On public radio this week, Riverwalk Jazz explores cornetist Bix Beiderbecke
's gift for music and his place in jazz history. One of the first major soloists to emerge in jazz, Beiderbecke is considered by many to be the first to start playing and recording ballads in a jazz context. Jazz historian, bandleader and bass saxophonist Vince Giordano
, one of today's foremost interpreters of Bix's musical legacy and the leader of his Nighthawks Orchestra in New York City, joins The Jim Cullum Jr.
Jazz Band to play rare gems from Bix Beiderbecke's repertoire.
The show is distributed nationwide by Public Radio International and XM/Sirius satellite radio as well as streamed on demand on the Riverwalk Jazz website here.
Jazz today is considered high art, but in the early 1920s most Americans thought the noisy, raucous jazz bands of the day were an ephemeral novelty or vaudeville entertainment not to be taken seriously. The first hit jazz record in history, the Original Dixieland Jazz Band
's 1917 Livery Stable Blues," featured wind instruments making bleating and braying barnyard animal soundsreflecting deep roots in the comedic vaudeville tradition.
On the other hand, Bix Beiderbecke and his contemporary, Louis Armstrong
took their music seriously and were constantly exploring new musical ideas. Armstrong was an early admirer of Bix, calling him a natural born genius."
Even as a child, Bix Beiderbecke displayed an amazing ear for music. His kindergarten teacher recalled that after singing a song just once with his classmates, Bix could pick out the notes on the piano. A couple decades later, Jack Teagarden
remarked, Bix would hear something once and he would have it. He could pick up intricate modulations and tricky arrangements in just one hearing."
1924 was a big year for Bix Beiderbecke. He went from being the star of a small town band to holding down the jazz cornet chair in one of the most popular national radio dance bands, the Jean Goldkette
Orchestra. But Bix's true passion was making pure jazz in small groups with his friends. Recording under names like Bix and His Rhythm Jugglers or Bix and His Gang, he displayed his skill as a soloist on slow tunes like Toddlin' Blues" and elegant Bill Challis
arrangements such as Three Blind Mice."
Bix's reliance on his phenomenal gift for memorization was an obstacle to his learning to read music. His lack of reading skill had delayed his being hired by the Paul Whiteman
Orchestra. But once a member of Whiteman's band, other members, especially arranger Bill Challis, made wide allowances for Bix's limitations. They realized that his contribution to the sound of the Whiteman and Goldkette bands was key.
Challis built hot arrangements around Bix's improvisations. Jim Cullum says, He could make the whole Whiteman Orchestra just get up and take off and swing all by himself. Bix's music was never about overwhelming virtuosity. It was just from the heart, and he was really swinging."
The influence of this new hot" sound was widely felt in the '20s and '30s and still casts a long shadow today.