,
avid jazz fan and record buyer
 

                               Posted on Apr 4, 2001, 10:53 AM

*****************************************************

Steve Brown
                                       by Andrew Vaaler

I'm enjoying volume 2 of Bix Restored, and I keep wondering about stuff, like this: anybody
know why Steve Brown was never involved with the Bix-Tram combos in the post-Goldkette
years? Min Liebrook (bass sax) gets the nod on the Whiteman-era small groups, but Steve
Brown was with Whiteman for at least a little while too. Why not him? Man, I'd love to hear
that string bass of his with a small band. Any ideas?

                               Posted on Apr 13, 2001, 1:31 PM
 

                                     Brown's age maybe
                                        by Hans Eekhoff

Steve Brown was considerably older than the other members of the Goldkette and
Whiteman bands and my theory is that he didn't participate in the small group recordings
becase he simply wasn't "one of the boys".

                               Posted on Apr 21, 2001, 3:58 AM
 

                                        His age maybe?
                                        by Hans Eekhoff

Steve Brown was considerably older than the other members of the Goldkette and
Whiteman bands and my theory is that he didn't participate in the smaller group's
recordings simply because he wasn't "one of the boys".

                               Posted on Apr 21, 2001, 4:01 AM

*************************************************************

2 Sugar's in my Tea
                                        by Gerald Geller

With the approach of Bix's birthday on March 10th.,
and my never ending search for the real Bix..I will once again select a song of
controversy.That song is "Sugar"
On 2/28/28 Paul Whiteman made 2 recordings of Sugar.Bix play's on both.
On 10/26/27 Frankie Traumbauer makes a Sugar."No Bix."

                               Posted on Dec 22, 2002, 7:01 PM

******************************************************************

Finished-up my X-mas chores
                                        by Gerald Geller

Had some photo's I had to shoot around the San Diego shopping malls.Going aroumd the
ten or so malls,I made note of something very nostalgic.At least 70% of the songs were the
old Bing Crosby recordings(by Bing),like White X-mas,and Frosty the Snow-Man.I think 15%
were recorded with-in the last 20-25 years."TERRIBLE STUFF."
It would seem to me that even young & middle age,go for that "old,back to the past
nostalgia,and affectation.It really is a shame that the real Bix never recorded a holiday
song.Let's just say Bix recorded "Home for the Holiday."Could any group do better today?
Getting back to Vince Giordano,wont he be celebrating his 100th.soon?

                               Posted on Dec 23, 2002, 6:20 PM

*******************************************************************
Too much Copenhagen,already!
                                           by g.geller

Just got warn-out listening to all those sound-like Wolverine's.The whole deal comes out
sounding to much like "hop,and hat,or corn ball minstrel.Something like the jazz played in
an old-time amusement park.In fact I dont think the real Bix style evolved until after his
day's with the Wolverine's.
Well right now I think I'll listen to some cool Lester Young,Billy H.,and Teddy Wilson,and
then end-up with with Bing singing I'm Dreaming of a White X-mas,and dream that Bix is
playing behind him.

                               Posted on Dec 24, 2002, 5:43 PM

Response.
Re: To much Copenhagen,already!
                                        by John O'Brien

Adeste Fideles, by John McCormack!!!!!!!!!!
And a Merry Christmas to all who visit this site.!

                               Posted on Dec 24, 2002, 8:21 PM
***************************************************************
A photo of Tommy Rockwell
                                       by Andrew Vaaler

To view samples from a new book about early phonography up for sale on E-bay, go to:

http://cgi.ebay.com/ws/eBayISAPI.dll?ViewItem&category=2266&item=931943396

You'll see a picture that includes Tommy Rockwell, Rube Bloom, and Irving Kaufman (or
whatever he called himself on that particular day). There are lots of interesting
advertisements as well.

                              Posted on Dec 23, 2002, 11:40 AM
Response

                               If you are not the high bidder ...
                                        by Albert Haim

... you can purchase the book directly from Tim Gracyk.

Albert

                               Posted on Dec 23, 2002, 1:38 PM
*******************************************************************
Mike Mosiello
                                        by Albert Haim

Since we had an interesting series of postings on Mike Mosiello several months ago, I
thought that the article found in http://www.vjmuk.demon.co.uk/articles.htm could be of
interest to forum participants and readers. Bob (Robert) Mantler is mentioned in the article.
He was the owner of the uncracked test pressing of the Wolverine's Tiger Rag used in LP
issues. He also had Bix's Bach # 620 cornet in his possession for a while.

