= ae — pe eh ou Betderbeche TRUMPET . mre: Muro nore et 40 oblate lina ee uAY Ant ARNOLD XT ROBBINS MUSIC CORPORATIONLEON BISMARCK BEIDERBECKE was born on March 10, 1903, in Davenport, Iowa. There wwas an abundance of musical talent ia his family. His grandfather was leader of a vocal group in Davenport. His mother performed on both piano and organ, and his uncle, Al Peterson, was alocal band leader and cornetist. At the age of three, “Bix” was already picking out melodies at the piano. During his youth, Bix was first a student of the piano, preferring, how- ever, to play by ear rather than from the printed page. Later he was inspiced to transfer his musi- cal activities to the cornet, which he taught himself to play. At this time Bix used to like to play along with phonograph records. While he was in high school, he used to go out to the Poppy Gardens roadhouse, near Geneseo, Ill., and sit in with Carlisle Evans’ band. In the Fall of 1921, Bix entered Lake Forest Academy in Chicago where he was much more successful musically than schol- astically. During this time Bix headed his own dance orchestra, His stay at this school was short, and was followed by a period during which he did odd musical “jobbing” around Chicago. In October, 1923, Bix obtained a steady job in Stockton, Ohio, with a small band, at the Stock- ton Club. It was during the long hours of playing on this job that Bix had ample opportunity to improve his playing. The club catered, to quite an extent, to a rather low-brow crowd. On New Year's Eve, certain rival underworld factions were attending the club, and a fight started which ended in a riot. During the excitement the band played China Boy continuously for over an hour. This disturbance was the climax of the job, and resulted in the place “folding.” Arrangements were quickly made for the band to move to another spot, and, about two weeks later, they opened at Doyle’s Dance Hall, in Cincinnati, Ohio, During this engagement, their first Gennett records were made. The boys had to leave after their night session at Doyle's and drive to Richmond, Indiana. Through the efforts of Hoagy Carmichael, the bahd was induced to leave after about three months at Doyle's to do some “‘jobbing” at the University of Indiana. ‘The band also played at the Casino Gardens in Indianapolis during this period, Starting in August, 1924, the boys played for about five weeks at the Municipal Dance Pavilion at Gary, Indiana. After this stay, the group moved to the Cinderella Ballroom in New York City. Bix played at this spot for a month or so, and then left the band. The small group with which he had spent the “polishing-up” period of his playing life, and made musical history, was the Wolverines. From New York, Bix made a move back to Chicago, and went to work at a spot called the Ren- dezvous, with Charlie Straight’s band. At this time Bix used to listen after hours to many of the colored performers in Chicago at chat time, such as King Oliver, Louis Armstrong and Bessie Smith, the blues singer. Sr Geter Crier OcoeeThis period lasted only for 2 few months, and was followed by a stay in Detroit, during which Bix became acquainted with some of the boys working for Jean Goldkette. This was followed by 4 yeac’s engagement in St. Louis, where Bix worked at the Arcadia Ballroom in a group headed by Frankie Trumbauer. This was the beginning of a very significant association, because much of Bix’s best work on records was done later in groups headed by Trumbauer. During this time Bix had the opportunity to attend many symphony concerts. In the realm of serious music, his taste was in the direction of the modern composers, The whole-tone scale, used so much by these composers, impressed Bix profoundly. Proof of that lies in his piano solos and in much of his improvising on the cornet, ‘The St. Louis period was ended with Bix and Trumbauer moving into the Goldkette band, which had in it many other stars. With Goldkette, Bix played at the Blue Lantern Inn, at Hudson Lake, in Indiana; Castle Farms, Cincinnati, O.; Roseland Ballroom, New York City; Greystone Ball- room in Detroit, and many other places. ‘When the Goldkette Band finally broke up in the fall of 1927, several of its members joined Adrian Rollinj to form a band that opened the New Yorker Club. This spot closed after two weeks, and Bix began a new chapter in his life by joining Paul Whiteman in November. Many of the Whiteman records feature Bix as soloist; some of them only as leader of the brass section in