The Bixography Discussion Group

A vehicle for Bixophiles and other interested individuals to ask questions, make comments and exchange information about Bix Beiderbecke and related subjects. Any views expressed in the Bixography Forum represent solely the opinions of those expressing them and are not necessarily endorsed or opposed by Albert Haim unless he has signed the message.

I started archiving some of the threads that have been inactive for some time. The archived threads can be found at http://ms.cc.sunysb.edu/~alhaim/archivesforum.htm

Albert Haim

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An Oddity: An mp3 of "Ma Cherie Amour," a piano roll ....

by

.... by Stevie Wonder was kindly sent by Brad Kay. He writes, "Stevie Wonder and Piano Rolls go together like a Star Ship and a Model T.  Right?  Or so it seemed to me until this roll of "Ma Cherie Amour" turned up at a garage sale today.  Check it out." 

Thanks very much, Brad. I never thought I would have a posting about Stevie Wonder in the Bixography!! Has a bit of a bossa nova sound.

https://www.dropbox.com/s/k0p52m222w3z00e/MaCherieAmourPianoRollStevieWonderBradKay.mp3

Albert



Posted on Aug 19, 2013, 8:59 AM

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Piano roll volume control

by Mike Lewis

I noticed that there was considerable variation in the volume of this tune while it was playing. After a cursory search, I determined that volume is controlled by the amount of air flowing through the holes on the roll. In a non-foot-pedal-operated player piano, what is the mechanism that determines how much air is forced through the holes while the tune is playing?

Posted on Aug 20, 2013, 4:05 AM

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Piano Roll Dynamics

by

The piano I used for this recording is a 1910 Langham-Hupfeld upright, which is powered exclusively by foot pedals. ALL the dynamic control comes from pedalling. The harder you push, the faster the air flows and the louder it is. This instrument has terrific dynamic range, and it turns on a dime. I can go from FF to pp and back instantly. It's as much a wind instrument as a string/percussion instrument. It helps me to have a mental image of the air column as I pedal, exactly the same as the air column inside one's body while blowing a horn. Every aspect of tone, attack, and volume emanates directly from how I hit those pedals.

Player rolls are an interactive medium. You do not simply "set it and forget it." Back in the day, the "pianolist" was expected to interpret a roll, imparting to the performance all the subtleties of good music. Some companies sold instruction rolls that teach you how to do that. If a player piano sounds jangly and mechanical, it simply is being misused - which, unfortunately, is MOST of the time.

Player pianos fitted with electric motors instead of pedals are an abomination. The air flows through the holes at only ONE velocity. You get NO dynamics, plus it sounds like someone is vacuuming the floor. The sophisticated, electrically-powered Duo-Art, Ampico, Welte, and other "expression" pianos are something else again - the performance subtleties are built into the instrument and the rolls it uses.

But with standard 88-note rolls, such as "Ma Cherie Amour," it's completely up to the person at the pedals and the other controls to make of it a truly musical experience.

When these instruments were most popular (1900-1930) the descriptor most often used in ads for the "software" was not "Piano Rolls," but "Music Rolls," which speaks directly to their intended use.

-Brad Kay

Posted on Aug 20, 2013, 6:00 AM

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Any idea who made this roll?

by

Usually QRS credited the player who cut the rolls. Did they do so this time? And the designation "word roll" indicated that the song lyrics were printed on the roll so you could sing along.

Posted on Aug 26, 2013, 10:21 PM

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Roll Info

by

The "Pianist" was Walter Reddick, a QRS staffer. I put "Pianist" in quotes, because the roll probably isn't a recording of a live performance, but an arrangement punched out by Mr. Reddick. And of course the lyrics are included so one may sing along. The "Word Roll" tradition goes back to 1918. BK

Posted on Aug 30, 2013, 12:48 AM

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You'd be surprised

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You'd be surprised at the songs that have turned up on player piano rolls. In the 1980's I remember hearing a roll of Billy Joel's "Just the Way You Are." The QRS roll company stayed in business a long time and one of the things they did was continue to supply rolls of current songs.

Posted on Aug 21, 2013, 7:55 AM

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Bix and Roman Numerals

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Pages III  and IV of letter from Bix to his parents about Alice.

[linked image]

Page III of Bix to LaRocca.

[linked image]

Albert



Posted on Aug 19, 2013, 7:42 AM

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The Correspondence Between Richard Dean-Myatt and Nick LaRocca About Bix's Letter to Nick.

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Phil Evans first book about Bix started as a collaboration with collector Robert Mantler, continued with historian William Dean-Myatt, and came to fruition with writer/historian/musician Richard Sudhalter.

Here is correspondence between Dean-Myatt and LaRocca from the Hogan archives. Bix's letter to LaRocca was published in p. 83 of "Man and Legend" by Sudhalter and Evans.

[linked image]

[linked image]

[linked image]

[linked image]

Albert

 

 

 



Posted on Aug 19, 2013, 8:14 AM

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The First Person to Play Bix's Piano in Davenport.

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I shipped Bix's piano from Farmingdale, L/I., NY to Davenport, IA in July 2013. Gerri Bowers received it. Here are some photos taken on the day that Bix's piano arrived in Davenport.

http://bixbeiderbecke.com/ArrivalBixPianoInDavenport.html

Glenda Currence was the first person in Davenport to play the piano once the piano was tuned.  Below is her account of that special day.