Albert

                               Posted on Dec 13, 2002, 4:01 PM
***********************************************************************
Tribute to Bix, Part XIII
                                        by Albert Haim

Phil Pospychala just announced the schedule of events for the Tribute to Bix, Part XIII. It
will take place from February 27 to March 2, 2003 in Racine, Wisconsin.

Featured 1920's Bands

Dan Levinson's Roof Garden Jass Band

Norrie Cox and his New Orleans Stompers

Josh Duffee's Jean Goldkette Orchestra

Events

Jazz Site Tour & Cemetery Crawl - Hudson Lake, South
Bend, Gary, Two New Cemeteries!

Two Days of New & Used Record Sales! Jazz Record Mart,
Beasley Books, Prohaska, Others!

$500 Mystery Record Contest! Anybody can win! Schmooze
Girl Approved!

Late Nite Record spinning!

Jam Session!

Two Seminars! "Arcadian Serenaders" with Whip, "Bix and
the Law" with Laura

Rare Label Souvenirs, Buttons & Birthday Cakes on Sunday!

Rare Jazz Films on big screen video by Van and Schenck!

Jazz Battle! Original New Orleans vs. Revival New Orleans!

Keller Sisters! Sunday Only!

The Legendary Mike Montgomery on Piano Friday night!

For additional details and registration forms go to
http://www.geocities.com/bixfest/

Albert

                               Posted on Dec 14, 2002, 1:28 PM
Re: Tribute to Bix, Part XIII
                                           by g.geller

so who cares about all these "new" Dixie groups.I was at the jazz fest here in San Diego
last month,and the only ones that came are rich old Cacker's like you and I.
Maybe with all the momentous information you gathered over the past half centuty you
could write,the final "Last book on Bix." It can be called "Gone With the Bix's." (You might
sell 2000 books).

                               Posted on Dec 15, 2002, 12:48 PM
*********************************************************
Vote for Josh Duffee and His Orchestra, and the Bix Beiderbecke Memorial Jazz
                                            Festival
                                        by Josh Duffee

If anyone has some spare time, go to the River Cities Reader website, www.rcreader.com,
to vote for Josh Duffee and His Orchestra for Best Musical Group, and Best Jazz Group, and
vote for the Bix Beiderbecke Memorial Jazz Festival for Favorite Local Event, and Favorite
Family Event. If everyone pulls together, we can win this! People aren't expecting the
orchestra to win, and the Bix Society wins various awards throughout the year, so let's keep
their streak going. You have to fill out more than 50% of the ballot for your vote to count,
so do the best you can, or e-mail me if you need some answers.
This would be great for the jazz environment around here because my orchestra is the group
that is the "Jean Goldkette Style" dance orchestra. That is my main focus for the group, and
if people see that we won best jazz group and best musical group, then people will come
out and hear us, and they will be exposed to Bix's music. That is what I really want. A lot of
people around here aren't familiar with his music, and they should be! Let's get more Bix
fans on board with us!
Tell everyone you know to go and vote for us, and let's sweep this category. E-mail me if
you have any questions, or post a message after mine, and I will get right back to you.

Thanks in advance for voting, and have a great New Year from Josh Duffee and His
Orchestra!

Josh

                               Posted on Dec 27, 2002, 12:40 PM

*****************************************************************************************
Brad's Bix signature
                                         by alex Revell