rhythmic passages. At this time Bix was also recording with smaller groups assembled es- pecially for the record dates. ‘The hard work with the Whiteman group seemed to be too much for Bix, and his health began to fail. He was forced to cake a leave of absence to try to recuperate. Pare of this time was spent in his home town, Davenport, where he played for a short time with a local band at the Le Claire Roof Garden, in the fall of 1930, In the spring of 1931, Bix returned to New York, but never rejoined Whiteman, He “jobbed” around the city, made records, did a litele radio work, and even played for a few nights with the Casa Loma band, One night during the first part of August, 1931, Bix got out of a.sick bed (he was suffering from a bad cold) and drove to Princeton to play a job. ‘The drive there and back and the job itself were too much for Bix's ‘weakened system. He contracted pneumonia and passed away a few days later, on August 7th, 1931,In his comparatively shore life, Bix Beiderbecke not only rose to fame in the annals of modern thythm music, but in the hearts and aspirations of a new generation, his creative genius has become paramount goal toward which all musicians strive, ‘To those who inherit the future of modern rhythm music, Bix left a rich legacy of recorded music by which che standard of style perfection is measured. ‘The best of this music has been faithfully transcribed from his recordings onto these pages to afford the ambitious musician an opportunity to imbibe this brilliant, inspiring style of trumpet virtuosity.FIDGETY FEET 5 Icis generally agreed that this is the firse record that Bix made, Originally recorded for Gennett, it has been re-issued as HIRS No. 22. A playing of the record reveals that Bix’s tone and vibrato were not yet developed fully. The tone is not the pure round flow of sound that you hear on later re- cordings. The vibrato is very rapid, with a nervous quality. Bix’s unerring good taste is shown by the fact that he quickly remedied these faults, as shown on the records made at a period not much later than this. The simplicity of the melodic line, also, does not display the technical facility and flow of ideas that are evidenced in later records. A few phrases, the measure numbers of which are listed below, are prophetical of the more ambitious improvising to come, Measures 13 and 145 51 and 52; 67; 71 and 72; 77 and 78, show a fine feeling for the construction of a phrase with rhyth- mic drive from the simplest melodic material. FIDGETY FEET Gennett Record 5408-A Recorded Fall 1923 D. J. LA ROCCA LARRY SHIELDS OF the Original Dixieland Jaz: Band @ Bb &b 8b <-7 BE Bb CCRC (Copyign 1918 Lo Fea In. Now Yor 19. NY, CCooyight tenewal 1846 les Feit Ine, New Yon 19. N.Y Copyright 1917 Lao Fe, Ine 79 Seventh Aran, Now Yort, N.Y toh Ranowol 196) leo 799 Seventh Avonan, New Yor, N.Y Internotional Copyright Secved Node ia U5. ‘i Rape Rerad teasing Plc Pavorancs For Me ‘Any etrangement or adaptation ofthis conponsion wine! Ihe consent f the Surer is on lnagomant of copyrightteeter ( BL? £6 GF Bb° Bh zb Eb BLYBy & Fa Bb? és Here the record continues with a chorus and a half (forty-eight measure) of rather straightfor- ward playing, without enough of interest to warrant its inclusion. The last half of the last chorus is siven below. £67 Ab a7 Ab Aae7TIGER RAG This record was originally made in che Gennett studios, but was never released by that firm. Many years after the original recording, it was released qn the HRS No. 24, The first twenty- four measures of the record are not included in the music presented on the following pages, because they are of little interest. This record, made months after Fidgety Feet, shows a remarkable improvement in the tone quality and vibrato. The latter, especially, had already become smooth and relaxed. Ie is presumed that Bix profited by listening to his work on the earlier record, and his ear was critical enough to indicate to him any defects there may have been in the earlier playing. Measures 21 and 22 show a fine feeling for interesting rhythmic structure, and have a definite Negroid influence. Measures 31 and 32 constitute a two-measure break, played with excellent ac~ cent and nuance. The solo from measures 41 to 72 is not too lively, but has some interesting bursts of improvising. An example of this is che passage from measures 49 to 52. In measure 53 you see a figure that would have sounded very “corny” except for the excellent accenting and rhythmic phrasing, Measure 60 shows