Albert

Playing Bixs Piano by Glennda Currence

 

Early 70s: The first Bix Jazz Festival1971-- I was there.  Wow, I thought to myself , I hope they have this every year.  This music is so much fun.

 

Attending the festivals was a learning experience.  I never missed one.  My love of jazz---all kindsand admiration for what Bix gave the music world had begun its journey.

 

Its 1977.  I have begun my career as a music teacher at Eisenhower Elementary.   

Okay class, this week we are going study the Roaring 20s and a famous musician who was born in Davenport and played his music during that eraa man that changed the world of JazzBix Beiderbecke!!

I began every school year with my students immersed in the history of a Local Hometown Hero! 

Now keep in mind, this was before CDs and fancy laptops, and projectors.  I went every summer to the Public Library downtown and checked out records of Bix and his Music, as well as books about the 1920s.  The kids were fascinated by this man called Bix---his music.the look and history of the 20s.  They argued over the books.  I had to keep rechecking them out.  They loved it.  At the end of the unit I gave them extra credit homework choices:  Write a report about Bix, Go find the Bix statue on the levy and describe where it is and what it says, Go to his house on Grand Avenue and describe and/or draw it, Go to the Oakdale Cemetery where he is buried and describe what you see, Illustrate your favorite Bix song(most kids chose Mississippi Mud) .  Most all of my students completed the homework!---one of them even doing a gravestone rubbing. 

 

 ALL my students knew who Bix was and what he contributed to this world of jazz music! 

 

So when Mrs. Gerri Bowers asked me in June to be the first Hometown Girl to play Bixs piano upon its arrival at the Adler in Bixs Hometown?   I was beside myself. 

My response was Really?   YES!!!!!!

I was honored---excited---thrilled---nervous. 

 

In the weeks before the pianos arrival at the theatre I must have played Bixs piano compositions 100 times each. 

They have to sound perfect.  As I practiced I imagined Bix sitting at his baby grand piano---playing, composing, dreaming...  I wondered: What was he thinking?  How was he feeling?  What was going on in his lifeas his compositions held such unique harmonies, diversions, rhythmic patterns, and yet at times haunting melodies. 

I kept thinking:  I cant believe I am going to play Bixs last piano.  After all these years of admiring from a distance.

 

Finally.the day arrived.  Gerri called me and said: Can you be at the Adler tomorrow at 1:30?.  YES!

 

I watched the piano being taken from the truck, carefully set and assembled, tuned to precision by John Duda. . 

 

Oh my gosh---now its my turn. Play this beautiful instrument.

 

As I sat down at the piano I had goosebumps.  I closed my eyes---took a deep breath---everyone in the room became invisible to me. It truly felt like Bixs spirit was in that room.  I started to play Flashesthen In The Darkthen Candlelights.then Davenport Blues.  I didnt want to stop.  Oh my gosh---I cant describe what it felt like.  

Unbelievable, exciting, thrilling, surreal, are just some of the words that describe the emotions behind that unbelievable, once-in-a-lifetime opportunity.

 

My sincerest  thanks to Gerri Bowers and Laura Hozak for making it possible for me to play Bixs historic piano---an endeavor to honor the spirit of his music. What an unforgettable memory! 

 

When can I play it again?

 



Posted on Aug 16, 2013, 1:11 PM

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Re: The First Person to Play Bix's Piano in Davenport.

by Gerri Bowers

Beautiful, Thank You Albert for this honor. It is a memory I will always remember.

Posted on Aug 16, 2013, 2:44 PM

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Chord Production on Brass. Specially for Musicologists

by

From the June 1926 issue of Melody Maker.

Two questions:

-Is this accurate?

-If accurate, did Bix use this in his recordings? If so, any good examples?

Albert



Posted on Aug 15, 2013, 6:32 AM

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I forgot to give the link!!!

by

[linked image]

Albert



Posted on Aug 15, 2013, 12:26 PM

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Re: Chord Production on Brass. Specially for Musicologists

by Frank van Nus

Yes, this is correct (as far as I can see). I lack sufficient technical knowledge on this subject, but as I understand it, the phenomenon is known as the Tartini tone:http://en.wikipedia.org/wiki/Tartini_tone

A stunning example of a jazz player using this technique can be seen in this clip with the phenomenal James Morrison (do watch the entire clip, please!):http://www.youtube.com/watch?v=7L4_IpK77jk

I don't think there's any evidence of Bix using this particular technique. But I do suspect that he was able to use the notes played by the musicians surrounding him to produce these overtones.

Brass players can produce this effect as described (by singing an additional note whilst playing) but they can also produce it by playing together with others, pitching their notes very carefully against each other: one plus one equals three! Played by two or more wind players, this effect has an aura-like quality, in which the sound appears to be everywhere at once. Hard to describe, but wonderful to experience.

Helped by his highly developed perfect pitch, I believe this may have been how Bix managed to stand out from his musical surroundings without actually playing loudly.

Frank


Posted on Aug 15, 2013, 3:05 PM

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Fascinating material, Frank.

by

Thanks for the explanations and the links. And James Morrison is nuts!! What an amazing tour de force.

