RECORDINGS 

Tributes to Bix


The Bix Beiderbecke Era Bix and All That Jazz Hooray for Bix For Bix and Pops It Sounds Like Bix
The Legend of Bix Bix, Fats, Duke With a Bow to Bix  A Portrait of Bix  Sound of Bix
Bix Beiderbecke Suite  Bix MCMLIX A Vision of the Music of Bix Beiderbecke. Private Astronomy Thank You, Bix  Rhapsody for Bix 
Bix Hug 
Shades of Bix Remembering Bix Bunny Plays Bix Bixieland
Bucky Pizzarelli  Copenhagen Bix Lives (Italian)  Playing Beiderbecke Bessie Bix Billie
Dear Bix A 78 rpm album Bix Bix Lives (Festival) Bix Memorial
Piano Deco The Bix Beiderbecke Legacy  Tony Loves Bix Billy Plays Bix Shades of Bix (bis)
Salute to Bix Per Bix
Dill Jones Plays Bix Ode to Bix Bix's Place
In Memory of Bix Bix 'n All That Jazz Bix Beiderbecke Memorial Jazz Band Bix's Gang Lives Princeton Bix Festival 1979
Thinking of Bix Bix Fix Blues for Bix Bix's Bugle  Memorial to Bix Beidebecke
The Re-discovered Louis and Bix The Blue Rhythm Kings Vintage Bixieland Bix Land In Memory of Bix
Salute to Bix  (Bis) Bix' idé If Bix Played Gershwin
Bix... He's Back
Lino Patruno presents "A Tribute to Bix Beiderbecke
2 Bix but not too Bix
Hi, Bix
Beiderbecke Portrait
The Influence of Bix Beiderbecke
Bixology





























 

    There are a number of albums, CD's, one 78 rpm box set, and songs which represent, in one form or another, homages to Bix. Most of these have the name Bix in the title.

Return to the top Return to the top
  1. Salute to Bix! A Tribute to Bix Beiderbecke. HMV DLP 1106. The album contains ten sides with Bix, eight recorded with Paul Whiteman and His Orchestra and two recorded with Hoagy Carmichael and His Orchestra. The tracks are Louisiana, You Took Advantage of Me, Mississipppi Mud, Changes, Mary, Georgia, San, From Monday On, There Ain't No sweet Man That's Worth The Salt of My tears, and Bessie Couldn't Help It. The liners provide quotes form musicians who knew Bix.

  2. Wingy Manone. "After Bix the others were just apes."
    Louis Armstrong. "His tone, phrasing and sense of harmony were the most marvellous things that one would want to hear."
    Jimmy McPartland. "I've heard many great trumpeters since those days, but I haven't heard anyone like Bix. Somehow or other his style, the cleanliness and feeling was lovely. Let's call him the master and leave it at that."
    I am grateful to David Weiner for kindly sending me scans of the front and back of the LP album.
     
  3. The Re-discovered Louis and Bix. Nagel-Heyer CD 058. On the cover of the CD is written: "George Avakian Presents The Re-discovered Louis and Bix, Lost Musical Treasures of Louis Armstrong and Bix Beiderbecke, Randy Sandke and the New York Allstars featuring Kenny Davern, Wycliffe Gordon, Dick Hyman, Ken Peplowski and others." The scan of the cover, shown on the right,  displays Bix's cornet (courtesy of Robert and Eva Christiansen) and Louis' trumpet (courtesy of Michael Cogswell and the Louis Armstrong Archives).  I will restrict the description to the Bix Beiderbecke portion of the CD. The Bix sides (which were first introduced on June 27, 1997, at The JVC Jazz Festival) were recorded on June 24, 1999 and include: No One Knows What It's All About (recorded for Gennett on 01/26/25 by Bix and His Rhythm Jugglers; master destroyed); Play It Red (recorded for Victor on 04/23/27 by Jean Goldkette and His Orchestra; master destroyed); Lily (recorded for Victor 04/16/27 by Jean Goldkette and His Orchestra; master destroyed); Did You Mean It? (recorded for OKeh, 10/26/27 by Frank Trumbauer and His Orchestra; master destroyed); Betcha I Getcha (unrecorded; on 12/13/73 Joe Venuti sat down at the piano and played for Dick Hyman what he claimed was an unpublished composition by Bix Beiderbecke); Cloudy (unrecorded; this was played by Charlie Davies in the documentary Bix: Ain't None of Them Play Like Him Yet; Davis claims that he heard Bix play this piece and recorded it in his mind); Stampede (recorded for Victor on 02/01/27 by Jean Goldkette and His orchestra; master destroyed). These songs were arranged and conducted by Randy Sandke. The musicians, all highly competent and talented professionals, contribute interesting interpretations of the songs, both in ensemble work as well as in solo parts. I highlight  Randy Sandke's excellent job on cornet, and Dick Hyman's outstanding piano work. In my opinion, the two most interesting and fascinating pieces related to Bix in this CD are Betcha I Getcha and Cloudy. Randy Sandke's arrangements provide a haunting and nostalgic Bixian feeling.
  4.  

    The Blue Rhythm Kings. This recording was made in a studio in Eltham, London in 1985 and was issued as a cassette. The band was called The Blue Rhythm Kings and that was also the title of the cassette. The recording is a tribute to Bix, Red Nichols and the California Ramblers. The personnel was as follows:
    Malcolm Walton (leader, cornet, vocals, piano)
    Bill Boston (clarinet, alto, c-melody and bass saxes)
    Chris Hunt (trombone)
    Colin Martin (piano)
    Peter Warren (banjo, guitar)
    Ron Goulding (tuba)
    Colin Large (drums, vocal)
    The titles were:
    Crazy Quilt
    Singin' the Blues
    I wonder what's become of Joe
    Make my cot where the cot cot cotton grows
    There'll come a time
    Halfway to Heaven
    Futuristic Rhythm
    Didn't I tell you?
    Wringin'and Twistin'
    I left my sugar standing in the rain
    Clarinet Marmalade
    You took advantage of me
    Don't keep me in the dark bright eyes

    I am grateful to Malcolm Walton for providing the information about this recording.

    In Memory Of Bix. Sea Breeze 2079. This 1996 CD is entitled "Tom Kubis Big Band Plays Steve Allen,  "FAST CARS & FASCINATING WOMEN". The song was composed by Steve Allen and arranged by Tom Kubis. According to the publishers for the sheet music, Walrus Music, this is a medium to advanced level big band chart. "As you all know, Steve Allen is a fan & writer of all musical styles. As a tribute to the great trumpeter Bix Biederbecke (sic), Steve penned this great and melodic tune. This 4th trpt feature plays a "Bix-like" melody line with a current big band background. This arr is fastly becoming a standard for trpt repertoire. Trpt to high D. med-diff."

    Memorial to Bix Beiderbecke. This is V Disc No. 774. It was produced by the Music Branch, Special Services Division, War Department. It is a 12-inch, 78 rpm recording. Side A has "A Handful of Stars" by Ray Noble and his Orchestra with a trumpet chorus by Lt. Harry Johnson and "Singin' the Blues" by Buddy Hackett and his orchestra. Side B has "Dancing on the Ceiling" by Glen Gray and his Orchestra with Red Nichols on trumpet. On the label is written "Memorial "SS" Release (As suggested by Dr. John Dale Owen)".

