"he was ""out of this world"" most of the time."" According to Ralph Berton, he was ""as usual gazing off into his private astronomy,"" but his cornet, Condon famously quipped, sounded ""like a girl saying yes."" In 1938, Dorothy Baker borrowed the titles of her friend Otis Ferguson's two articles and published the novel ""Young Man with a Horn"". Her story of the doomed trumpet player Rick Martin was inspired, she wrote, by ""the music, but not the life"" of Beiderbecke, but the image of Martin quickly became the image of Beiderbecke: His story is about ""the gap between the"
"Germany. Beiderbecke's mother was the daughter of a Mississippi riverboat captain. She played the organ at Davenport's First Presbyterian Church and encouraged young Beiderbecke's interest in the piano. Beiderbecke was the youngest of three children. His brother, Burnie, was born in 1895, and his sister, Mary Louise, in 1898. He began playing piano at age two or three. His sister recalls that he stood on the floor and played it with his hands over his head. Five years later, he was the subject of an admiring article in the ""Davenport Daily Democrat"" that proclaimed, ""Seven-year-old boy musical wonder! Little Bickie"
"contribute anything, but I listened and learned […] I was now being influenced by these musicians, particularly horn men. I could hum and sing all of the jazz choruses from the recordings made by Bix, Phil Napoleon, and the rest. Following the Wall Street Crash of 1929, the once-booming music industry contracted and work became more difficult to find. For a while, Beiderbecke's only regular income came from his work as a member of Nat Shilkret's orchestra on ""The Camel Pleasure Hour"" NBC radio show. However, during a live broadcast on October 8, 1930, Beiderbecke's seemingly limitless gift for improvisation"
"like he got before or since. He played mostly open horn, every note full, big, rich and round, standing out like a pearl, loud but never irritating or jangling, with a powerful drive that few white musicians had in those days."" Some critics have highlighted ""Jazz Me Blues"", recorded with the Wolverines on February 18, 1924, as being particularly important to understanding Beiderbecke's style. Although it was one of his earliest recordings, the hallmarks of his playing were evident. ""The overall impression we get from this solo, as in all of Bix at his best,"" writes the trumpeter Randy Sandke,"
"Dorsey as Bix Beiderbecke and His Rhythm Jugglers. Miff Mole was born in Roosevelt, Long Island, New York. He studied violin and piano as a child and switched to trombone when he was 15. He played in Gus Sharp's orchestra for two years and in the 1920s went on to become a significant figure of the New York scene: he was a member of the Original Memphis Five (1922), played with Ross Gorman, Roger Wolfe Kahn, Sam Lanin, Ray Miller and many others. His other activities, like those of many jazz musicians at the time, included working for silent film"
"performed alongside him. Condon, for instance, wrote of being amazed by Beiderbecke's piano playing: ""All my life I had been listening to music […] But I had never heard anything remotely like what Beiderbecke played. For the first time I realized music isn't all the same, it had become an entirely new set of sounds"" ""I tried to explain Bix to the gang,"" Carmichael wrote, but ""[i]t was no good, like the telling of a vivid, personal dream […] the emotion couldn't be transmitted."" Mezzrow described Beiderbecke's tone as being ""pickled in alcohol […] I have never heard a tone"
"the demands of its record-buying and concert-going audience. Whiteman was perhaps best known for having premiered George Gershwin's ""Rhapsody in Blue"" in New York in 1924, and the orchestrator of that piece, Ferde Grofé, continued to be an important part of the band throughout the 1920s. Whiteman was large physically and important culturally —""a man flabby, virile, quick, coarse, untidy and sleek, with a hard core of shrewdness in an envelope of sentimentalism,"" according to a 1926 ""New Yorker"" profile. A number of Beiderbecke partisans have criticised Whiteman for not giving Bix the opportunities he deserved as a jazz musician."