Brad,
Loved your story of the ‘fake’ Bix signature. How much do you think a copy of the Hot Five’s
Muskrat Ramble/Heebie Jeebies on Okeh singed –genuine- by Louis, fetch at auction. The
story of how I came by this may amuse you. In the fifties a friend at the office told me that
he had a Louis Armstrong record – Muskrat Ramble backed by Basin Street Blues. I told him
I didn’t think this could be because Muskrat Ramble hadn't been issued in England at the
time and to my knowledge had never been backed by Basin St. He came in the next day and
said that I was right. It was Muskrat Ramble, but the backing was some funny tune called
Hebie Jebies or some such name. Ears flapping I asked him what label it was on and the
colour. ‘Oh, it’s a kind of red and the name is something like Okie or something. I asked
him to bring it in the next day, which he did. There it was, a red label Okeh of the Hot Five
playing Muskrat Ramble and Heebie Jeebies! A piece of the true cross! ‘Will you sell it to
me? Heart pounding. ‘No’, was the stern reply. Heart sinking. Thoughts of blackmail or
possibly murder crossing my mind. Then, ‘but I’ll swap it for a copy of Woodman Spare That
Tree’ by Phil Harris’. Half an hour extra dinner break, a trip to HMV in Oxford Street, and I
went home in a very crowded tube train clutching my precious Okeh, snarling at everyone
who came too near in the crush. Years later I had it signed by Louis, but that’s another
story which I’ll tell if you – or anyone else – is interested in hearing it. The shocker was
that I asked my colleague how he had come by it. It appears that in the 20s and 30s his
dad’s business was clearing houses. He had scores of old records from these activities. My
colleague remembered that he had lots of ‘the ones with red labels’. I asked him why he
remembered those particular ones. ‘Because they were the ones my brothers and I liked to
prop against the wall and throw bricks at’.

                               Posted on Jan 5, 2003, 10:18 AM
anecdotes
                                     by Frank Youngwerth

Really enjoyed the story, and by all means tell us about Louis, and any other record find or
personal encounter you care to relate. Such 'messages' are always the most fun; I for one
can't get enough of them.

                               Posted on Jan 5, 2003, 11:30 AM
*************************************************************
Bix in Syracuse
by Mike Heckman
On 11/7/01 (or 7/11/01 for those of you in old Europe) Enrico told us of a pic of Bix in Syracuse in 1922. Further announcements were to be expected. What happened????

Posted on Jan 28, 2003, 9:29 AM
*****************************************************************
A little something for Bix?
by Gerald Geller
Louis, The Movie

by Walt Kraemer

Hollywood is going to make a Chet Baker Movie. What they call a bio-pic. I guess BIO from biodegradable and PIC from what you do to your nose. Maybe you’ve seen The Benny Goodman Story or The Gene Krupa Story or Bird and came away, as I did, with the notion that jazz movies can’t seem to be, choose one: Accurate, Enlightening, Entertaining, Short Enough. Maybe you’ve concluded, too, that Hollywood LIKES inaccuracy. LOVES it. In the spirit of Hollywood inaccuracy, I’m going cash in by doing my own movie: LOUIS “IF YOU DON’T KNOW WHAT IT IS, DON’T MESS WITH IT” ARMSTRONG.
 

ACT 1: THE EARLY YEARS. LOUIS BECOMES FULLY FORMED ALMOST

• My movie will open allegorically with Moses (played by Moses Gunn) finding Louis in a straw basket lodged in the bulrushes on the banks of the
Mississippi River. (The Mississippi, however, will be played by the Urubamba where it’s cheaper to shoot.) Besides, Moses is big right now.

• Louis is sent to the Home for Colored Waifs (my research shows Louis was indeed colored) where he meets Babe Ruth (played by James Earl Jones) and
loses to the Babe in an eating contest. Louis is determined never to go hungry again. And to take laxatives whenever offered.

• Louis meets up with King Oliver (played by some actor with bad teeth) and now challenges the King to an eating contest. This time he wins. The prize is a clarinet. Or maybe it’s a cornet. Doesn’t really matter, I plan low-key lighting.

• Louis invents jazz then courageously takes his clarinet or cornet north to Chicago because if he headed south, he would drown.

• In Chicago he looks in the want ads for work as a “jazz musician.” The work is scarce because jazz doesn’t exist so he has to invent other “jazz
musicians” like Kid Ory (played by Denzel Washington), The Austin High Gang (played by Fourplay), Earl “Fatha” Hines (Rick Moranis) and Velma Middleton (played by the Ronettes all huddled together in one costume).

• Louis records his famous Hot Sixes and Hot Nines sides which include the now classic, "Ornithology." His stature as the world’s greatest jazz musician is secured and musicians accord him this high honor. Except Eddie Condon (Dennis Hopper).

• Louis is given the nickname “Pops” by Charlie Mingus (played by Mike Tyson). Then he’s given the nickname “Satch” by Oscar Pettiford (Evander Holyfield). Then “Dippermouth” by Buddy Rich (Jessie 'The Body' Ventura). They fight over
who’s nickname is better. There is bloodshed on a large scale, and more action than you can stand.