    Thinking of Bix. A piano composition by Dick Hyman dating from 1982. Played by Dick Hyman in the 1998 CD RR-84CD "Dick Hyman in Recital". According to the liners by Floyd Levin " "Thinking of Bix" is Dick Hyman's tribute to another of his early mentors, the cornetist/composer/pianist Bix Beiderbecke. Although the piece is original, Hyman's life-long familiarity with the Beiderbecke recordings suggest (sic) to this listener a Bill Rank arrangement, a bit of Adrian Rollini's bass saxophone, and several cornet phrases out of the Bix canon - in particular, the coda of his classic, "I'm Comin' Virginia.""

    Bix Fix. A composition by jazz guitarist Joe Puma. Played as a duet by Joe Puma (guitar) and Warren Vache (cornet). One of the cuts in the 1994 Muse CD 5524 "Warren Vache, Horn of Plenty". According to the liners, "A tribute to Bix Beiderbecke, "Bix Fix" is tender and melodic." According to Warren, "I supposed he (Joe Puma) named it after Bix because the melody is vaguely like one of Bix's choruses. Joe has a penchant for rhyme and alliteration, hence Bix Fix."

    I am grateful to Warren Vache for a gift of the CD and for his generosity in answering my questions.

    Blues for Bix. One of the examples of  improvisation in the album "Etudes" by guitarist Jimmy Wyble. Other etudes in this LP  (Jazz Chronicle Records JCS 781) are dedicated to Red Norvo, Louis Armstrong and Fats Waller. The sheet music for all the etudes are available in the booklet "The Art Of Two-Line Improvisation" by Jimmy Wyble, edited and transcribed by Rich Carter, Flat Five Publishing, Studio City, California, 1979. According to the author, "This work is a collection of studies that were born out of a respect and mastery of counterpoint, composition and improvisation."

    Bix's Bugle. A tune written by Ray Linn and performed by Ray Linn and his Chicago Stompers in the album "Ray Linn's Chicago Jazz", Discovery Records, 1978. Among the Stompers we find Eddie Miller (tenor sax; he played with Bob Crosby in the 1930's) and Dave Frishberg (piano; composer of another song about Bix - Dear Bix).

    I am grateful to Joe Giordano for his gift of copies of the album cover and of the recording.
    composed

    Bix' idé (From Swedish, Bix's Idea). A tune composed by Gösta Törner and recorded on August 12, 1941 by a Swedish jazz orchestra under the leadership of bass player Thore Jederby  for the Swedish Scala label. The discographical information follows.

    Thore Jederbys orkester: Gösta Törner tp, John Björling cl as, Carl-Henrik Norin ts, Thore Swanerud p, Sven Stiberg, Folke Eriksberg g, Thore Jederby b, Gösta Hedén dr. Aug 12, 1941
    820     BIX' IDÉ (Gösta Törner)         Scala 935

    Several of these musicians had been part of the Swedish jazz scene already in the 1920s. As
    for Gösta Törner, he recorded "Sweet Sue" with the orchestra of Sune Lundwal in 1935 and
    thereby based his solo firmly on Bix' solo of the same tune by the Whiteman orchestra.

    I am grateful to Fredrik Tersmeden for providing this information in a message dated  June 25, 2002. The text given above is an almost verbatim transcription of the message. Fredrik comments at the end that "Although the tune contains some allusions to "Singin' The Blues" I must say that it does not sound too Bixian in my opinion. At the same session the band also recorded a tune called "Busters idé", probably a tribute to Buster Bailey.
     

    In Memory of Bix. A tune honoring Bix's life and achievements in the 2001 CD "Good Time Jazz", the first recording of the Bix Beiderbecke Youth Jazz Band. Two other Bix-realted tunes in the CD are Bix's immortal composition "Davenport Blues" andHoagy Carmicahel's "Georgia on My Mind." The CD is available from the Bix Beiderbecke Memorial Society.

    A Vision of the Music of Bix Beiderbecke. Private Astronomy. This an Edge Music CD # B000907-02 by Geoff Muldaur's Futuristic Ensemble, produced by Dick Connette and released  in September 2003 by Deutsche Grammophon. As the liners indicate, the title of the CD is inspired by a sentence in Ralph Berton's book "Remembering Bix." "Bix was as usual gazing off into his private astronomy." 

    All the tracks but one were composed and/or recorded by Bix. Bix's four piano compositions -In A Mist, Flashes, Candlelights, In The Dark- and Davenport Blues, Bix's only composition for a jazz band, are included in the CD. In addition to these, we have "Take Your Tomorrow," "Singin' the Blues," "Futuristic Rhythm," "Waiting at the End of the Road. The single track neither recorded nor composed by Bix is "Clouds." I believe that this is an apocryphal Bix tune -see some discussion of this tune by clicking here.

    Geoff Muldaur is a Bix fan from way back. As a youngster [he is now  60 years old], he listened to his brother's jazz collection and tells us that "Of all the musicians I listened to back then, none moved me more profoundly than Bix Beiderbecke." At the end of the liners, Muldaur writes, "This album is meant to convey the spirit of Bix and his time."

    Although the interpretations are not done, with some exceptions, in the style of the 1920s, I find that Muldaur is quite accurate when he tells us that he is trying to convey the "spirit of Bix." In particular, the "chamber arrangements" of Bix's piano compositions bring out their bittersweet sensibility and haunting feeling, two of Bix's musical characteristics. The instruments used in three of the four compositions are violin, cornet, trombone, clarinet, alto sax and bass clarinet. In the fourth composition -In A Mist- the bass clarinet is replaced by baritone sax and tuba. The combination of instruments and the way the music is arranged makes Bix's compositions sound even more impressionistic than when played on a piano. The other tunes are played in a style that reminds me a bit of the smooth jazz sound of the 60s, in particular the vocals.

    I was surprised to see that  Randy Sandke, Bix scholar and friend of the Bixography, plays trumpet in four of the tracks -There Ain't No Sweet Man That's Worth the Salt of My Tears, Futuristic Rhythm (solo transcribed by Peter Ecklund), Singin' the Blues, and Bless You Sister. As usual, he brings his high technical proficiency and deep understanding of Bix's music to make these tracks significant.  Other talented musicians are described as follows in the iclassics website. "Performing for this album are some of New York's finest instrumentalists, including Mark Gould, principal trumpet with the Metropolitan Opera Orchestra, and saxophonist Ted Nash, a veteran of the Lincoln Center Jazz Orchestra, the Kennedy Center Jazz Orchestra, and a frequent collaborator with the likes of Wynton Marsalis and Mel Lewis. In addition to the chamber ensemble, other top players contributing to the big band treatments of the songs on this album include pianist Butch Thompson and drummer Arnie Kinsella of A Prairie Home Companion’s "Shoe Band," and ex-Ellington trombonist Art Baron. Besides creating the arrangements, Muldaur sings solo on several tracks, and joins with Loudon Wainwright and Greg Prestopino for some Rhythm Boys-style tunes. Martha Wainwright sings “Singin' The Blues” and “There Ain't No Sweet Man (That's Worth The Salt Of My Tears).”