"he proceeds commandingly from lead to opening solo without any need for a respite from playing. Beiderbecke made his first recordings 21 months before Armstrong recorded for OKeh as a leader of his Hot Five. Beiderbecke's style was very different from that of Louis Armstrong, according to ""The Oxford Companion to Jazz"": Where Armstrong emphasized showmanship and virtuosity, Beiderbecke emphasized melody, even when improvising, and—different from Armstrong and contrary to how the Bix Beiderbecke of legend would be portrayed—he rarely strayed into the upper reaches of the register. Paul Mares of the New Orleans Rhythm Kings insisted that Beiderbecke's chief"
"Young Man with a Horn (novel) Young Man with a Horn is a 1938 novel by Dorothy Baker that is loosely based on the real life of jazz cornet player Bix Beiderbecke. The novel was adapted for the movie ""Young Man With a Horn"" (1950) with Kirk Douglas, Lauren Bacall, and Doris Day. A jazz fiction novel set in a world of speakeasies, big bands, and the Harlem Renaissance. It is loosely based on the life of the great cornet player Bix Beiderbecke who died of alcoholism in 1931 at the age of 28. It tells the story of Rick"
"Lumber and Coal Company. His mother, Agatha Jane (Hilton) Beiderbecke, was the daughter of a riverboat pilot and was the organist at First Presbyterian Church. Bix learned to play the piano by ear in the family home. By the age of three he could play simple melodies. The ""Davenport Democrat"" published an article about his musical accomplishments when he was six years old. As he grew older he would go down to the Mississippi River to listen to the jazz music that could be heard playing on the riverboats. Beiderbecke heard Louis Armstrong play for the first time on one"
"piano compositions transcribed with the help of Bill Challis but never recorded by Beiderbecke. Two additional compositions were attributed to him by two other jazz composers: ""Betcha I Getcha"", attributed to Beiderbecke as a co-composer by Joe Venuti, the composer of the song, and ""Cloudy"", attributed to Beiderbecke by composer Charlie Davis as a composition from circa 1924. Bix Beiderbecke was posthumously inducted into the Grammy Hall of Fame, which is a special Grammy award established in 1973 to honor recordings that are at least 25 years old and that have ""qualitative or historical significance."" Bix Beiderbecke Leon Bismark ""Bix"""
"to the National Register of Historic Places. Beiderbecke's music was featured in three British comedy drama television series, all written by Alan Plater: ""The Beiderbecke Affair"" (1984), ""The Beiderbecke Tapes"" (1987), and ""The Beiderbecke Connection"" (1988). In 1991, the Italian director Pupi Avati released ""Bix: An Interpretation of a Legend"". Filmed partially in the Beiderbecke home, which Avati had purchased and renovated, ""Bix"" was screened at the Cannes Film Festival. At the beginning of the 21st century, Beiderbecke's music continued to reside mostly out of the mainstream and some of the facts of his life are still debated, but scholars"
"a battle against such common obstacles as art vs. commercialism, with his death being seen as a martyrdom for the sake of art. Beiderbecke remains the subject of scholarly controversy regarding his true name, the cause of his death, and the importance of his contributions to jazz. The son of Bismark Herman and Agatha Jane Hilton, Beiderbecke was born on March 10, 1903, in Davenport, Iowa. There is disagreement over whether Beiderbecke was christened Leon Bix or Leon Bismark and nicknamed ""Bix"". His father was nicknamed ""Bix"", as was his older brother, Charles Burnette ""Burnie"" Beiderbecke. Burnie Beiderbecke claimed that"
"Neal Buckley's Novelty Orchestra and the Plantation Jazz Orchestra on the stern-wheeler Majestic. In 1921, Beiderbecke was sent to Lake Forest Academy. Except for a brief period in the early 1920s when he returned home to work for his father, Bix lived the rest of his life away from Davenport as a professional musician playing in jazz bands. He would come home to visit from time to time and when he was here he played with local bands. It is believed that on his visit from December 1924 to January 1925 Bix composed ""Davenport Blues"" in this house. Beiderbecke died"
"a tailor, was an amateur singer with a baritone voice and had four of his five sons learn to play instruments so they could accompany him. Lombardo and his brothers formed their first orchestra while still in grammar school and rehearsed in the back of their father's tailor shop. Lombardo first performed in public with his brother Carmen at a church lawn party in London in 1914. His first recording session took place where trumpeter Bix Beiderbecke made his legendary recordings—in Richmond, Indiana, at the Gennett Studios—both during early 1924. After that solitary Gennett session, they recorded two sessions for"
"member of the Kappa Sigma fraternity, and played the piano around Indiana and Ohio with his band, Carmichael's Collegians. Around 1922 Carmichael first met Leon ""Bix"" Beiderbecke, a cornetist and sometime pianist from Iowa. The two became friends and played music together. Around 1923, during a visit to Chicago, Beiderbecke introduced Carmichael to Louis Armstrong, with whom Carmichael would later collaborate, while Armstrong was playing with Chicago-based King Oliver’s Creole Jazz Band. Under Beiderbecke’s influence Carmichael began playing the cornet, but found he didn't have the lips for it and soon quit. He was also inspired by Beiderbecke's impressionistic and"