Albert



Posted on Aug 16, 2013, 1:14 PM

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Chet Hazlett, the King of the Subtone Clarinet. An ad in England in 1926 and Find A Grave.

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Chester Hazlett was born on Nov 7, 1891 in Park County, IN. He died Apr 11, 1974 in Althol MA. Hazlett played with several bands before joining Whiteman, among them the Arthur Pryor and Paul Ash Orchestras.  Hazlett joined Whiteman in May 1925 as a replacement of Ross Gorman and stayed in the orchestra until 1931.

Hazlett gave this explanation of the subtone clarinet to Down Beat. "I subdue the vibration of the red with the tongue. This intensifies the tone, giving it sort of a hollow sound. It is played so softly that the tone holes of the clarinet must be within a few inches of the mike. The trick is to get an even tone through the register of the clarinet and not just play in the low register, as most reed players do, as this will cause a blast in the mike when all the finger holes are covered."

Paul Whiteman and his orchestra spent several weeks in England in April and May 1926. The June 1926 issue of Melody Maker carried the following ad.

[linked image]

The Find A Grave page for Hazlett.

http://www.findagrave.com/cgi-bin/fg.cgi?page=gr&GRid=60970598

The page includes this photo of Hazlett and Bix.

[linked image]

This is fragment of the photo of the Whiteman orchestra in 1928 at the Capitol Theatre in Detroit.

Finally, a good example of Hazlett playing subtone clarinet.

http://www.youtube.com/watch?v=43NrDyRlWfg

Albert



Posted on Aug 15, 2013, 6:05 AM

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Chet Hazlett: A Saxophone Mute.

by

I did not know about saxophone mutes until I saw this ad in the June 1926 issue of he Melody Maker.

[linked image]

Albert

From the saxophone.org forum:

Mute for Sax?
Has anyone ever heard of a "pancake mute" for sax?

Re: Mute for Sax?
Just forget about it - there is no way to truly mute a sax

Re: Mute for Sax?
Are you looking for something that changes the sound, or something that will appease the neighbors when you're practicing?



Posted on Aug 17, 2013, 5:55 AM

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muting a sax

by vince giordano

true, there's no real way of muting a sax....but if you put something in the bell, it will mute the sax a bit. It "kills" some of the overtones. No wonder none of these mutes survived...probably not too many were bought...musicians figured it out without buying a mute !

See what Paul Tremaine does to mute his sax @aprox 3:13...he puts a handkerchief down his bell !

http://tinyurl.com/nylezl6




Posted on Aug 17, 2013, 3:54 PM

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A guess about the identity of some of the musicians.

by

A terrific Vitaphone short.

Using http://victor.library.ucsb.edu/index.php/matrix/detail/800027683/BVE-56746-Aristocratic_stomp as the source.

- the very dynamic string bass player: Lem Lesser

- the vocal trio that copies the Rhythm Boys' Mississippi Mud: Paul Tremaine, Eddie Kilanoski (banjoist, doubles on sax) and one of the alto sax players, Links Hussin or Cliff Harkness

- the harpist: Lester Cruman

Although the band was quite popular, they only had nine recording sessions (two for Victor in 1929), the remaining for Columbia (1929-1933).

Here is Four/Four Rhythm (Victor, 1929). An excellent arrangement.
http://www.youtube.com/watch?v=Q3LS0PDFuR0

In 1926-1927, Paul Tremaine was hanging around in Joplin MO. Here are two ads.

[linked image]

[linked image]

In July 1927 he was in Wisconsin. Here are two ads.

[linked image]

[linked image]

You won't be able to read the names of the musicians. They are from top to bottom
left side - Charles Bagby, Ted Brewer, Morris Bramsohn,  John Baldwin, Laurie Minthinton.
righ side - Marion Dougherty, Wallace Kewon, Arthur Debus, Robert Tremaine (manager and Paul's brother), Eddie Kilauoski [sic; correct spelling Kilanoski].

Looking for biographical information. More in the next few days, if I find significant material. Before I leave, it turns out that  Lonely Acres, composed by Willard Robison, was the theme song of Paul Tremaine's orchestra. 

Albert

 

 



Posted on Aug 18, 2013, 12:10 PM

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sax mutes

by

They do survive in some numbers. One populare one was the Crown Tone Modulator - basically a thick felt donut with a brass bracket over the hole, so you could handle it. But as you said, they aren't much use to change the sound of the sax, and you also lose the lowest few notes on the horn. I only ever used my Modulator occasionally, when having to play VERY quietly!

Posted on Aug 31, 2013, 3:16 PM

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An Early Review of Davenport Blues

by Nick Dellow

The attached review of the British Brunswick reissue of Bix and His Rhythm Jugglers' "Davenport Blues" was published in the April 1936 edition of "Swing Music" magazine.
 
[linked image]
 
The final paragraph explains why the British Brunswick of "Davenport Blues" was issued on Br 02206 while "Toddlin' Blues" was issued on Br 02501.
 
Bearing in mind that the reissue was a dub, one might have assumed that the original 78 would have been processed in London. However, perhaps at this date there were no decent copies of the Gennett available in the UK and so the dubbing and subsequent processing had to be carried out in the USA.
 
The derision of Red Nichols in the review demonstrates that even at this early date he was already something of a musical pariah, constantly judged against Bix, unfairly so in my view.
 