that Bix had already learned the usefulness of short scale pas- sages played with drive and accent, In measure 65, you have a short passage showing Bix’s fine feel for interesting intervals and the use of neighboring notes, The last passage, from measures 73 to 106, is more in the spirit of the improvised passages heard on later records. Here the playing is warm, fluent, rhythmic, ingenious, and well-phrased; in short, it is everything that a fine impro- visation should be. This is Bix hitting his stride, —TIGER RAG ° Hot Record Society Record No. 24 Recorded September 1924 : mt d 120 ‘THE ORIGINAL DINIELAND JAZZ BAND c G7 c "_@ Os c7 F Fdim. C7 Copyright 917 Leo Fait nes Now Yor, Ne Copyright rnawal 195 Ln Fait ne, New Yor. N.Y. Invernatonal Conytaht Secored Mode in U. 8.4, "A Bight Reserved ncusng bic Polomance For Pott I ‘Any erongemest or adaptation of tnt compotion without the corset ofthe owner it 0 iningomant of copyrightc7 D7 Bu Ac this poine the record continues with a thirty-two measure chorus of an uninteresting concerted ensemble. In the final chorus, given below, Bix plays lead in the ensemble. Bb @ ® @2 SENSATION ‘This old Gennett record has been re-issued as HRS No. 23. ‘The first thirty-two measures are simple and vigorous, and stay rather close to the original melody. In the next strain, from measures 33 to 48, there is a fine passage played as a solo, Some of the figures are interesting enough to be worth analysing. In measure 33, the C2 is a passing note between the seventh and the root of the chord. In measure 34, the accented Bh is the uppef neighbor of the root of the chord (D) from which ic is separated by the unaccented seventh of the chord (C). Measures 35 and 36 use pro- minently the ninth (A) of the G7 chord, which is carried into the C7 harmony of measure 37, acting here as the thirteenth of the C7 harmony. In measure 40, the notes are: (E) thirteenth of G7, (Ep) passing note to fifth (D) of G7, (C) anticipation of root of C7, (F) eleventh of C7. Measure 42 has the typically Negroid use of the half tone upper neighbor of the root of a seventh chord. In measure 46, Dé is the lower neighbor of the third (E) of C7, and the third note (D) is the ninth, Measures 49 to 64 are rather similar, although of simpler structure, to measures 33-48. In the next strain there is a two measure break (77-78) played in a whimsical vein. ‘The rest of the number is played vigorously and not too involved, SENSATION . Gennett Record 5542. Recorded October 1924 by the Original Disteland Jazz Band wad = 8 G7 ‘BL FR Bb © == CCoprioh 917 Lee Fat ne. New Yor, N.Y. [Copyright renewal 165 tao Feline, New Yor, M. . Invarnationsl Copyioh Secred Made in U.S.A. AI Tigh Resend inching Pubic Pelormance For Pot sdesoion of this consanilan wihow Be conten! athe owner Ison inkngement of copytiahtAb Pb Ab FF £bF BLP Ler EbY Ab Ab Eby = Ab Db sz £bP @ Ab FF Ab ELY @ LAb oFP gh A LY AbD ® ® x 8 BB? éLT Ab Ob Ab OFF _® @ ® eh? Ab B47 £47 AL BLY @ @ ® & Fv eb? ® ® 9 EL BF Fe BL? cz @ @ = BLY cb B87 Lb @ @ ® ©- | DAVENPORT BLUES | 16 as ‘This tune is Bix’s own composition, Made for Gennett in 1925, it has been reissued 2s HRS Fe No. 22. ‘The firse part is rather straightforward. In measure 50, Bix plays a very ingenious figure in triplets, Alchough in che figure there is actually no syncopation, the effect upon the ear is like syn copation, because the measure consists of a four-note group (Ab, F, G, F) played three times to make t up four triplets. Notice that the first note in the four-note group (Ab) is accented each time, I Measure 35, the first measure of the two-measure break, (35-36) shows Bix’s liking for the whole- one scale, This has been evidenced more in his piano solos. In measure 37 the Negroid lowered third of a major chord (F) is used, and again in measures 38 and 40, The short breaks in measures 45, | 46, and 47 are very interesting. Notice how the parts of the F chord are used in open harmony, I with the lower neighbor of the third interpolated in measure 45. In measure 46, the Ab is «passing note between the root (A) and the seventh (G) of the G7 chord, but with the third of the | chord (C4) thrown in before the seventh is reached, In measure 47, the construction is closely re- I lated to that of measure 30, discussed above. Here the four-note group is F, G, F, Ab, stated once and then repeated, In measure 48, the prominent use of E together with parts of the F dim. chord give the figure the harmonic flavor of a G 1359 chord, Measures 51 and 52 