Frankie trumbauer - frankie trumbauer 1937/1938


Between 1920 and 1940 there are few available charts (at least that we can find). These results should be treated with some caution since, with few exceptions, they are based on fairly subjective charts and biased towards the USA.

Bix Beiderbecke of Davenport could have gone into the family's coal-and-lumber business. Fortunately for the music world, the legendary cornet player of the Roaring ...

Bix Beiderbecke of Davenport could have gone into the family's coal-and-lumber business. Fortunately for the music world, the legendary cornet player of the Roaring '20s became "the patron saint of jazz." Leon Bismarck "Bix" Beiderbecke had an uncanny ear for music. At 2 he was able to plunk out "Yankee Doodle Dandy" on the family piano. At 7 he was the subject of accolades of a Davenport newspaper for his ability to play superbly by ear. At 15 he was turned on to jazz when his brother, Charles, bought a Victrola and played "Tiger Rag" by the Original Dixieland Jazz Band. Bix was entranced. He went out and bought more jazz records -and learned from them. He acquired a cornet from a neighbor and mastered it. Because he was self-taught, he ended up with an unorthodox fingering style. His obsession with music hurt his studies at Davenport High School, so his parents, Leon and Agatha, sent him to a boarding school, Lake Forest Academy near Chicago. It was too close, as the boy found, to the hot jazz clubs of Chicago that lured him. As a result, he was expelled from the Illinois school. His parents made him work in their East Davenport Coal & Lumber Co. It held no attraction for him. Nor did the University of Iowa later. He was in and out of the school in a flash. By 1924, Beiderbecke was playing cornet with the well-known Wolverine Orchestra. He gained a reputation in the jazz world for his improvisational style, his delicate touch, his pure tone. Some people said he couldn't pass by a piano without sitting down to play. He did not like the trumpet, instead preferring the smoother, less blatant, sounds of a cornet. Beiderbecke fronted his own bands and played for other groups, including the Jean Goldkette Orchestra and Frankie Trumbauer. By 1928 he had hit the big time as soloist with Paul Whiteman's Orchestra, working with the big-band leader until 1930.

Beiderbecke numbered among his friends the great jazz trumpet player Louis Armstrong, singer Bing Crosby and singer-composer Hoagy Carmichael. His peers in the jazz world thought highly of his inventive genius; they were his biggest fans. Tales of the legendary Beiderbecke abound. There are stories about how he was influenced musically by the riverboat jazz bands that traveled up and down the Mississippi River; how he threw a week's worth of wages on the floor in front of Bessie Smith so that she would continue singing; how he carried his cornet in a paper bag. He was said to be careless about time, money and his personal appearance. He learned how to read music -but never liked doing it. He loved classical music. Beiderbecke's list of compositions is short but enduring: "Davenport Blues," which he recorded in 1925 under his own name. He also composed "Candlelights," "Flashes" and "In the Dark." A standout is his piano composition "In a Mist," recorded in 1927, for which he was honored with a Grammy Hall of Fame award in 1980. His records still sell. Beiderbecke's last performance was at Princeton University. He had been ill in bed, suffering from a bad cold, but he didn't want to disappoint those counting on him to play. He died a week later at age 28 in New York City, where he was then living. The cause was pneumonia. He had ruined his body with too many years of drinking bathtub gin. Beiderbecke is buried on a hill in Davenport's Oakdale Cemetery, a cemetery his brother Charles once managed, and where he would anonymously escort fans to visit his brother's grave. His brother once said: "It is amazing he is nearly as popular in death as in life."

W. Balliett, More Ingredients, American Musicians II: Seventy-one Portraits in Jazz , (NY: Oxford University Press, 1996). pp. 143-51. J. Bradley and G. Brooks, Bobby Hackett , Unpublished Manuscript. 1996. G. Frazier, The Theatrical Club: Jazz Comes to Boston , down beat , July 1936. J. Higgins, All That Jazz: Guys and dolls, Mary Jane and Jim Crow, Billy Holiday and George Frazier - Boston nightlife in the thirties, Boston Magazine, April 14, 1986. G. Lombardi, Eddie Condon On Record: 1927-1971, (Milano, Italy: The Black Saint, 1987). W O'Neill, I Remember Bobby , Cape Cod Standard Times , (Hyannis: June 1, 1996). Section B. . Stokes, Swing Era New York: Featuring the Jazz Photography of Charles Peterson , (Philadelphia: Temple University Press, 1994). You can also visit Bobby at The Landing Jazz Club in San Antonio - Home of Jim Cullum's Jazz Band | Main Menu | [ [email protected] ]

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Frankie Trumbauer - Frankie Trumbauer 1937/1938Frankie Trumbauer - Frankie Trumbauer 1937/1938Frankie Trumbauer - Frankie Trumbauer 1937/1938Frankie Trumbauer - Frankie Trumbauer 1937/1938

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