    Clearly, the album represents a labor of love: it has been twenty years from the time the idea was first conceived by Geoff Muldaur. But it has been time well spent.

    For additional information about Geoff Muldaur go to his website. For samples of the tracks, additional information about the album, and where to purchase it,  click here. For a review of the CD by NPR's David Greenberger go to http://www.npr.org/features/feature.php?wfId=1440418 and click on the link to
    All Things Considered Audio.

    I am grateful to Dick Connette and Steve Weiss for correspondence and for their generosity. .

    Thank You, Bix

    This is the title of a new CD, Royal Oak Records nr. 5001, produced by Bixophile, record collector and producer, and Bixography forum contributor Hans Eekhoff. The subtitle of the CD reads, "A tribute to the legendary Bix Beiderbecke by Dutch bands and musicians. "

    The introductory paragraph in the liners reads,

    "The album was simply made to show the appreciation and gratitude of a group of musicians from The Netherlands to Bix Beiderbecke, that most creative and inspiring of jazz musicians in America in the 1920s.
    We compiled a program of tunes that are closely connected with Bix, including his own compositions; four originally written for piano and two instrumental compositions.
    Most of these were recorded specially this year when we celebrate Bix's 100th birthday but some were made earlier and desperately needed (re)issuing.!"

    The following are the tracks in the CD.

    1. Davenport Blues. The Grand Avenue Irregulars. Hans Eekhoff, tumpet; Hans Kip, trombone; Ronald Jansen Heitjmajer, clarinet; Peter Klop, piano; Louis Debij, drums. Recorded 2003.
    2. Proud of A Baby like You. De Joep Peeters Bixband. Marc van de Brule, trumpet; Ad Houtepen, cornet; Jack Lombarts, trombone; Dick Sleeman, trombone; Robert Veen, alto sax; Ronald Jansen Heitjmajer, clarinet; Joep Peeters, piano; Tom Stuip, banjo; Niels Tausk, bas; Louis Debij, drums; David Lukacs, tenor sax; Guido Nielsen, violin; Chris Peeters, San Peeters and Wies Peeters, vocal. Recorded 2003.
    3. For No Reason At All In C. Ron, Guido, Ad and Ton. Ronald Jansen Heitjmajer, C melody sax; Ton van Bergejik, guitar; Guido Nielsen, piano; Ate Houtepen, cornet. Recorded 2003.
    4. Flashes. Floortje Smehuijzen, piano solo. Recorded 2003.
    5. There's A Cradle In Caroline. The Bix Beiderbecke Fabulous Orchestra. Ate Houtepen, cornet, vocal; Victor Bronsgeest, trombone; Ronald Jansen Heitjmajer, alto sax, clarinet; Ton van Bergejik, guitar, banjo; Floortje Smehuizen, alto sax; Robert Veen bass sax; Guido Nielsen, piano; Louis Debij, drums. Recorded 2003.
    6. In A Mist. The Beau Hunks Saxophone Soctette. Ronald Jansen Heitjmajer, clarinet, saxes, arranger; Frank Timpe, clarinet, saxes; Robet Veen, clarinet, saxes, arranger; Sebastian Ohm, clarinet, saxes; Allard Buwalda, clarinet, saxes; Leo van Oostrom, clarinet, saxes; Hans Bosch, clarinet, saxes; David Kweksilber, clarinet, saxes; Michiel van Dijk, clarinet, saxes. Recorded 1998.
    7. There Ain't No Land Like Dixieland Today. The Bix Beiderbecke Fabulous Orchestra. Same as track 5. Recorded 2003.
    8. At The Jazz Band Ball. The Grand Avenue Irregulars. Frank Wouters, cornet; Hans Kip, trombone; Cees van der Zaal, clarinet; Hans Eekhoff, piano; Tom Rakers, bass sax; Ron Meijboom, drums. Recorded 1977.
    9. Lila. Andor's Jazzband. Ad Houtepen, cornet, vocal; Peter Ivan, cornet; Victor Bronsgeest, trombone, vocal; Paul Habraken, sousaphone; Ronald Jansen Heitjmajer, clarinet, alto sax; Peter den Boer, drums; Hans Bosch, clarinet, tenor sax. Recorded 1997.
    10. Candlelights. The Beau Hunks Saxophone Soctette. Same as track 6. Recorded 1998.
    11. My Pet. Andor's Jazzband. Same as track 9. Recorded 1997.
    12. Rhythm King. The Bixieland Boys. Ad Houtepen, cornet; Dick Sleeman, trombone; Ronald Jansen Heitjmajer, clarinet; Guido Nielsen, piano; Tom Stuip, banjo; Robert Veen, bass sax. Recorded 2003.
    13. In The Dark. The Beau Hunks Saxophone Soctette. Same as track 6. Recorded 2002.
    14. I'll Be A Friend With Pleasure. The Bix Beiderbecke Fabulous Orchestra. Same as track 5. Recorded 2003.
    15. Dear Bix. Chris Peeters (vocal) and Joep Peeters (piano).

    The last track is a song written by David Frishberg in honor of Bix.

    It is quite remarkable that a small country like The Netherlands has such an active and talented group of musicians, devoted Bixophiles producing what is obviously a labor of love. The whole spirit of Bix's music permeates the performances. Good for them!

    I am grateful to Hans for a gift of the CD.
     

If Bix Played Gerswhin (uploaded 10/09/04)

“If Bix Played Gershwin”  was the title of a concert in the "Jazz in July" series of 1996. Dick Hyman, the director of the series at the 92nd Street Y for the last 20 years, conceived the idea and was the driving force behind the concert. Dick got together with Tom Pletcher who is the cornetist who comes the closest in recreating the sound and music of Bix. A detailed description of the show is given in eventscelebrating.htm/IfBixPlayed

A CD with almost the same title, "Dick Hyman and Tom Pletcher: If Bix Played Gershwin" by Tom Pletcher-Dick Hyman and Their Gang has just been released by Arbors Records, ARCD 19283.


It is a magnificent CD. Two musical geniuses -Bix and Gershwin- are brought together through the interpretation of Gerswhin's tunes in Bixian style by a group of highly talented musicians.

We start with Dick Hyman, arranger of all the tracks in the CD, superb pianist, and Bix fan extraordinaire. In the liners for the CD, Dick writes, "When I was about 11 years old, my big brother, Arthur, brought home from college two Brunswick records: Singin' the Blues/I'm Coming Virginia and Somebody Stole My Gal/Rhythm King. With these silver and black reissue labels I began what is now a lifetime's appreciation of the art of cornetist/pianist/composer Bix Beiderbecke. Later, another interest developed, although not quite so obsessively, in the music of George Gershwin."

The second musician to be mentioned is, of course, Tom Pletcher. He writes in the liners, "Fifty years ago, I happened upon Bix on one of my father’s worn out 78 Okeh records. The sound of his horn changed my life on that day." Tom has played Bix's music for the last 50 years, most recently at the Bix 100 cruise. He is a highly talented cornetist, but that is not all. He understands and has a profound feeling for Bix's music.

The remaining musicians on this CD are also gifted and brilliant, Vince Giordano (bass saxophone), Dan Levinson (clarinet, C-melody sax), David Sager (trombone), Bob Leary (guitar, banjo) and Ed Metz, Jr. (drums).