Nick
 


Posted on Aug 13, 2013, 2:55 PM

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Who was this ....

by

.... "critic" spewing such toxic material about Red?


Albert



Posted on Aug 13, 2013, 4:51 PM

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John Goldman

by Nick Dellow



The critic was John Goldman. His review of Davenport Blues was part of a more extensive review of Brunswick's "Classic Swing" series of reissues, which included The Wolverines, The Sioux City Six and King Oliver's Creole Jazz Band.

Goldman seems to have adopted a rather intransigent position as a reviewer, witness the following remark that appeared on the previous page of the magazine (which contained Goldman's review of six Wolverine Orchestra recordings):-

"Editor's Note: This review was written before we received the article on Bix by Vic Moore (published in the March issue). When I told John Goldman that Mr. Moore had said that it was Jimmy McPartland and not Bix that played in "Royal Garden Blues," he refused to believe it. In spite of the fact that Vic Moore's statement appeared to be unassailably accurate, Goldman maintained that the cornet playing in this record was the very essence of Bix and could not be McPartland."

One does not need to read too far between the lines to detect the annoyance of the editor of Swing Music magazine, Leonard Hibbs, at Goldman's somewhat stubbornly opinionated stance!




Posted on Aug 14, 2013, 5:16 AM

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The Original Wolverines' "Limehouse Blues"

by

Your interesting blog discussion in this thread this morning prompted me to listen to some 'Original Wolverines' tracks, several of which I'd not heard before. Found them at

http://www.redhotjazz.com/owolverines.html

I'm interested what others may report hearing in

"Limehouse Blues" , 5-24-1928 , Chicago IL , Vocalion 15708

as extraneous sound, in a few spots during the first 40 seconds or so.

Sometimes the choice of playing stylus can introduce extraneous noise not present in the original recording, I understand generally from reading a little on this subject. Maybe that is entirely what I hear in this "Limehouse." But I'm curious about others' aural interpretation here.

The first two seconds of this 'Limehouse' are silent recording, with the band starting play around the 2 second point. During these couple silent seconds, does anyone else hear a higher (female?) voice exclaim something like "You ain't finished talkin' to me here..."... and as band hits it's into notes, a deeper (male?) voice further back within the sound shouts something in response to the initial voice? The sound of the initial voice flickers again, seconds 7 to 9, and seconds 13 to 15, maybe.

Does anyone else hear anything like this in this audio file? Argument in the control room, 1928, maybe? Or all my imagination - Fred's variations on extraneous surface noise?

Posted on Aug 14, 2013, 9:48 AM

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I hear the voice at the beginning in the redhotjazz file...

by

I also hear it in

http://www.4-shared.eu/download/bnRsB2OcVUDR7fg4TgifzM/29-Limehouse-blues-[05-24-1928]-Original-Wolverines-Austin-High-Gang.html

but not in David Sager's CD of "The Complete Wolverines 1924-1928."

Is the voice in the original 78 or was it added later in transfers? Does anyone have a copy of the 78 and can listen to the grooves before the music starts?

Albert



Posted on Aug 14, 2013, 10:34 AM

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Re: I Hear the Voice....

by

I hear it, too! And it's not on the Sager CD. It would be good to hear from Dave Sager about what he heard and what his thinking was about its source or about cutting it out of his restoration. I'm not saying he should have left it in there, as it very much sounds like a woman, and no woman was intended to be on that recording at the time. Those unintended snatches are intriguing, though, especially one that sounds like a disgruntled girlfriend who just won't stop talking, even when the red light comes on!

Of course, Sager's issue on this and the following recording "Dear Old Southland" was his belief that the clarinetist was Teschemacher on these, not Bercov as formerly postulated.



Posted on Aug 14, 2013, 1:13 PM

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"THE VOICE"

by vince giordano

the voice/voices you are hearing are sounds produced when the owner of this record [or mp3] attempted to "fix" this track with a modern computer music program...and ruined it !!!

folks don't realize...the pure sound of a mint 78 played with the RIGHT needle does NOT need 2013 tampering by someone who doesn't know what they are doing !

there are a good handful of [small label] commercially made cds that came out with wonderful 1920s material that were also ruined by folks who tampered to much with the original music and made it sound like you were listening via Sputnik

Granted..there are some fine folks who do some minimum sound restoration with good taste...

hese folks that I've just spoken of do not have knowledge , taste or talent to mess with this...they are clueless !.


now, off my soapbox !

Posted on Aug 14, 2013, 9:43 PM

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I agree. Transfers.

by

This what I wrote in my IAJRC Journal review of David Sager's "The Complete Wolverines."

Transfers of acoustic 78 rpm records present a challenge for the audio engineer. Doug Benson is a minimalist. His approach is to start with original 78s in the best possible condition and process them as little as possible so as to allow the listeners brain to ultimately sort out the music from the noise. I favor such a philosophy. I advocate transfers that utilize the minimum amount of processing. I want to hear every bit of sound that was embedded in the grooves created on the wax by the cutting needle. I dont like over-processed restorations that sound perfectly clean. I am not impressed with the artificial (I would call it metallic, cold) sound associated with a so-called perfect digital transfer that removes every click, every bit of noise and introduces sounds that were not engraved in the grooves of the original record.