• And remember that memorable scene in the Benny Goodman Story where Benny asks Fletcher Henderson to hold his clarinet? Well, I’m going to have Louis ask Benny to hold his clarinet but this time it’ll explode! This will be an action-
biographical-musical-bio-pic with emphasis on the action. And I plan Arnold Schwarzenegger as Benny Goodman! Maybe Steve Allen, I don’t know yet.

ACT 2: THE NOT SO EARLY YEARS. IN FACT, THE MIDDLE YEARS. LOUIS STRETCHES THE ENVELOPE

• Now clarinetless, Louis concentrates on the cornet. In the fifties he forms his ill fated pianoless quartet at the diminutive Hague Night Club in Los Angeles featuring Aaron Bell, bass; Lisa Simpson, baritone saxophone; and Sal
Mineo, drums (actors t.b.d.) For reasons of claustrophobia everyone deserts him except for bassist Aaron Bell.

• In appreciation, Louis commissions arranger Gil Ellington (Jerry Seinfeld) to adapt a piece titled Concierto de Aaron Bell. (We’ll show the actual
recording session in the film but, true to most musical biographies, there will be dialogue drowning it out.) At any rate, this extended work breathes new life into a flagging career.

• Louis follows up with his famous rendition of Hello, Jolly! featuring a nice big string section, and jazz accordionist Pete Jolly. And not to worry, Barbara Streisand will be lip-synced by Cassandra Wilson.

• President Reagan (James Earl Jones again) wants to declare Louis Armstrong’s birthday, July 4th, a national holiday only to be informed there might already be a national holiday around that time. Is Reagan surprised! (Can’t you just picture the double-take Jones could do in this scene?)

• Louis tours Europe. Upon being presented to her majesty Queen Elizabeth (Whoopie Goldberg) Louis makes a memorable gaff by saying, “Nice ass for a
white woman” and “How’d you like to roll my royal log, queeny?”

ACT 3: THE FINAL INACCURACIES. WHAT A WONDERFUL WORLD.

• Louis forms the All-Stars, a solid group of musicians with strange haircuts (especially Barrett Deems played by Ringo Starr) but no guitars. During one concert he stands too close to Trummy Young (Will Smith, who else?) and
becomes deaf for eight months.

• In the next touching scene, Louis will learn sign language and teach it to hearing impaired children. When his hearing returns he works in helping constipated children.

• In 1957, Louis is feted at the Kennedy Center where the country’s greatest jazz musicians turn out for a lengthy jam session which puts Mamie Eisenhower (Tracey Ullman) into a deep coma. During his acceptance of the coveted Arts and
Humanities award, Louis points out the Kennedy Center hasn’t been built yet—a cheap ploy by me to give at least one inaccuracy some credence.

• Louis, having lived a long and rewarding life, succumbs at the age of 114. For his final years we see him—in montage— cheerfully playing in lofts, at the disco, challenging Ornette Coleman, partying at Hefner’s mansion, putting caulk in Wynton Marsalis’ spit valve, singing with doo-wop groups on the streets of New York, tackling some tricky Gabrieli, laughing at Eddie Condon’s
funeral, testifying for HUAC and directing bombing runs over Cambodia.

• On his death bed Louis is asked “what is jazz?” He renders the now historic and oft-quoted reply, “It depends on what your meaning of the word ‘is’ is.”

ROLL THE CREDITS!

There may be very few credits since many of those involved in the film will probably ask that their names be removed.

Posted on Jan 28, 2003, 1:28 PM
**********************************
Nice Site
by William Lutz
Hello. The last posting by Mr. Field prompts me to state that I am truly impressed by the depth of thought and dedication of the frequenters of this site. One of my friends recommended it to me, and I assure you that I have not been disappointed. I am 24, and have been a fan of early jazz for about six years now. I am quite enthused by the vivacity of discussion in the recent posts. At first, I thought it rather amusing that invective was being hurled on several occasions, but this type of writing reminds me of the 18th century journalism which I am studying in my Master's Degree classes at this moment, so I was touched that the same spirit continues in such elevated language. I marvel also at the musical knowledge which some of you fellows possess. Please, feel free to be as technical as you wish, for, by it, you raise those of us who apprteciate music but perhaps cannot express ourselves as well as we wish, to a higher level.
I look forward to catching up on archived posts, and to asking a few questions now and then. As to what I like about Bix: he is a model for me as to how to capture the nuance of many emotions in life through his music. I see in him a depth that much music (especially today's) lacks, and I have never felt so close to a musician as I have when I hear his finely wrought solos.
Thank you again- and please know how thrilled I am to know that a site such as this exists! Keep up the fine work!