The CD was produced by Dick Hyman. He was also arranger and director. Most tracks were recorded on January 2 and 3, 2003 except for a couple which were recorded on March 27, 2003. Of course, 2003 was the year of Bix's centennial. It is unfortunate that this CD was not released last year, to add to the celebration of Bix's 100th birthday.

Bix recorded two Gerswhin compositions: Concerto in F and The Man I Love, both with Paul Whiteman. In view of the popularity of Gershwin's music in the 1920s and the numerous recordings of his tunes by jazz as well as by dance bands, it is surprising that Bix recorded only two Gershwin compositions. This CD is a way of remedying this: all the tunes in it, with the exception of Sunny Disposish with lyrics by George's brother Ira, were composed by George Gerswhin. The complete list follows.

1. I Got Plenty O' Nuttin'
2. Oh, Lady, Be Good.
3. Sweet and Lowdown.
4. I Got Rhythm.
5. But Not For Me.
6. Kongo Kate.
7. I've Got A Crush On You.
8. Rialto Ripples.
9. The Half of it, Dearie, Blues.
10. 'S Wonderful!
11. Yankee Doodle Rhythm.
12. I Was So Young.
13. Fascinating Rhythm.
14. In A Mist.
15. Sunny Disposish.
16. Embraceable You # 1.
17. Embraceable You # 2.
18. Somebody Loves Me.


The interpretation of the tunes is, in general, what we would imagine Bix would have done with them. There are hints and citations to Bix's recordings in almost every track. [A good parlor game would be the identification of the original tunes that are quoted.] Dick Hyman plays the piano in three different styles, Gershwin's, Bix's and Signorelli/Bargy/Hayton's. Tom gives his view of how Bix would have soloed in these tunes. There is one exception. Dick Hyman explains. “Tom’s playing is authentically Bixian throughout, although he felt that on our first take of Embraceable You, a duet, his performance had been swayed by the famous Bobby Hackett recording. He asked to redo it in the following session. For our second try, I changed my piano style as well, deliberately making it more like Bix’s keyboard manner. The odd result might be described as Bix, the cornetist, being accompanied by himself as pianist.”

Sweet And Low-down and I've Got A Crush On You (with a short bit on trumpet at the end by Tom) are played by a trio only, Dick, Dan and Bob. Of course, this is an emulation of Bix (on piano), Tram and Eddie, and the three "new" guys do a magnificent emulation. The Half Of It, Dearie Blues is played by a quartet. Only a duet -Dick and Tom- play in Embraceable You. In A Mis" is a solo by Dick. It includes interpolations of the following Gerswhin tunes: Summertime, Fascinating Rhythm, Rhapsody in Blue, Porgy's Theme, I Got Plenty O' Nuttin', The Man I Love, Prelude II, and I Love You Porgy. It is an intriguing blending of Bix and Gerswhin, played flawlessly by Dick. The remaining of the tunes are played by the complete band. And what a band! I am a fan of the bass and baritone saxophones. Vince plays the bass sax with gusto, imagination and flair. His solo in Rialto Ripples could not be surpassed. Dan plays the C-melody sax in a highly Tram-like fashion. He certainly has an excellent technique and a marvelous sound. Dan also plays clarinet in an authentic 1920s style. Dave complements -with excellent taste and creativity- Tom and Dan as the third member of the front line. In some tracks -in particular "Kongo Kate"- Dave reminds me of my favorite trombonist, the great Miff Mole. The rhythm section with Bob and Ed provide a steady beat. The obscure Gerwshwin composition "Kongo Kate" is played with such authenticity that, were it not for the sound quality, I would have taken this to be a 1920s recording by the more advanced musicians of that era.

The musicianship in this CD is at an extremely high level. But that is not all. There are some additional, essential qualities clearly displayed in the sound of these recordings: passion, spontaneity and sense of history. Obviously, all the musicians are ardent Bixophiles and they have transmitted that passion into the music they play. I have heard dozens of “traditional” jazz bands. There are few that display the spontaneity, the sense of discovery characteristic of the original bands from the 1920s. The musicians in this band display this spontaneity: the music feels new, fresh. Finally, the sense of history. Most, if not all of the musicians in the band are into the history and tradition of 1920s jazz and dance bands. They have listened and studied the original recordings, they understand them and have a feel for them. That feeling permeates in their interpretations and styles.

Before I finish, I must emphasize that this is not a ”Bix recreation” CD in the sense that we are dealing with a note for note copy of Bix’s recordings. We are dealing with an original concept. The musicians took tunes that Bix never recorded, and, with Dick at the helm, provide us with their interpretation of how Bix and his fellow musicians would have played these tunes: it is totally new stuff.

Listening to this CD is like reliving the past in stereo. I tip my hat -with admiration- to these musicians and the extraordinary effort that went into creating new music in the manner that Bix could have played it: Bix Lives Again!

I am grateful to Dick Hyman for a gift of the CD.

Bix ... He's Back (uploaded 12/22/04)  CD HHZ-131
The tracks on this CD were recorded by the Queen City Jazz Band (http://www.dmamusic.org/qcjb/) with vocalist Wende Harston at "Notably Fine Audio" in Denver, Colorado in June 2003. The tracks in the CD had been recorded by Bix with various groups.
The musicians in the band are: Bill Clark, tuba, leader and artistic director; John Bartmann, trumpet; Roger Campbell, clarinet; Eric Staffeldt, trombone; Bill Morse, Hank Troy, Mark Florypiano; Jim Tracy, banjo; Marl Shanahan, drums;   Wende Harston, vocalist.
The CD is a tribute to Bix on the occasion of Bix's one hundredth birthday. Some of the arrangements and cornet solos are transcribed note-for-note. We read in the liners written by Jim Tracy, "We do this because many of Bix]s solos are gems that can stand alone as miniature compositions. We feel that they cannot be improved upon by improvisation." Rather the musician's taks is to enliven the score as it was originally written. As a "museum band" (a term coined by Bill Clark), we end to transcribe material quite often because we have a strong respect for the classics."
In general, the CD is well-produced. Unfortunately, there a number of errors, chronological and discographical, in the liners. Thus,  the Wolverines are identified as Bix and His Gang and the personnel of the Wolverines is given erroneously as that of the early edition of Bix and His Gang. The Frank Trumbauer recordings are assigned  the dates (1925-1926) when they are, in fact, 1927-1928. "Georgia On My Mind" is listed a having been recorded by Paul Whiteman' Orchestra when, in fact, it was recorded by Hoagy Carmichael and His Orchestra.

Lino Patruno Presents "A Tribute to Bix" (uploaded Dec 22, 2004)
Jazzology JCD-343
The tracks on this CD were recorded live at the 2003 New Orleans Jazz Festival in Ascona, Switzerland. It featured a series of tributes to Bix on the 100th anniversary of his birth.
There are 15 tracks on the CD. All but four are numbers recorded by Bix with various groups. Here is the complete listing.
Some of the musicians are
Scans of the complete liners, including photographs of each musician, the tunes in the CD, and the names of the musicians playing in each track are given in 
http://bixbeiderbecke.com/patrunocd1.jpg
http://bixbeiderbecke.com/patrunocd2.jpg

I am grateful to Lino Patruno and to David Sager for their generous gifts of copies of the CD. The scans of the liners were kindly provided by Lino Patruno.