"and (possibly) Paul Mares. Mares, ready to move on from riverboat life, found the group an engagement at the Friar's Inn, a club owned by Mike Fritzel. The bassist Arnold Loyocano joined forces with the growing band, and thus began the group's engagement at the Friar's Inn, which lasted 17 months beginning in 1921. During this time the group performed as the Friar's Society Orchestra. While at the Friar's Inn, the group attracted the interest not only of fans but of other musicians. The cornetist Bix Beiderbecke, who had been sent to school in Chicago by his parents in the"
"Leon Bismark Beiderbecke House The Leon Bismark Beiderbecke House is a historic building located on the east side of Davenport, Iowa, United States. The house is the birthplace and boyhood home of jazz musician Leon Bismark ""Bix"" Beiderbecke and so the house is also known simply as the Bix Beiderbecke House. It has been listed on the National Register of Historic Places since 1977. Leon Bismark Beiderbecke, nicknamed Bix, was born in this house on March 10, 1903, and grew up here. His father, Bismark Herman Beiderbecke, was a son of German immigrants and was the owner of East Davenport"
"Bix Beiderbecke's reputation and influence (it remained in print at least until the Second World War). It is not related to the 1956 pop song ""Singing the Blues"" first recorded and released by Marty Robbins in 1956. The ODJB released the song as part of a medley: ""Margie"" (Introducing ""Singin' the Blues"") in 1920 on Victor as B-24581-5 Victor 18717A backed with ""Palesteena"". The subtitle of the song is ""'Till My Daddy Comes Home"". The personnel on the recording were Nick LaRocca, trumpet, Larry Shields, clarinet, Benny Krueger, alto sax, Eddie Edwards, trombone, J. Russel Robinson, piano, and Tony Sbarbaro,"
"fountains • 2 lodges • Cemetery • Community center • Several historic sites including a bandshell • The second oldest children's theatre in America (Junior Theatre) Bix Fest is a three-day music festival with many traditional jazz bands held in tribute to internationally renowned jazz cornetist, pianist, composer, and Davenport native Bix Beiderbecke. The festival was started in August 1971 and the Bix Beiderbecke Memorial Society was founded one year later to organize and sponsor it. 2009 was the 39th consecutive festival. In addition to the Bix Fest, the Wells Fargo Street Fest features live music, food, and vendors. The"
"reminisced on his experiences with Beiderbecke for the documentary film Bix in 1981, and can be heard discussing his life and music in a major television documentary series on jazz produced by film-maker Ken Burns. He is survived by a daughter, Cynthia. Spiegle Willcox Newell ""Spiegle"" Willcox (May 2, 1903, Sherburne, New York – August 25, 1999, Cortland, New York) was a jazz trombonist. He was born Newell Lynn Willcox in upstate New York, and learned valve trombone as a youngster under the tuition of his father, Lynn Willcox, an amateur musician and bandleader. He acquired the familiar nickname Spiegle"
"with trumpets providing accents and highlights. For this reason the types of solo improvisations would change dramatically during the thirties. Trumpeter Roy Eldridge deviated from the more common Armstrong-influenced styles towards a style of improvisation resembling that of reed players, and in turn would be an early influence on bebop trumpet pioneer Dizzy Gillespie. Coleman Hawkins and Benny Carter broke the barrier to early acceptance of the saxophone as a jazz instrument but it was the style of Frankie Trumbauer on C melody sax, showcased in the recordings he did with Bix Beiderbecke in 1927, that laid the groundwork for"
"Benny Green, in particular, derided Whiteman for being a mere ""mediocre vaudeville act,"" and suggesting that ""today we only tolerate the horrors of Whiteman's recordings at all in the hope that here and there a Bixian fragment will redeem the mess."" Richard Sudhalter has responded by suggesting that Beiderbecke saw the Whiteman band as an opportunity to pursue musical ambitions that did not stop at jazz: Colleagues have testified that, far from feeling bound or stifled by the Whiteman orchestra, as Green and others have suggested, Bix often felt a sense of exhilaration. It was like attending a music school,"
"the blues, while Beiderbecke was influenced as much by modernist composers such as Debussy and Ravel as by his fellow jazzmen. Beiderbecke's most famous solo was on ""Singin' the Blues"", recorded February 4, 1927. It has been hailed as an important example of the ""jazz ballad style""—""a slow or medium-tempo piece played gently and sweetly, but not cloyingly, with no loss of muscle."" The tune's laid-back emotions hinted at what would become, in the 1950s, the cool jazz style, personified by Chet Baker and Bill Evans. More than that, though, ""Singin' the Blues"" has been noted for the way its"