Posted on Jan 16, 2003, 6:45 PM

Welcome to the Bixography Forum ...
by Albert Haim
Forum Owner
Enter at your own risk. No lifesavers on duty.

Thank you for the kind words about the site. Allow me to point out that the forum is only a portion of the total Bixography. I hope that the excitement characteristic of the exchange of ideas in the forum does not interfere with visits to the main site. It contains text, sound, images, commentaries, announcements, etc.

I was delighted by your comments on the significance of Bix's music to you. My own love of Bix has to do with the complex and layered emotional content of his music.

You obviously have impeccable taste: you like Bix and you enjoy the forum.

Albert

Posted on Jan 16, 2003, 7:39 PM
************************************************************

KEM Records
                                       by Mike Heckman

A year ago, I picked up a Venuti record on the KEM label with a vocal by "Polly Burgin". The
disk bears number 2703. In looking for info about KEM, I came across their disk 2704
"Japanese Sandman" which is by Wingy Manone and his Go-Group. The info says it was
recorded in 1950, which seems a little early for Polly to be recording. Does anyone have info
about KEM?

                               Posted on Feb 3, 2003, 10:18 AM

Re: KEM Records
                                           by g.geller
 
 

Polly Bergen was born Nellie Pauline Burgin on July 14, 1930 in Knoxville, Tennessee. She
was the oldest daughter of William Hugh, and Lucy (Lawhorn) Burgin. Polly's grandfather,
Daniel Patton Burgin (#152641D) and my grandfather, Joseph Hatten Burgin (#1526419)
were brothers.

The beautiful and versatile Miss Bergen was a radio performer at age 14. She did summer
stock and made club appearances en route to Hollywood in 1949. During her first months in
Tinseltown, Bergen married actor Jerome Courtland, a marriage that was virtually over
before it began.

Polly did not change her name immediately however. In the 1949 movie, Across the Rio
Grande, the credits listed her: Polly Burgin as Cantina singer. It wasn't until her first movie
with Dean Martin and Jerry Lewis, At War with the Army (1950) that she changed the
spelling to Bergen.

She made two more movies with Martin and Lewis, That's My Boy (1951) and The Stooge
(1953). When Hal Wallis failed to notice her contract with Paramount had expired, she
signed with MGM. Tired of the lackluster movie parts offered by MGM, Bergen walked out of
a very lucrative contract in 1953 and headed for New York.

She later divorced Courtland and married Freddie Fields in 1955, a union that lasted nearly
20 years producing two adopted children, Pamela Kerry [P.K.] and Peter. Bergen has a
stepdaughter Kathy via her marriage to Fields. She also married and divorced Jeffrey
Endervelt in the 1980s.

While headlining in the Broadway revue John Murray Anderson's Almanac, she strained her
voice and was forced to undergo a painful throat operation. Another serious career set-back
occurred in 1959 when, while starring in the musical "First Impressions", she almost died
during a difficult pregnancy.

Gamely surviving these and other personal travails, Bergen rose to stardom via her
Broadway stage performance, her one-woman cabaret act, and her many TV appearances.
She won an Emmy in 1957 for her searing portrayal of Helen Morgan, (The Helen Morgan
Story) the torch singer who died an alcoholic in her early 40s. In 1957, NBC also gave Polly
her own primetime show, The Polly Bergen Show (a musical variety) in which she starred as
Hostess (1957-1958).

In 1962, she gave films a second chance when she played a North Carolina housewife
threatened with rape by rampaging ex-con Robert Mitchum in Cape Fear (over 20 years later,
she and Mitchum played husband and wife in the popular TV miniseries The Winds of War
and War and Remembrance).

Her fantastic portrayal of a mental patient in The Caretakers (1963) was quite an shock for
those only familiar with Bergen through her appearances on TV's To Tell the Truth. Less
successful was the movie Kisses for My President (1964), in which Bergen starred as the
first female Chief Exec.

It is interesting to note that, in her Who's Who entry, Bergen lists herself as a business
executive first, an actress second. There is certainly plenty of justification for this; over the
last 40 years, she has maintained such successful business ventures as Polly Bergen
Cosmetics, Polly Bergen Jewelry, and Polly Bergen Shoes; she has also been active as
part-owner of and pitch person for Oil-of-the-Turtle cosmetics.