2 Bix but not too Bix (uploaded Dec 23, 2004)
CD Nocturne
352. Issued October 15, 2004. Received the "Academy du Jazz" 2004 Award for the the “best French musician’s recording”, the “Prix Boris Vian.
Trumpeteer Patrick Artero is accompanied by Jacques
Schneck on piano, Yoni Zelnik on string bass, and  Olivier Robin on drums. All tracks, except one, are either Bix's compositions or tunes that Bix recorded.
In A Mist
Candlelights
Flashes
Blue River
My Heart Stood Still
Washboard Blues
In The Dark
Davenport Blues
I'll Be A Friend With Pleasure
The interpretations of these Bix classics are done in a modern style, antithetical to the special Bix sound and spirit.

Hi, Bix! (uploaded Apr 8, 2007)
Jive Music CD JM 2047-2, "Heinz von Hermann Trio." Issued  in 2004.  The trio consists of Heinz von Hermann (saxophone), Erwin Schmidt (piano), and Uli Langthaler (string bass). Three of the tracks were recorded by Bix. There is also an original composition entitled "Hi, Bix!" The remaning tracks are jazz standards.

1. Hi, Bix!
2. In a mist
3. Basin Street blues
4. 'Deed I do
5. Sein loose blooze
6. Stars fell on Alabama
7. Davenport blues
8. Sweet Lorraine
9. Sunday
10. The things we did last summer
11. Wrap your troubles in dreams
12. Do you know what it means
13. Rosetta
14. We'll be together again


Beiderbecke Portrait. (uploaded Feb 1, 2009)

Joe LoCascio is a pianist/composer, originally from New York, who has resided in Houston, Texas for the last thirty years.  He is assistant chairman of Jazz Studies at Houston Community College. In 1988, Joe LaCascio recorded the album "In A Mist." (GSS 1040). The album includes the four piano compositions by Bix Beiderbecke, "In A Mist," "Candlelights," "Flashes," and "In the Dark,", as well as his instrumental "Davenport Blues," arranged by Mr. Locascio for piano.
I asked Mr. LoCascio about how he developed an interest in the music of Bix Beiderbecke. His answer, "It took me a few years to "get" Bix, and I pretty much, for a while, studied his music on faith alone. I had some pretty serious teachers who instilled the importance of history while still in my early 20's. I try to do the same for my students.  I really can't say what prompted me to write the portrait except that at the time I was totally immersed into Bix. Still am!"

The album "In A Mist" includes the original compositon by Joe LoCascio "Beiderbecke Portrait." http://bixography.com/PortraitofBixLoCascio.mp3

I am grateful to Mr. LoCascio for a gift of his album "In A Mist."

Détail de l'album "Bixin' The Blues" de Junior Dixieland Gang

The Influence of Bix Beiderbecke. (uploaded Apr 5, 2009)


The  Influence of  Bix Beiderbecke

Volume One: The USA
Volume Two: Europe





The legendary cornetist Bix Beiderbecke (1903-1931) had a determining influence on many other jazz musicians during the 1920s; some of these were lucky enough to have heard Bix first-hand, while others became familiar with his unique style through recordings. Records featuring Bix’s solos were first issued in the USA in 1924, and by the late 1920s his lyrical style of playing was also becoming influential in Europe through records issued there. Therefore, “The Influence of Bix Beiderbecke” contains two CDs, one concentrating on the recordings of American jazz musicians and the other on records made by European musicians under the spell of Bix.

The CD-set contains many rare tracks that are being re-issued for the first time since their original release on 78 rpm record. Indeed, a number of sides are transferred from unissued test pressings and are being released for the first time ever, including two recently discovered unissued test pressings by Fred Elizalde and his Music. All show the important influence of Bix during his short lifetime. The recordings have been faithfully restored using the latest digital techniques while at the same time paying respect to sound of the original recordings. The CD-set is completed by two in-depth booklets (one of 28 pages and one of 36 pages) explaining the importance of Bix's work and the crucial effect his playing had on other jazz musicians; both booklets are replete with many rare photographs, some reproduced in print for the first time.

Listing of Tracks


THE INFLUENCE OF BIX BEIDERBECKE
VOLUME ONE: USA

1. You'll Never Get To Heaven With Those Eye
George Olsen and his Music
2. Where’s My Sweetie Hiding?
Perley Breed’s Shepard Colonial Orchestra
3. Doo Wacka Doo
Marion McKay and his Orchestra
4. Cataract Rag Blues
Hitch’s Happy Harmonists
5. Riverboat Shuffle
Jimmy Joy’s St Anthony Hotel Orchestra
6. Tiger Rag
California Ramblers
7. The Co-Ed
Arcadian Serenaders
8. Davenport Blues
Miff Mole and his Molers
9. A Good Man Is Hard To Find
The Original Wolverines
10. Liza
McKenzie and Condon’s Chicagoans
11. Since My Best Gal Turned Me Down
Jan Garber and his Orchestra
12. Why Do I Love You?
Lou Raderman and his Pelham Heath Inn Orchestra
13. Crazy Rhythm
Miff Mole and his Molers
14. Hula Girl
Andrew Aiona’s Novelty Four
15. Out Where The Blues Begin
The Hotsy Totsy Gang
16. Wedding Bells
The Jazz Pilots
17. The Eyes Of Texas
Carolina Club Orchestra
18. Broadway Rose
Dick McDonough and his Orchestra
19. Alabammy Snow
Mason Dixon Orchestra
20. When A Woman Loves A Man
Roger Wolfe Kahn and his Orchestra
21. Papa’s Gone
Fred Gardner’s Texas University Troubadours
22. No Trumps
Fred Gardner’s Texas University Troubadours
23. Little Did I Know
Casa Loma Orchestra
24. Jazz Me Blues
Original Memphis Five
25. The Blue Room
Dorsey Brothers Orchestra

VOLUME TWO: EUROPE

1. Tiger Rag

The Original Capitol Orchestra
2. Riverboat Shuffle
The Kit-Cat Band
3. Somebody Said
Crichton Lyricals
4. Sugar
Fred Elizalde and his Music
5. Dance, Little Lady

Fred Elizalde and his Music
6. There's A Cradle in Caroline
Rhythmic Eight

7. Some Hauntin’ Tune
Harry Hudson’s Melody Men
8. I’m Glad
Fred Elizalde and his Music
9. Nobody’s Fault But Your Own
Jack Payne and his BBC Dance Orchestra
10. Louisiana
Jay Whidden and his Band
11. Oh! What A Night For Love
Jack Hylton and his Orchestra
12. Forget Me Not
Jack Hylton and his Orchestra
13. A Dicky-Bird Told Me So
Jay Whidden and his Band
14. Gregorology
Gregor and his Gregorians
15. In The Moonlight
Night Club Kings
16. South Sea Rose
New Mayfair Dance Orchestra
17. Every Day Away From You
New Mayfair Dance Orchestra
18. The Song Of The Dawn
Jack Hart and his Band
19. I’m Singing My Way Round The World
Jack Hart and his Band
29. A Miss Is As Good As A Mile
Spike Hughes and his Decca Dents
21. Minns Du?
Helge Lindberg’s Orchestra
22. A Ship Without A Sail
Spike Hughes and his Dance Orchestra
23. Kalua
Spike Hughes and his Dance Orchestra
24. Follow A Star – Selection
New Mayfair Dance Orchestra
25. With My Guitar And You
Harry Shalson
26. Whispering
Night Club Kings



Profits raised from the sale of this CD set were initially sent to a fund established to help meet the medical expenses for author and jazz musician Richard Sudhalter, did much to bring Bix’s life and music to wider audiences. Sadly, Richard passed away on September 19, 2008 at the New York Presbyterian Hospital, after a long period of illness. It has therefore been decided, after consultation with the Sudhalter family, that all further donations will be sent to the Jazz Foundation of America (wwwj.jazzfoundation.org), an organization that helped Richard during his illness. The Jazz Foundation cares for approximately 1000 musicians, with 1600 emergency cases each year.