 

Albert

Posted on Aug 15, 2013, 6:09 AM

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Hearing voices

by Nick Dellow


I have a copy of the original 78 of Limehouse Blues. There are no voices anywhere on the record - not in the grooves before the music, during the music or after it. The voices heard on the redhotjazz transfer must have been added on, I presume by mistake. The other transfer you give a link to must be a copy of the redhotjazz file, and has been further "processed" (very badly!).

By the way, the intro and coda of this side remind me slightly of those hot Ben Pollack Victors from 1926/1927. Compare the intro on "Limehouse Blues" with that on "He's The Last Word" and the coda with "Waitin' For Katie", for instance. Not exactly the same of course, but a similar idea.



Posted on Aug 15, 2013, 12:39 AM

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To be fair

by

To be fair to John Goldman, it's clear from his review that he heard Bix's recording of "Davenport Blues" after he was already familiar with the Nichols versions and he regarded Bix's superior "artistry, balance, phrasing, emphasis and tone" as a revelation. In the writing about jazz in the late 1930's and early 1940's there's quite a lot of this judgmentalism, this quasi-prophetic pronouncements about who "is" and "isn't" a jazz musician, but one doesn't have to slam Red Nichols the way Goldman did to hear that Bix was considerably more imaginative. Bix doesn't come out on top on every tune both he and Nichols recorded (the July 1930 Nichols "China Boy" is both more dynamic than the Whiteman-Bix version and has strong solos by Nichols, Benny Goodman and especially Jack Teagarden that make it my all-time favorite record of the song) but he does on "Davenport Blues."

What I find odd about the post is Swing Music editor Leonard Hibbs using Vic Moore as a source to attack his own critic and regarding it as "unassailably accurate" that Jimmy McPartland, not Bix, played on the Wolverines' "Royal Garden Blues." Now we know not only that Bix DID play on "Royal Garden Blues," but Vic Moore didn't; it was from the Wolverines session on which Vic Berton sat in on drums!

Posted on Aug 14, 2013, 9:56 PM

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The "Wolverines" and the "Original Wolverines".

by

The Wolverines recorded Royal Garden Blues on June 20, 1924 with Bix on cornet. According to Sudhalter and Evans the drummer was Vic Berton. Evans and Evans give Vic Moore as drummer.

The Original Wolverines recorded Royal Garden Blues on Oct 12, 1927 with Jimmy McPartland on cornet and Vic Moore on drums.

I guess that the recording that John Goldman was discussing was the one by the "Original Wolverines," not that by the "Wolverines."

Albert



Posted on Aug 15, 2013, 4:54 AM

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Oops!

by

I realized my mistake as soon as I looked up the redhotjazz.com link on one of the other posts on this thread and saw the label scan for "Royal Garden Blues" by the "Original Wolverines" -- a 1927 record on which no one has ever seriously doubted the participation of either Jimmy McPartland or Vic Moore.

Posted on Aug 15, 2013, 2:34 PM

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Additional Information

by

Han Ederman writes,

"Nick wrote:

"The final paragraph explains why the British Brunswick of "Davenport Blues" was issued on Br 02206 while "Toddlin' Blues" was issued on Br 02501.
Bearing in mind that the reissue was a dub, one might have assumed that the original 78 would have been processed in London. However, perhaps at this date there were no decent copies of the Gennett available in the UK and so the dubbing and subsequent processing had to be carried out in the USA."
 
These dubs were done at the Decca Chicago studios (prefix C), and are part of a group of dubs of Wolverines, NORK, O'Hare, Bix, Hitch, Bailey's Lucky 7 and Oliver Gennetts. Matrix numbers within range C-90360 (Copenhagen; dubbed 14 Oct 1935) - C-90486 (Tiger Rag; 27 Nov 1935). Possibly these dubs had been ordered by UK Brunswick.
At the same time Decca also recorded Jess Stacy (mxs 90445-47, the 15 Nov 35 piano solos of Bix tunes) and Meade Lux Lewis (90469; Honky Tonk Train Blues recorded 21 Nov 35) for release on UK Parlophone.
And there were a lot of custom recordings (clothing commercials, a.o.).
These details from Charles Garrod, "Decca Chicago Master Numbers", Joyce Record Club Publ."
 
Thanks for the interesting information, Han.
 
Even more information and scans of record labels from Han in

http://www.network54.com/Forum/27140/message/1253031657/The+English+Brunswick+Issue+of+the+Wolverines%27+%26quot%3BTiger+Rag-%26quot%3B
 
Albert


Posted on Aug 14, 2013, 10:43 AM

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Math Geek sent an mp3 file of Lou Gold's "Better Get Acquainted."

by

https://www.dropbox.com/s/9gu01f9vtn0fcsq/BetterGetAcquainted-LouGold%281925%29.mp3
 
 
A puzzle. Rust's American Dance Band Disco gives Red Nichols, c; recorded Oct 5, 1925. However, Rust in the Jazz Disco writes, "The following personnel for Lou Gold's orchestra applies to the next seven sessions (Oct 5, 1925-Jan 7, 1926). Phil Hart, t." Does the horn player in Better Get Acquainted sound like Red to you? My guess would be Red. I listened to other recordings of Phil Hart with Lou Gold: for example, Sweet and Low Down (http://www.youtube.com/watch?v=rajzU28MW7Q) ; he does not sound like Red Nichols to me. 
At the same session, Lou Gold recorded Let's Wander Away. Lou Gold recorded the same tune earlier, on Aug 11 1925 with Roy Johnston on trumpet, according to the Dance Band disco. I could not find the Oct 5 recording, but the Aug 11 recording is available on youtube: http://www.youtube.com/watch?v=LpslpduKcDI It sounds like Roy Johnston to me.
 