Equally busy in nonprofit organizations, she has served with such concerns as the National
Business Council and Freedom of Choice. Scarcely a year goes by without Bergen receiving
an award or some honorarium from a professional, charitable, political or civic organization.
As if all this wasn't activity enough, Polly Bergen is also the author of three books: Fashion
and Charm (1960), Polly's Principles (1974), and I'd Love to, but What'll I Wear? (1977).

                               Posted on Feb 3, 2003, 10:28 AM
**************************************************************************

Baby Duffee...

by Josh Duffee
Hello everyone,

Just wanted to write a quick post to let everyone know that my wife gave birth to a beautiful baby boy on Friday, the 29th of December. He weighed 8 pounds exactly, and was 20 inches long.

We both named him Chauncey Goldkette Duffee, and it fits him perfectly. He's really calm when we play music for him, and he really likes the 20s style already!

That's all for now, but wanted to share this with everyone as soon as I could get back to a computer.

Sincerely yours,

Josh Duffee

Posted on Dec 31, 2006, 11:53 AM

Congratulations!

by Albert Haim
If I smoked, I would smoke a cigar in celebration of Chauncey's birth. But I drink -in moderation. So tonight, I will drink a glass of champagne in honor of your baby son.

Albert

Posted on Dec 31, 2006, 12:59 PM

Baby Duffee...

by Jamaica
Congrats Josh! What a great way to celebrate the New Year!

Posted on Dec 31, 2006, 1:53 PM

Congrats!

by Sue Fischer
Congrats -- those are some important names for the little guy to live up to. But... what about Krupa?
Well, I suppose you can always call him "Gene" for short.

Hope we get to see him in July!
Sue

Re: Baby Duffee...

by hal smith
I think you are going a little too far with this Goldkette Obsession. Think of the kids future. if you think this kid is going to be a clone of yours wake up!!

Posted on Dec 31, 2006, 10:58 PM

Baby Duffee

by Gerri Bowers
It is their baby and they may call him what ever they want. He is a beautiful baby. Has beautiful long fingers and is a joy to see. Did you know Josh is a Goldkette, so it is only fitting to use the name. Shame on you Hal. You should rejoy in their happiness. Thank God he is healthy.

Re: Baby Duffee...

by Anonymous
Do you ever stop with your negativity?????

Posted on Jan 1, 2007, 12:54 PM

poor kids... shame on their parents...

by Louis LeClaire
unbelievable!
this is fanaticism!
I Pray the Lord my wife will not call my next son Elvis...


Posted on Jan 3, 2007, 9:24 AM

poor kids... shame on their parents...

by Louis LeClaire
unbelievable!
this is fanaticism!
I Pray the Lord my wife will not call my next son Elvis...


Posted on Jan 3, 2007, 9:24 AM

poor kids... shame on their parents...

by Jamaica
Read Gerri Bowers message.

And anybody who has criticism over anything having to do with the successful birth of a healthy child should keep it to themselves. How dare anyone sully one of the few good things that happens in this crummy world? Josh shared this news because he was happy, and this is the crap he gets in return. This really is a crummy world.

Posted on Jan 3, 2007, 3:52 PM

Chauncey Goldkette Duffee

by Gilbert M. Erskine
Congratulations! And that's a fine name.

My birthday, too, is December 29th. The only trouble with that in my case was that it was so close the Christmas, nobody remembered it.

Posted on Jan 1, 2007, 2:58 PM

Re: Chauncey Goldkette Duffee

by hal smith
im very happy for josh, just a poor choice for a name by two people who will pushing the 200 year old mark by the time this kid grows up and he'll be stuck with for life. Named for drummer who was no krupa, rich, webb ect. and a booking agent who never led the band and whose name would have been long forgotten if bix was never with the band. too bad so sad

Posted on Jan 3, 2007, 10:49 PM

Chauncey Goldkette Duffee

by Louis LeClaire
that's right man, that's right, I fully agree with you

however it's an idea, I'll call my next son Red Miff LeClaire or if it'll be a female Annette Etting LeClaire!