Richard Sudhalter’s works include “Bix, Man and Legend”, which was written in collaboration with Philip R. Evans and first published by Arlington Press in 1974, “Lost Chords: White Musicians and Their Contribution to Jazz, 1915-1945,” (Oxford University Press, 1999) and “Stardust Melody: The Life and Music of Hoagy Carmichael” (Oxford University Press, 2002). Sudhalter is also a much acclaimed musician whose Bix-influenced cornet and trumpet solos have graced numerous recordings.


Review  by Barry McCanna published in Memory Lane.
The Influence of Bix Beiderbecke: Jass Masters (Volume One: USA/ Volume Two: Europe) Print E-mail
Written by Barry McCanna   
Wednesday, 03 September 2008

The aim of this compilation is evident from the title, to chart how Bix’s playing cast its spell over those musicians who heard his music, both in person and on record, and how that was then reflected in their own work. This aspect was touched upon in Volume 5 of the Bix Restored set, and care has been taken to avoid duplicating anything on that earlier reissue. [Click here for a Jazz Police review of Bix Restored.]  

Just to give you a flavour of the contents, the American disc kicks off with a June 1924 George Olsen recording into which, regardless of the fact that it was an entirely different number, Red Nichols interpolated note-for-note Bix’s February 1924 solo from “Jazz Me Blues.” Imitation being the sincerest form of flattery, he did the same thing with Bix’s solo from “Tiger Rag” during the California Ramblers May 1925 recording of the same number. And here we run up against one of those puzzles that have plagued Bix scholars for years, namely that the Wolverines’ recording wasn’t issued until over 10 years later. Max Easterman’s 28-page booklet provides an authoritative guide to this and every other track, dispelling the myths that have grown up around them, not least the thorny question of attribution. That is to say, many of the contributions on record, by such disciples as Andy Secrest, Sterling Bose, and Manny Klein, were virtually indistinguishable from the genuine article.   

Turning to the European compilation, there were two reasons why distance did not diminish Bix’s influence. The first was that many of his recordings were issued in England on the Parlophone label, an advertisement for which is reproduced, and reviewed enthusiastically in the Melody Maker by its editor, Edgar Jackson. Secondly, many of the American contingent working in England, not least those playing with Fred Elizalde’s band at the Savoy Hotel, were Bixophiles, and infected others with their enthusiasm. One of the most riveting facts contained in the 36-page booklet by Nick Dellow and Mark Berresford is that on his scouting trip to the States in early 1929, Rollini was hoping to lure Bix back to England with him! Sylvester Ahola, who had played alongside Bix in Adrian Rollini’s short-lived Club New Yorker band, to their mutual benefit, contributed many magnificent solos to British dance band recordings, as did Norman Payne (who probably came closest to capturing Bix’s ethereal quality) and Jack Jackson, but there are many other examples here to savour. 

This is a magnificent set which has been a considerable time in the making, and the care that’s been taken shows in every aspect. The two booklets contain many new photographs, and the second includes a complete discography. Many of the original recordings are extremely rare, few have been reissued on CD, and those that have are not easy to come by. The set contains four unissued test pressings, including the hitherto unknown “I’m Glad” by Fred Elizalde. Great care has been taken to track down clean copies, and the remastering is a hallmark of clarity.  

Finally, this truly has been a labor of love because all profits from the sale of this set of CDs will go toward helping to meet the ongoing medical expenses of musician and author Richard Sudhalter.  It is priced at £15 ($30 US) including p&p, and can be ordered from Jass Masters, 71 Chalk Hill, Watford, Herts WD19 4DA, UK, or by phone to +44-1923-237910 or fax to +44-1923-211510, or email to nick.dellow@gmail.com This e-mail address is being protected from spam bots, you need JavaScript enabled to view it ; see http://bixography.com/BixInfluenceFinal.html for US ordering information. Payment can be made by PayPal, using the same email address.           
 

Volume One: USA - You’ll Never Get To Heaven With Those Eyes (George Olsen); Where’s My Sweetie Hiding? (Perley Breed); Doo Wacka Doo (Marion McKay); Cataract Rag Blues (Curtis Hitch); Riverboat Shuffle (Jimmy Joy); Tiger Rag (California Ramblers); The Co-Ed (Arcadian Serenaders); Davenport Blues (Miff Mole); A Good Man Is Hard To Find (Original Wolverines); Liza (McKenzie & Condon); Since My Best Gal Turned Me Down (Jan Garber); Why Do I Love You? (Lou Raderman); Crazy Rhythm (Miff Mole); Hula Girl (Andy Aiona); Out Where The Blues Begin (Hotsy Totsy Gang); Wedding Bells (Jazz Pilots);The Eyes of Texas (Carolina Club); *Broadway Rose (Dick McDonough); Alabammy Snow (Mason Dixon Orch); When A Woman Loves A Man (Roger Wolfe Kahn); Papa’s Gone (Fred Gardner); No Trumps (Fred Gardner); Little Did I Know (Casa Loma); Jazz Me Blues (Original Memphis 5); The Blue Room (Dorsey Bros)  - 78:29  

Volume Two: Europe – Tiger Rag (Original Capitol Orch.); Riverboat Shuffle (Kit-Cat Band); Somebody Said (Crichton Lyricals); Sugar (FE); There’s A Cradle In Caroline (Rhythmic Eight); *Dance, Little Lady (FE); Some Hauntin’ Tune (Harry Hudson);*I’m Glad (FE); *Nobody’s Fault But Your Own (Jack Payne); Louisiana (JW); Oh! What A Night To Love (JHy); Forget Me Not (JHy); A Dicky-Bird Told Me So (JW); Gregorology (Gregor): In The Moonlight (NCK); South Sea Rose (NMDO); Every Day Away From You (NMDO); The Song Of The Dawn (JH); I’m Singing My Way Round The World (JH); A Miss Is As Good As A Mile (SH); Minns Du? (Helge Lindberg); A Ship Without A Sail (SH); Kalua (SH); Follow A Star –sel (NMDO); With My Guitar And You (Harry Shalson); Whispering (NCK)  - 79:08 

Key: FE – Fred Elizalde; JH – Jack Hart; SH – Spike Hughes; JHy – Jack Hylton; NMDO – New Mayfair Dance Orchestra: NCK – Night Club Kings; JW – Jay Whidden     *unissued test pressing    


Review by Rob Rothberg from the  magazine VINTAGE JAZZ MART (www.vjm.biz)

2 CD SET: THE INFLUENCE OF BIX BEIDERBECKE. Jass Masters JMS1001. Available from Jass Masters, 71 Chalk Hill, Watford WD19 4DA, England. www.bixbeiderbecke.com. £15, E20 or $30 including p+p.