"man's musical ability and his ability to fit it to his own life."" In 1950, Michael Curtiz directed the film ""Young Man with a Horn"", starring Kirk Douglas, Lauren Bacall, and Doris Day. In this version, in which Hoagy Carmichael also plays a role, the Rick Martin character lives. In ""Blackboard Jungle"", a 1955 film starring Glenn Ford and Sidney Poitier, Beiderbecke's music is briefly featured, but as a symbol of cultural conservatism in a nation on the cusp of the rock and roll revolution. Brendan Wolfe, the author of ""Finding Bix"", spoke of Beiderbecke's lasting influence on Davenport, Iowa:"
"to which Whiteman (and Goldkette before him) catered. For Beiderbecke, the downside of being with Whiteman was the relentless touring and recording schedule, exacerbated by alcoholism. On November 30, 1928, whilst on tour in Cleveland, Beiderbecke suffered what Lion terms ""a severe nervous crisis"" and Sudhalter and Evans suggest ""was in all probability an acute attack of delirium tremens"", presumably triggered by Beiderbecke's attempt to curb his alcohol intake. ""He cracked up, that's all,"" trombonist Bill Rank said. ""Just went to pieces; broke up a roomful of furniture in the hotel."" In February 1929, Beiderbecke returned home to Davenport to"
"learning and broadening: formal music, especially the synthesis of the American vernacular idiom with a more classical orientation, so much sought-after in the 1920s, were calling out to him. In other words, Beiderbecke sought through Whiteman the education he did not receive from the University of Iowa. In the meantime, Beiderbecke played on four hit records in 1928, all under the Whiteman name: ""Together"", ""Ramona"", ""My Angel"", and ""Ol' Man River"", which featured Bing Crosby on vocals. This accomplishment says less about the jazz excellence of these records than it does about the tastes of the largely white, record-buying public"
"of the Jazz Age"". Trumbauer's compositions include: Frankie Trumbauer Orie Frank Trumbauer (May 30, 1901 – June 11, 1956) was one of the leading jazz saxophonists of the 1920s and 1930s. His main instrument was the C-melody saxophone, a now-uncommon instrument between an alto and tenor saxophone in size and pitch. He also played alto saxophone, bassoon, clarinet and several other instruments. He was a composer of sophisticated sax melodies, one of the major small group jazz bandleaders of the 1920s and 1930s. His landmark recording of ""Singin' the Blues"" with Bix Beiderbecke and Eddie Lang in 1927, was inducted"
"Beiderbecke also collaborated with jazz guitarist Eddie Lang. Born of part Cherokee ancestry in Carbondale, Illinois, Trumbauer grew up in St Louis, Missouri, the son of a musical mother who directed saxophone and theater orchestras. His first important professional engagements were with the Edgar Benson and Ray Miller bands, shortly followed by the Mound City Blue Blowers, a local group that became nationally famous through their recordings on Brunswick. Trumbauer recruited Bix Beiderbecke for Jean Goldkette's Victor Recording Orchestra, of which he became musical director. After leaving Goldkette, he and Beiderbecke worked briefly in Adrian Rollini's short lived ""New Yorkers"""
"of recording and touring. Treatment for alcoholism in rehabilitation centers, with the support of Whiteman and the Beiderbecke family, failed to stop his decline. He left the Whiteman band in 1929 and in the summer of 1931 he died in his Queens, New York apartment at the age of 28. His death, in turn, gave rise to one of the original legends of jazz. In magazine articles, musicians' memoirs, novels, and Hollywood films, Beiderbecke has been envisaged as a Romantic hero, the ""Young Man with a Horn"" (a novel, later made into a movie). His life has been portrayed as"
"by contrasting it with Armstrong's markedly different approach. Armstrong was a virtuoso on his instrument, and his solos often took advantage of that fact. Beiderbecke was largely, although not completely, self-taught, and the constraints imposed by that fact were evident in his music. While Armstrong often soared into the upper register, Beiderbecke stayed in the middle range, more interested in exploring the melody and harmonies than in dazzling the audience. Armstrong often emphasized the performance aspect of his playing, while Beiderbecke tended to stare at his feet while playing, uninterested in personally engaging his listeners. Armstrong was deeply influenced by"
"concert presented by Paul Whiteman. In a Mist ""In a Mist"" is a 1927 song composed by Bix Beiderbecke and released as a 78 single on Okeh as a piano solo. The song has become a jazz and pop standard. ""In a Mist"" was recorded on September 9, 1927 in New York and released as Okeh 40916 and Vocalion 3150 backed with ""Wringin' an' Twistin'"" which was recorded with Frankie Trumbauer and Eddie Lang. Bix Beiderbecke played piano on the recording. Bix Beiderbecke performed the composition on piano accompanied by Roy Bargy and Lennie Hayton at Carnegie Hall on October"
"on the following albums: Candlelights (song) ""Candlelights"" is a 1930 jazz composition for solo piano by cornetist Bix Beiderbecke. The song was the second in the series of four piano works which Bix Beiderbecke composed during his career. Bix Beiderbecke never recorded the song but did copyright the piano score on August 29, 1930 as ""A Modern Composition for the Piano"". Bill Challis assisted with the transcription for piano. The score and the sheet music were published by Robbins Music in New York. ""Candlelights"" was recorded by jazz pianist Jess Stacy and was released as a 78 single in 1939"