Posted on Jan 4, 2007, 4:42 AM

Chauncey Goldkette Duffee

by Jim Petersen
Naming children after people in history (many kids of history) has been going on for years. Many find it a way to keep history alive. Some times the children are happy about their names and the history connected to it and sometimes not.
My Dad was named "Victor Herbert" Petersen and he never minded it for a second. If his parents gave him that name, it was good enough for him.
On the other hand, my sister Jean Marie has never liked her name and I have always thought it beautiful and a nice compliment to my own James Victor.
To each his own!

Posted on Jan 4, 2007, 2:03 PM

Re: Chauncey Goldkette Duffee

by hal smith
historic names i can see men and women of greatness i can maybe see some composers like victor herbet, george, cole ect but Chauncey morehouse, gene goldkette history? historic? what? its just a way for josh to live in the past for him to think gene goldkette and chauncey morehouse are in his home i can stand people who live through their kids.

Posted on Jan 4, 2007, 6:46 PM

Re: Chauncey Goldkette Duffee

by Doug
You are indeed a bitter person with nothing to do Hal. If nothing else learn to spell and stop criticizing other peoples joys. People like you wreck this forum. Contribute if you must but in a positive vein and something to do with Bix. If you can't do this go on over to the Terrance and Philip site which is probably more suited to you anyway.

Posted on Jan 4, 2007, 7:25 PM

The Duffee thread has run ....

by Albert Haim
.... its course and has been archived.

Albert Haim
Forum Owner

Posted on Jan 5, 2007, 4:00 AM

Louis Bellson grandad to be

by Jamaica
Congratulations Louis!
It wont be long now, Chick Krupa Bellson will see the light within a week

Posted on Jan 6, 2007, 5:26 AM

Louis Bellson grandad to be

by Jamaica
If you have something to say Hal (or whoever you are), say it. Don't go using my name on this board. My email addy is right here if you feel such a deep need to mess with me. I came here to talk about Bix and all I've gotten here is one bit of nonsense after another.

Posted on Jan 6, 2007, 6:41 AM

The Essence of the Bixography Forum

by Albert Haim
The Bixography forum is open and unregulated. I do not censor posts nor do I get involved in determining what other people post. Live and let live, with a couple of exceptions, individuals that I would not welcome in my home. People who post here choose their subjects and what they want to say about them. If another poster disagrees, he/she has two choices: ignore or respond, preferably using rational arguments, not emotional ones. The essence of the Bixography Forum is the freedom of allowed participants to post when they want and what they want, and to respond to posts if they so choose.

Your assertion that "all I've gotten here is one bit of nonsense after another." is not borne out by the data. Take a statistical survey of the subjects discussed in the postings. You will see that more than 95 % deal with scholarly subjects about Bix, his fellow musicians, and the music that was popular in the 1920s.

Albert

Posted on Jan 6, 2007, 10:44 AM

It is perfectly clear,

by Hans Eekhoff
at least to most of us (except apparently Mr. Haim) that Jamaica's remark refers to the actions and comments of this individual who now has the audacity to write a posting under her name, containing a sick and highly unamusing joke which is also a direct stab at Josh Duffee.
It should be him, not Jamaica, who should be reprimanded, or, better still, banned from this Forum alltogether.
To place such a negative comment under somebody else's name is sufficient reason to do so.


Posted on Jan 6, 2007, 12:13 PM

I do not ordinarily check IP addresses.

by Albert Haim
Maybe I am gullible, but I take posts at face value. I honestly believed the Bellson post to be genuine. However, because of the follow-up postings, I just checked the IP address of the individual who posted under Jamaica's name. Of course, it is not Jamaica's IP number, nor is it Hal Smith's. This is an IP Address that has not been used for posting in the forum, at least, for the last four months.


Albert Haim
Forum Owner

It is perfectly clear,

by Jamaica
Thank you, Hans, for defending me.

Posted on Jan 6, 2007, 5:08 PM

Re: It is perfectly clear,

by hal smith
moron i only use my own name i NEVER use anyone elses not i don't even use tags like jamaica what ever that means

Posted on Jan 7, 2007, 10:00 AM

Re: It is perfectly clear,

by Doug
Shut up Hal

Posted on Jan 7, 2007, 1:39 PM

Moron?

by Jamaica
I feel sorry for you that the only thing you can think to contribute to life is to be insulting to other people. You'll never know if one of those people could've been your best friend, or brought something meaningful to your life, because you made an enemy of them before you even knew them. It's so pointless.

Let's get back to Bix. Someone who made everyone he knew feel valuable.

Posted on Jan 7, 2007, 2:14 PM