In the September 1932 issue of ‘Rhythm’ magazine, Hoagy Carmichael wrote that Bix Beiderbecke’s cornet solos were “food for plenty of thought” and “something the younger generation can study for ideas even in composition.” In the wake of Bix’s death in 1931, Hoagy lamented that the “almost total lack of recognition of one such as Bix is beyond my understanding.”

But Bix’s influence on other musicians began early on and spread widely - even to Europe, despite the fact that Bix himself never set foot there. In the two-CD set “The Influence of Bix Beiderbecke,” Nick Dellow and his associates set out to demonstrate Bix’s influence during his lifetime through 51 rare recordings principally from 1924 through 1931, a period that roughly encompasses Bix’s brief recording career.

Volume 1 concentrates on American recordings, starting with George Olsen’s 1924 recording of You’ll Never Get to Heaven With Those Eyes, on which Red Nichols interpolates Bix’s solo from the Wolverines’ recording of Jazz Me Blues, recorded four months earlier. This early replication of a recorded Bix solo on another musician’s recording was not an isolated event; the California Ramblers’ record of Tiger Rag is another example, re-enacting Bix’s solo from the Wolverines’ record.

More interesting is the way in which Bix’s contemporaries absorbed aspects of Bix’s style and created something of their own. Sterling Bose emulates the bell-like tone and driving lead of the Wolverines-era Bix (including a break taken from the master’s record of Davenport Blues) on the Arcadian Serenaders’ The Co-Ed, recorded after the Serenaders had begun playing opposite Trumbauer’s band with Bix at the Arcadia Ballroom in St. Louis. Jimmy McPartland gives us a rough-sounding, scrappy version of Bix on the Original Wolverines’ A Good Man is Hard to Find, McKenzie/Condon Chicagoans’ Liza, and the Hotsy Totsy Gang’s Out Where the Blues Begin (on which he stays too close to the melody for my taste). Andy Secrest’s ability to sound like his bandmate is well known, and he sounds so good on the Mason-Dixon Orchestra’s Alabammy Snow that Max Easterman wonders if Bix is present, as a soloist or otherwise. (I think Secrest is underrated, but I don’t hear the pride of Davenport soloing or in the ensemble.) The softer-toned Bob Mayhew blows up a Bixian storm on The Eyes of Texas by the Carolina Club Orchestra and on Broadway Rose by Dick McDonough (or is it Mickey Bloom?), the last from an unissued test pressing with great sound. Red Nichols evokes Bix beautifully and without copying on Crazy Rhythm with Miff Mole’s Molers. Dub Schoffner, who evidently was far away from the microphone for the Casa Loma Orchestra’s Little Did I Know, displays some Bixian phrasing in a Gene Gifford arrangement clearly influenced by Bill Challis.

Manny Klein, the Zelig of jazz trumpet, is heard on Lou Raderman’s Why Do I Love You (Bixian tone, but too many notes for Bix) and on Bill Challis’s arrangement of The Blue Room, written for the Goldkette band but not recorded until this 1933 version by the Dorsey Brothers, on which Klein evokes both Bix (in the opening phrases) and Bunny Berigan in a derby-muted solo. The technically-accomplished Klein is almost certainly the creative, confident player behind the derby on Roger Wolfe Kahn’s When a Woman Loves a Man as well.

In addition, Volume 1 gives us territory bands, including Perley Breed’s Shepard Colonial Orchestra (Where’s My Sweetie Hiding), Jimmy Joy’s St. Anthony Hotel Orchestra (Riverboat Shuffle), Hitch’s Happy Harmonists (Cataract Rag Blues), and Marion McKay’s Orchestra (Doo Wacka Doo). Fred Gardner’s Texas University Troubadours display admirable drive on Papa’s Gone and No Trumps, and their trumpeter Tom Howell shows a Bixian lilt and a large, lovely sound (albeit with some technical insecurity). Andrew Aiona’s Novelty Four, whose identity is a discographical mystery, gives us Hula Girl, which will have you imagining Trumbauer’s band transplanted to the beach at Waikiki.

Along the way, we hear Bix’s influence on Jimmy Dorsey, on alto (the California Ramblers’ Davenport Blues) and clarinet (the Original Memphis Five’s Jazz Me Blues). Even players not known for sounding Bixian get into the act, such as Tommy Gott on the Jazz Pilots’ Wedding Bells, on which an unidentified scat singer channels the spirit of Harry Barris.

You’ll want to listen with Max Easterman’s splendid notes at your side. They offer a wealth of interesting detail not just about the recordings, but also the personalities and places involved. No matter how much you’ve read about the era, you will learn things that will enhance your appreciation of this music.

There are many rare photographs as well.

In Volume 2, we cross the pond to Europe, where Bix’s music exerted its influence directly, through recordings issued principally on Parlophone, Columbia and HMV, and indirectly, through emissaries such as Bix’s colleagues Adrian Rollini, Chelsea Quealey and Sylvester Ahola, who were ensconced in British bands. (Rollini even tried to recruit Bix in 1929 for Fred Elizalde’s band at the Savoy Hotel. Had he succeeded, one wonders if Bix would have lived longer.)

To my ears, Bix’s British disciples were his best. Norman Payne captured Bix’s chime-struck-with-a-padded-mallet tone and emotional reticence, particularly at slow and medium tempos.  Young Norman solos in an uncharacteristically assertive fashion in Jay Whidden’s A Dicky Bird Told Me So, then settles into a more lyrical mood for the New Mayfair Dance Orchestra’s Every Day Away from You, Jack Hart’s The Song of the Dawn and I’m Singing My Way Round the World, Spike Hughes’ Kalua, the New Mayfair Orchestra’s Follow A Star Selection, Harry Shalson’s With My Guitar and You (here with especially gorgeous tone), and the Night Club Kings’ Whispering. So effective is his evocation of Bix’s tone that he imbues the NMDO’s South Sea Rose with Bixian spirit merely by leading the ensemble (and also by ending the record with a break indebted to Bix’s introduction to Baltimore).

Jack Jackson tends to be underappreciated among jazz collectors, possibly because of his stint as the leader of a mostly sweet dance band in the mid-1930s. Here, however, we get Jackson the sideman, whose best work displays beautiful, pure tone, a Bix-like decisivene ss, and great technical mastery. On the  Crichton Lyricals’ 1927 record of Somebody Said, the teenage Jackson begins his solo by quoting Bix’s second break in Trumbauer’s recording of Riverboat Shuffle, then proceeds with a modernistic, multi-noted solo that bows mostly to Red Nichols.  (This acoustic recording has always struck me as a British counterpart to Bix’s acoustically recorded Broadway Bell-Hops date.) By the time of Jack Hylton’s Forget Me Not (note Poggy Pogson’s Bixian oboe solo!) and especially Oh! What A Night to Love, Jackson had rather less Nichols and more Bix, and was saying more with fewer notes. Night, on which the brass section crackles and Jackson alludes to Bix’s solo in Ostrich Walk, is a fine all-round performance that ought to be better known. We also hear Jackson on Spike Hughes’ record of A Ship Without A Sail, where Jackson and alto saxophonist Philip Buchel create an atmosphere that can make you wonder if you’re hearing a newly-discovered Trumbauer side.