show a rhythmic figure based almost entirely on two notes, F and G. The next passage is rather simple in design. In sev- eral cases the lowered third of a major chord is used. Measure 78 is a neat figure in triplets, employ- ing the fifth (F) of the Bp chord, then the sixth (G), next a passing note (Gp) back to the fifth, then through the sixth to the seventh (Ap). In megsure $2, the thied (B) of the G7 is followed by two chromatic passing notes (C and C2) leading to the fifth (D) of the chord, bue with the in- terpolation of the fifth’s upper neighbor (E). life, and also in his playing. The numbers which follow show rather a definite development. A larger store-house of musical ideas has been acquired from which to draw melodic fragments for the crea- tion of improvisations. Ingenious rhythmic ideas are used more frequently. ‘The use of accentuated notes is more striking, ‘The technique is more facile, The effective use of rising and falling inflection js seen more often. More figures of a whimsical nature are used. Bix’s playing in the period we are approaching makes the listener feel that he exploits to the full all the possibilities of the instrument, and plays always with utter confidence. His constructions are even more logical than before. “These first four numbers included in this volume are representative of 2 definite period in Bix’s }DAVENPORT BLUES ° Hot Record Society Record No. 22 Recorded March 1925 BIX BEIDERBECKE | iN un dew Lz ; 5aellentienlin tien iceies Ten tiontiani Pt ) @ E62 EL pb tb- BBC 642 es 247 BL zh 47 &b GF re EL2 wb Bb? 4 zy Ab éh Be 18= [ t» abe & BP eb 862 _ B —— ———. eh BBE EB gb? ch £42 Ab £b ra bb? eEbibic- eb 1 6 ji Lil ead Dd el tel 120 CLARINET MARMALADE ‘This record was released first as Okeh No. 40772, later as Vocalion No. 4412. This is perhaps the finest example we have of Bix playing at a fast tempo. His agility in handling his instrument, the rapid and unerring flow of fine ideas, and the rhythmic drive are superlative in every way. The composition ieself is an excellent vehicle for Bix. It gives him the finest kind of opportunity to show his com- plete mastery of the idiom of impro shythmie music. The first part, up to measure 40, is somewhat simple, This is Bix leading an ensemble in the finest taste, Measures 21 and 22 show Bix’s strong leaning to the prominent use of the ninth of aseventh chord, In measure 24, the Dj is a passing note to the ninth (E) of the D7 chord. The G the eleventh. In measure 30, the D is the upper neighbor of the root (C) of the Cm chord. Ta measure 32 there is used a fragment of a scale in thirds, In later solos you will see an even more ex- tensive use of this very effective melodic device (for one example, see measure 9 of THREE BLIND MICE, p. 33). The use of a diatonic scale, eitherin its simple form or in thirds, tb create a melodic, idea to: pass over dominant seventh harmony, is based onthe fact that the chord notes of a seventh chord plus the ninth, eleventh, and thirteenth, take in all of the notes of the major scale. Measure 38 is another instance of the same thing. ‘After the trombone solo and piano solo, there is a twelve-measure interlude (45 to 56). Measures 53 and 54 of this passage show a very interesting technical outburst. Notice that the three accented notes of this figure are part of a downward diatonic scale, ‘The figure has its beginning in the last two notes of measure 52, which are anticipatory of the D7 harmony about to be played. The notes of measure 53 are parts of the D7 harmony with the addition of passing notes. Eis the ninth, Bis the thirteenth, C is the seventh, C¥ isa passing note to the root D, F3 is the third, G is the eleventh. ‘Measure 54 shows something discussed above: the use of a diatonic scale passage over dominant seventh harmony. ‘The passage from measures 57 to 72 has many smart figures constructed from chord notes and their neighbors. ‘After the saxophone solo comes a passage that is the high spot of the record, from measures 77 1092, In measure 79, notice that only the ninth of the E7 chord is used. In measure 80, the figure is derived from the neighboring notes of the fifth (B) of the E7 chord. ‘The break in measures 83 and 84 is simple but powerful. In measure 86 the upper neighbor (C) of the fifth of the chord is stressed. The movement to the fifth is implied, but never actually realized. ‘The high spot in the balance of the music heard on the record is the break in measure 111, which is imposible to describe adequately on paper.