Opinions?
 
Albert


Posted on Aug 12, 2013, 2:20 PM

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The thread in the Red Nichols facebook page.

by

 
I was asked to post the article(s) of Red with Lou Gold that were published in Shellac Stack. Luckily they are already scanned. (With the reorganization of the house my scanner is not hooked up and I do have to go online and reload the driver.)
 

 

  • Albert HaimSteve, I find it interesting that you were asked to post this. Earlier today, I had a post in the bixography forum where I discussed some of these recordings.
    - Better Get Acquainted. Oct 5, 1925. Sounded like Red to me in agreement with the article yo
    u posted..
    - Sweet and Lowdown. Jan 7, 1926. Rust gives Phil Hart on trumpet. The article you cited gives both Red and Phil There are two solos in the recording. Who plays them? I did not think it was Red. What is your opinion?
    - Let's Wander Away. Aug 11, 1925. Rust gives Roy Johnston. The article you cited gives Red Nichols. Sounded like Roy Johnston to me. The youtube video also assigns it to Roy Johnston. What is your opinion?

    Links to the recordings are given in
    http://www.network54.com/Forum/27140/message/1376342459/Math+Geek+send+an+mp3+file+of+Lou+Gold%27s+%26quot%3BBetter+Get+Acquainted.%26quot%3B


  • Albert HaimOne more question. What is the date of the article in Shellac Stack?


  • Stephen HesterLet's Wander Away and Better Get Acquainted are from the same session. Red verified his presence on all the Lou Gold records listed here. Dad and Woody sent him (and several others) tapes of thousands of records to listen to and evaluate. I remember Red does solo on Keep Your Skirts Down, Mary Ann from the Sweet And Lowdown session. Unfortunately at the moment I can not pull the record to listen to it. I still haven't been able to uncrate any of dad's records. I do not have the shelves ready, yet. I really do not know where Rust got the personnels he listed for the "dance band" records. Dad had worked up several Lou Gold lps (with and without Red) to issue, but we never issued them.
  •  
  • Stephen HesterOur friend, Paul Burgess, published the articles in his Shellac Stack. He published...Red Nichols On Edison, Red Nichols with Sam Lanin, and Red Nichols with Lou Gold. Dad had sent him copies of ALL the session worksheets from the 20s. They both had planned on publishing the entire output of Red's activities of the 20s. The exact date of the Gold articles, at this time I do not know until I uncrate them.
  •  
  • Albert HaimThanks, Steve. There were two recordings of Let's Wander Away by Lou Gold. One on Oct 5, 1925 (the same day as Better Get Acquainted) and one on Aug 11, 1925. I only heard the Aug 11, 1925 recording, the one where Rust gives Roy Johnston. In my posting to the bixography forum, I give links to all three recordings under discussion.
  •  
  • Stephen HesterThe personnels on the "dance band" records are very subjective and I doubt they will ever be 100% complete or accurate. Even though Red, Woody, Dad and I want that for the Nichols book...I doubt too that will happen.
  •  
  • Stephen HesterYes...Let's Wander Away was done by Lou Gold for Cameo and Pathe/Perfect. (I don't remember the Pathe version right now.) Red is also on the Plaza version too.
  •  
  • Stephen HesterI did just notice that dad did not (*) solos on the Pathe/Perfect session of Let's Wander Away. I wish I could get to the session worksheets and check it out...or even the records. I told both dad and Woody that I do plan on re-evaluated everything when I prepare the book.
  •  
  • Albert HaimWhat is the meaning of the *?
  •  
  • Stephen HesterRed solo. That was added by Paul. In our session worksheets we us RNs.
  •  
  • Albert HaimThanks for pointing out the significance of the *. The fact that there is no * in the Aug 11, 1925 recording of "Let's Wander Away" means that Red did not play the solo. So now we agree in my assignment of soloists in two of the three recordings that I cited in my forum posting.

    - Better Get Acquainted. Oct 5, 1925. Solo by Red.
    - Let's Wander Away. Aug 11, 1925. Red does not play the solo (no * in the listing). If we accept that Rust's roster is correct, the soloist is Roy Johnston, as I suggested..

    That leaves Sweet and Low Down. I assigned the solo to Phil Hart. In the article, you give the horn players as Red and Phil Hart. Since there is a * in the listing, you assign the solo to Red. I assigned it to Phil Hart. I listened to the recording again. I am somewhat uncertain. It could be Red. Maybe other members of the group would express their opinions?

Albert


Posted on Aug 13, 2013, 5:03 AM

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From the 1922 Caxy via Pauline Rivelli.

by

Pauline Rivelli wrote an article entitled "Bix at Lake Forest Academy" in Jazz, Vol 5, issue 3, 1966. She reproduced several pages from The Caxy, 1922. Here is one of them. It will be seen that Bix did not waste any time: by Oct 29, 1921,just over a month after arriving at LFA, he had organized a dance band.