Naturally, Sylvester Ahola is here as well. We know he was a great admirer of Bix, but he is, I think, mostly his own man, a great technician who showed a Bixian tone sometimes but Bixian ideas only rarely. Above all, Hooley is not, to use Paul Whiteman’s description of Bix, “a note miser.” He can remind you of someone running up and down a flight of stairs, as on the Rhythmic Eight’s There’s a Cradle in Caroline. When he restrains himself and slows down a bit, the results can be Bixian (e.g., Harry Hudson’s Some Hauntin’ Tune) or not. On the Night Club Kings’ In the Moonlight and particularly Spike Hughes’ A Miss is As Good as a Mile, his playing is very exciting and moving, but the aggressive, rangy style and strident tone aren’t Bixian.

But wait - there’s more. Max Goldberg does himself proud on Jay Whidden’s little-known record of Louisiana in a derby-muted solo modeled after Bix’s solo on the Whiteman record, although Bing Crosby need not worry about competition from Whidden’s stiff vocalist, Fred Douglas. (It would have been nice to have Max’s Bixian outing in Spike Hughes’ record of The Boop-Boop A Doopa  Doo Trot as well.)  Chelsea Quealey is heard with Fred Elizalde on Sugar (a Bill Challis arrangement also featuring Bobby Davis and Adrian Rollini, recorded a month before the better-known Whiteman version featuring Bix), an unissued take of Dance, Little Lady, and the Challis-influenced arrangement of I’m Glad, a lovely, hitherto-unknown performance from a recently-discovered test pressing that is issued here for the first time. We also get to hear England’s mysterious Frank Wilson (who left the music business to take up religion in the early 1930s and was not heard from again) on an unissued take of Nobody’s Fault But Your Own with Jack Payne; France’s Philippe Brun on Gregorology by Gregor et ses Gregoriens; Sweden’s Ragge Lath on Helge Lindberg’s record of Minns Du?; and Tiger Rag by the Original Capitol Orchestra, an American band in London with whom Bix had played aboard the steamboat S.S. Capitol. These are not records you see every day, at least in New York! Throughout, we are guided by Nick Dellow and Mark Berresford’s scholarly notes on the European tracks, with yet more rare photographs.

Care has been taken not to duplicate the tracks on Sunbeam’s Bix Restored, Volume 5. Nick Dellow’s careful digital restoration gives each recording vivid new life while respecting its 0riginal sound. As a result, even the tracks that a dedicated Bixophile might have heard before deserve another listen. (Full disclosure: I provided the source material for two of the European tracks here. Fuller disclosure: having listened to the records in question side by side with Nick’s transfers, I’m mpressed by what he has accomplished with them.) Apart from all of that, Bixophiles will be glad to have these recordings, packaged with perceptive commentary, in one convenient, affordable place, saving the significant cost of buying them one or two at a time on scattered CDs (not to mention the even more significant cost of buying the original records, if you can find them).

Profits from this set initially were contributed to a fund established to help meet the medical expenses of Richard M. Sudhalter, the Bix-inspired trumpeter and celebrated author of, among many other things, the books ‘Bix, Man and Legend’ (in 1974, with co-author Philip R. Evans) and ‘Stardust Melody: The Life and Music of Hoagy Carmichael’ (2003). (One of the CD set’s booklets includes a heartfelt tribute to Sudhalter from Bixography proprietor Albert Haim.) After Sudhalter’s death in September 2008, the profits were redirected to the Jazz Foundation of America, an organization that aids thousands of jazz musicians in crisis annually, and that helped Sudhalter during his illness. Thus is this musically worthy endeavor made even more worthy.

All in all, this set is a feast for Bixophiles. I’ll bet Hoagy would have loved it.

ROB ROTHBERG

 

Bixology. (uploaded May 26 2010)

A trio of musicians play the music of Bix Beiderbecke, Helmut Dold (co, tp, flh, voc), Lothar Binder (g, voc) and Uwe Ladwig (bsx, c-mel, hihat, voc, ld). Their first CD was issued in 2009.




1.  Stampede (M: Henderson, 1926, Arr. Ladwig)  1:39
2.  Because My Baby Don’t Mean Maybe (M+W: Donaldson, 1928, Arr:
Dold)   2:42
3.  Davenport Blues (M: Beiderbecke, 1925, Arr: Dold)   2:58
4.  At The Jazzband Ball (M: LaRocca, Shields, 1918, Arr: Dold) 2:18
5.  Clementine [from New Orleans] (M: Creamer, Warren, 1927, Arr:
Ladwig) 2:17
6.  Singin’ The Blues (M: Conrad, Robinson, W: Koehler, 1920, Arr:
Ladwig) 4:19
7.  Tia Juana (M: Conley, Rodemich, 1924, Arr: Dold)    2:58
8.  Tiger Rag (M: LaRocca, W: De Costa, 1917, Arr: Bixology)    3:05
9.  Rhythm King (M: Robinson, Trent, 1928, Arr. Ladwig) 2:40
10. Fidgety Feet (M: Shields, LaRocca, Ragas, 1918, Arr: Bixology)  2:27
11. Riverboat-Shuffle (M: Carmichael, 1924, Arr: Dold)  2:24
12. Somebody Stole My Gal (M+W: Wood, 1918, Arr. Dold)  2:10
13. Sorry (M: Quicksell, 1927, Arr: Dold)   2:22
14. Clarinet Marmelade (M: Shields, Ragas, 1918, Arr. Dold) 2:11
15. Royal Garden Blues (M: Williams, Williams, 1919, Arr: Dold) 3:08
16. Goose Pimples (M: Henderson, Trent, 1927, Arr. Ladwig)  2:26
17. Margie (M: Conrad, Robinson, W: Davis, 1920, Arr: Bixology) 3:00
18. Jazz Me Blues (M+W: Delaney, 1917, Arr: Bixology)   2:31
19. China Boy (M: Winfree, Boutelje, 1922, Arr. Bixology)   3:04
20. Live: Copenhagen (M: Davis, 1924, Arr: Dold)    2:03
21. Live: My Pretty Girl (M: Fulcher, 1926, Arr: Dold)  1:47
22. Live: Jingle “Davenport Blues” (M: Beiderbecke, 1925, Arr: Dold)  


For additional information visit  http://www.bixology.de/index.html






Return to the top Return to home pageReturn to Detailed Table of Contents

BRIEF TABLE OF CONTENTS

A Brief Biography  Articles in Magazines The Bix Beiderbecke Memorial Society
Bix's Musical Genius Video Tapes  Items of Special Interest
Biographies Audio Tapes Information of Related Interest
Chapters in Books Museums A Stamp for Bix in 2003
Scholarly Dissertations Miscellaneous Links to Related Sites
Obituaries Readers' Queries and Remarks Celebration of Bix's Musical Legacy

Recordings
The Original 78's
Analysis of Some Recordings: Is It Bix or Not ?
Complete Compilations of Bix's Recordings
Tributes to Bix
Miscellaneous Recordings Related to Bix
In A Mist