![]() ![]() In magazine articles, musicians' memoirs, novels, and Hollywood films, Beiderbecke has been reincarnated as a Romantic hero, the " Young Man with a Horn". His death, in turn, gave rise to one of the original legends of jazz. ![]() He left the Whiteman band in 1930 and the following summer died in his Queens apartment at the age of twenty-eight. A few stints in rehabilitation centers, as well as the support of Whiteman and the Beiderbecke family in Davenport, did not check Beiderbecke's fall. The Whiteman period also marked a precipitous decline in Beiderbecke's health, brought on by the demand of the bandleader's relentless touring and recording schedule in combination with Beiderbecke's persistent alcoholism. The following year, Trumbauer and Beiderbecke left Detroit to join the best-known and most prestigious dance orchestra in the country: the New York–based Paul Whiteman Orchestra.īeiderbecke's most influential recordings date from his time with Goldkette and Whiteman, although they were generally recorded under his own name or Trumbauer's. The band toured widely and famously played a set opposite Fletcher Henderson at the Roseland Ballroom in New York City in October 1926. Beiderbecke and Trumbauer both joined Goldkette in 1926. He first recorded with a Midwestern jazz ensemble the Wolverines in 1924, after which he played briefly for the Detroit-based Jean Goldkette Orchestra before joining Frankie "Tram" Trumbauer for an extended gig at the Arcadia Ballroom in St. Tiger Rag by Bix Beiderbecke and the Wolverines, Brunswick 02205-B on my Columbia Grafonola 109aĪ native of Davenport, Iowa, Beiderbecke taught himself to play cornet largely by ear, leading him to adopt a non-standard fingering that some critics have connected to his original sound. Wolverine Orchestra with Bix Beiderbecke. Hoagy Carmichael remembers Bix Beiderbecke Having released more then 500 albums to date, the ACT label has written part of the continuing story of jazz by staying true to its mission of presenting music "in the spirit of jazz".Bix Beiderbecke & Paul Whiteman - Lonely Melody, 1928 Although the main focus of ACT is on European jazz, it has also played a significant role in the careers of US artists such as Terri Lyne Carrington, David Binney, Vince Mendoza, Vijay Iyer and Rudresh Mahanthappa. This list includes the likes of Esbjörn Svensson Trio, Nils Landgren, Michael Wollny, Marius Neset, Lars Danielsson, Joachim Kühn, Youn Sun Nah, Leszek Możdżer, Vincent Peirani, Emile Parisien and many more. Over the years, ACT has championed an incredible array of jazz artists who are defined by their desire to push musical boundaries while reaching out to a wider audience with both authenticity and innovation at their core. In the years since its foundation in 1992, it has built a global presence and profile. With a roster that boasts a wide range of leading jazz instrumentalists and singers, ACT has released some of the most influential contemporary jazz recordings of the recent past. "Today ACT is considered one of the finest curators of progressive jazz and creative music.” DOWNBEAT. Russel Robinson / Joe Young / Sam Lewis, arr. by Shannon Barnett, based on Blue River)) 02:48Ĭon Conrad / J. by Mulo Francel based on Bix Beiderbecke) 06:07 by Bernd Lhotzky) 04:03ĭonald Heywood / Will Marion Cook, arr. Nick La Rocca / Larry Shields / Johnny Mercer, arr. Mulo Francel appears courtesy of GLM Music Mixed and mastered by Klaus Scheuermann, August 8 - 11, 2016 Recorded by Stefan Gienger at Mastermixstudio Unterföhring (Munich), August 1 - 3, 2016 Mulo Francel / c-melody saxophone & guitar In his short life-time, both musical colleagues and audiences respo. His particular combination of an immensely likeable character with a jaw-dropping talent was enough to ensure that doors would open for him. The more energetically and decisively a pioneer has broken with the past, the more he (or she) will have been mistrusted and cast aside in their life-times, and the more is required from the rear-view mirror of posterity before they can start to be treated with respect, let alone with honour.In the case of Bix Beiderbecke, however, we have a happy exception to this general rule. There may indeed be something of a paradox here, because the innovators of the past are often only truly recognized and appreciated by later generations. Our perceptions of major figures in music from previous epochs tend to change over the course of time.
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