[linked image]

Albert

Posted on Aug 12, 2013, 8:44 AM

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Vince Giordano and the Nighthawks at the Old Westbury Gardens.

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Let's hope the weather cooperates this time!!

- Wednesday, August 14th 5:00pm Gates Open /

- 6:30pm Dance Lesson

- 7:00pm 9:00pm Concert Vince Giordano & the Nighthawks Eleven-piece band playing music of the 1920s & '30s

- Bring a lawn chair or blanket & a couple of friends, and we'll provide the soundtrack for a delightful evening under the stars.

- Arrive early to picnic and stroll the gardens.

- Old Westbury Gardens 71 Old Westbury Road, Old Westbury, NY 11568

www.oldwestburygardens.org

Admission $10 Members & Seniors $8 / Kids 17 & under FREE.

If my wife is up to it, we'll be there. Her arm is healing nicely, but still a long ways to go.

Albert



Posted on Aug 11, 2013, 2:43 PM

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Gorgeous Weather in Long Island

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A perfect day to go to Old Westbury and spend a couple of hours listening to and seeing Vince Giordano and the Nighthawks in action.

[linked image]

Albert


Posted on Aug 14, 2013, 5:58 AM

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I'll be there.

by

My wife will not; she is still recovering from surgery after falling and fracturing her arm and is a bit afraid of walking on uneven surfaces..

If you know me, please stop by and say hello!

Albert



Posted on Aug 14, 2013, 11:12 AM

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A few of the numbers played by Vince and the Nighthawks ....

by

.... in The Old Westbury Gardens a couple of days ago.

http://www.nme.com/nme-video/youtube/id/9zG9g6Y7cCM

http://www.youtube.com/watch?v=nOasunKM_jY

I took a couple of photos.

- Here are Vince and the Nighthawks in action at about 7:30 pm.

[linked image]

When you see the band playing smoothly, effortlessly, you don't realize the enormous amount of preparation needed to bring the music to the audience. Here are Carol and Vince at about 5:45 pm on the stage.

[linked image]

They open boxes, bring out microphones, music stands, the Nighthawks bannners, all of Vince's huge instruments, etc. And this is the tip of the iceberg. Carol and Vince had to leave Brooklyn much earlier to drive the nearly 30 miles (rush hour!!) to Westbury with all the instruments, equipment,  etc. And there is much more: preparing the arrangements, rehearsing, practicing, making sure that the ten musicians are notified, getting substitutes if some of the regulars can't make it, etc, etc. As a chemist I am used to chemical magic, but this is much more complicated: I will call it musical magic. Thanks to Vince and all the Nighthawks for the magic they create everytime they have a public appearance and bring incredible pleasure to their audiences. The music is from the 1920s or 1930s, but it is as fresh when played by Vince and the Nighthawks as when it was first played almost a century ago.

Albert



Posted on Aug 16, 2013, 3:17 PM

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Bix in a thesis about Snoozer Quinn

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From Tulane University Theses and Dissertations Archive arrowA Musical Analysis and History of Eddie 'Snoozer' Quinn, Pioneering Jazz Guitarist by Kathryn Damaris Hobgood, April 2013.

Mentions of Bix:

- What is known about Quinn is that for a brief period of time he performed with some of the biggest names in early jazzsuch as Louis Armstrong, Bix Beiderbecke, Jack Teagarden, Paul Whiteman, and the Dorsey brothers.

- Adding to the problem of evaluating his legacy, solo recordings Quinn made for Victor Records were never released to the public and have been lost, as has a Columbia session with Bix Beiderbecke and Frankie Trumbauer.

- Quinn has been discussed briefly in biographies of other musicians such as Paul Whiteman, Bix Beiderbecke, and Frank Trumbauer, usually to mention his ancillary rolein the Whiteman Orchestra or to speculate about his presence on certain recordings.

- Tor Magnusson and Don Peak published discographical research in 1992 called The Recordings of Snoozer Quinn, Legendary Guitar Player. Written for The Jazz Archivist, the authors address Quinn's recording career, covering possible sessionswith Frank Trumbauer, Bix Beiderbecke, Bee Palmer, Bing Crosby, Tommy Weir, and Jimmie Davis, as well as the hospital session with Johnny Wiggs.

- Growing up, Eddie [Snoozy] played piano, violin, mandolin, guitar, and banjoas well as anything else from which he could coax a musical sound, including wind instruments. (According to his brother, He could take atrumpet and play Bix Biederbeckes [sic]chorus on I Cant Get Started so it sounded justlike Bix, but then his lip would give out halfway through. (NB. !!!!That was Bunny Berigan)

- According to Wiggs, Snoozer said: "I was with Peck a good while and I have played with a lot of other topnotch musicians. I can say that I got more pleasure out of hearing Peck play, more inspiration, than from any other musicians. Not that I havent gotten a terrific amount of pleasure from Louis, Bix and others, but Peck Kelley was the top.

