Bix Beiderbecke - Wait and See (2021)
Artist: Bix Beiderbecke
Title: Wait and See
Year Of Release: 2021
Label: Nagel Heyer Records
Genre: Jazz
Quality: FLAC (tracks)
Total Time: 70:33 min
Total Size: 321 MB
WebSite: Album Preview
Tracklist:Title: Wait and See
Year Of Release: 2021
Label: Nagel Heyer Records
Genre: Jazz
Quality: FLAC (tracks)
Total Time: 70:33 min
Total Size: 321 MB
WebSite: Album Preview
1. I'm Wonderin' Who
2. Royal Garden Blues
3. At the Jazz Band Ball
4. Jubilee
5. Mississippi Mud
6. Since My Best Gal Turned Me Down
7. Singin' the Blues
8. Way Down Yonder in New Orleans
9. Sugar
10. Jazz Me Blues
11. There'll Come a Time
12. Our Bungalow of Dreams
13. Sorry
14. Crying All Day
15. Lila
16. Goose Pimples
17. A Good Man Is Hard to Find
18. Baltimore
19. Blue River
20. I'm Coming Virginia
21. Krazy Kat
22. Riverboat Shuffle
23. Three Blind Mice
Bix Beiderbecke, in full Leon Bismark Beiderbecke, (born March 10, 1903 — died August 6, 1931), American jazz cornetist who was an outstanding improviser and composer of the 1920s and whose style is characterized by lyricism and purity of tone. He was the first major white jazz soloist.
As a boy Beiderbecke was expelled from Lake Forest Academy in suburban Chicago. In 1923 he joined the Wolverines, a youthful group with whom he first recorded and toured to New York City, and in 1925 he worked in Chicago, where he first heard and played with the great Black innovators Louis Armstrong, King Oliver, and Jimmy Noone. While in St. Louis, Missouri, in 1926, Beiderbecke joined Frank Trumbauer, with whom he maintained a close friendship for most of the rest of his life. The two played in the Jean Goldkette band (1927) and in Paul Whiteman’s outstanding pop music orchestra 1928–30), in which Beiderbecke was a featured soloist. Severe alcoholism disrupted his career and led to his death.
Beiderbecke emphasized the cornet’s middle register, using simple rhythms and diatonic harmonies. His attack was precise, and his tone, often described as “golden” and “bell-like,” was consistently pure. If the simplicity of his materials made Beiderbecke’s playing seem delicate, the vitality of his lyric imagination—he had a rare ability to create melodies, embellishments, and melodic variations—demonstrated his strength. Such recordings as “I’m Coming Virginia” and “Singin’ the Blues,” both recorded with Trumbauer’s group in 1927, remain jazz classics.
As a boy Beiderbecke was expelled from Lake Forest Academy in suburban Chicago. In 1923 he joined the Wolverines, a youthful group with whom he first recorded and toured to New York City, and in 1925 he worked in Chicago, where he first heard and played with the great Black innovators Louis Armstrong, King Oliver, and Jimmy Noone. While in St. Louis, Missouri, in 1926, Beiderbecke joined Frank Trumbauer, with whom he maintained a close friendship for most of the rest of his life. The two played in the Jean Goldkette band (1927) and in Paul Whiteman’s outstanding pop music orchestra 1928–30), in which Beiderbecke was a featured soloist. Severe alcoholism disrupted his career and led to his death.
Beiderbecke emphasized the cornet’s middle register, using simple rhythms and diatonic harmonies. His attack was precise, and his tone, often described as “golden” and “bell-like,” was consistently pure. If the simplicity of his materials made Beiderbecke’s playing seem delicate, the vitality of his lyric imagination—he had a rare ability to create melodies, embellishments, and melodic variations—demonstrated his strength. Such recordings as “I’m Coming Virginia” and “Singin’ the Blues,” both recorded with Trumbauer’s group in 1927, remain jazz classics.