The significance of Quinns hiring by Whiteman cannot be overstated. Whiteman was perhaps the most famous and well-respected bandleader in American at this time. He had the distinction of commissioning George Gershwins jazz concerto Rhapsody in Blue which premiered in Aeolian Hall in New York in 1924, an event that is considered a defining moment of the Jazz Age. That Whiteman hired Quinn underscores Quinns immense talent. On Saturday, December 8, 1928, Quinn left Louisiana to join the Whiteman Orchestra in New York City. He received a wire from Mr. Whiteman on the Friday before, ordering him to report to New York Monday morning.to begin rehearsing at once for Victor records.(In fact, at this time Whiteman was working for Columbia records.) Reporting to friends back home, Quinn was well received upon his arrival in New York. Interestingly, a recording session may have occurred sometime between December 10 and 20 in which Quinn himself was the featured act. According to the Bogalusa Enterprise: Records reproducing the steady strumming of a guitar in the hands of Eddie Quinn, local boy who recently joined Paul Whitemans orchestra in New York City, will soon be on sale in Bogalusa. This is according to a letter Quinn has written to H.E. Rester, of the Rester Motor Company, stating five of his guitar selections have been reproduced on records since he arrived in New York City. Quinn says he is receiving treatment befitting a king by other members of Paul Whitemans orchestra, and that he is having the time of his life in Gotham. The details of this session are a mystery. Since it was not documented in the Columbia logs, it could have been an impromptu session organized by the musicians themselves. Such events were called wildcat recordings, in which the band members would record (sometimes for other labels) using pseudonyms since they were usually violating the terms of their contracts. This session could have been the one described by Quinn later to his friend Johnny Wiggs. According to Wiggs, Quinn told him that he had recorded some sides with Beiderbecke and Trumbauer: Beiderbecke, Trumbauer and the others decided that they must have a recording session without delay. Snoozer had been singing along in his peculiar sort of way, a humming accompaniment to his guitar playing somewhat in the fashion of the later-day Slam Stewart, and they wanted to put that on wax. Snoozers memory is not exact, but he believes thesession was arranged for Columbia. He recalls that four sides were made, including Singin the Blues.On each side he did a humming chorus,but he remembers none of the other titles. And he remembers only Bix and Trumbauer among the other musicians who took part. The records were never released. [NB. This could well be the recording session with Bee Palmer.]

- One of Quinns biggest fans was Bee Palmer. Palmer was a chorus girl in the Ziegfeld Follies who also had a notable solo career. Called the Shimmy Queen, and for a time associated with the New Orleans Rhythm Kings, Palmer was well-known for her sensual and naughty performances, her famous dance, and her unusual voice. She regularly hosted parties and jam sessions in her New York apartment. Wiggs told the story of a late night jam session at Palmers apartment where she was so impressed by Quinns abilities that she told the other musicians to stop playing, including Bix and Tram.

- Quinn appears on a Bee Palmer recording session that took place for Columbia on January 10, 1929.Songs recorded were Dont Leave Me Daddy and Singin the Blues. Other Whiteman personnel included Bill Rank, Irving Friedman, Frankie Trumbauer, Charles Strickfaden, Lennie Hayton, Min Leibrook, George Marsh, and BixBiederbecke.Though these sessions were never issued by Columbia, in recent years test pressings were discovered and have been released.

Nothing really new, but interesting nonetheless.

Albert



Posted on Aug 11, 2013, 6:49 AM

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Re: Snoozer Sessions

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Here again is a vague but intriguing reference to wildcat sessions involving Bix.

Posted on Aug 12, 2013, 5:39 AM

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new business in F

by hal smith

http://www.youtube.com/watch?v=-Bhiqx6_c54

Posted on Aug 10, 2013, 10:51 PM

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Um, yeah...

by John Leifert

I've unfortunately been in public spaces where they've actually played things like this, and believe me that this isn't turning anyone on to the old bands at all, much less the great, high spirited Gene Kardos band. It's just morphing a soundbite or lick from the record and turning it into something to dance to while you're high on... something. The creators seem to be saying: "Oh, look how clever we are, turning something old and silly into something NEWWWWW!"

I say "EWWW".

Poor Gene Kardos; it's a good thing he never lived to experience this.

John L

Posted on Aug 12, 2013, 9:23 AM

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Right on the mark, John. I feel exactly the same way.

by

Leave the old music alone or show respect to it by playing it like it was.

Albert



Posted on Aug 12, 2013, 2:23 PM

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A very interesting interpretation of "Idolizing" by Ross Gorman's Orchestra.

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Ross Gorman recorded "Idolizing" twice in November 1926, the first time on Nov 3 issued as Edison 51876- and again later in November issued as Cameo 1063 and Romeo 323. Here are the images of the record labels thanks to the generosity of Steve Hester.

[linked image]

[linked image]

[linked image]

These are not listed in Rust's or Mitchell's discographies.

Here is a posting in http://edisonphonos.proboards.com/thread/

Post by neophone on Oct 3, 2006 at 10:54pm
Gents,

Now I've always loved Goldkette's hit of "Idolizing" but I think DD 51876-R "Idolizing" performed by Ross Gorman And His Orch is the best recording of it that I've ever heard! Who were the personnel on this recording? It really has that New York sound I think it's called. I can't help but think of the young Dorseys, Miff Mole, Mezzrow and that lot.

Anyone have any other favorite recordings of "Idolizing"?

Regards,
J.
 
Eddie Lang's specialist Mike Peters gives
 
Ross Gorman and His Orchestra
ca November 1926
Cameo Record Co,., New York City
Orchestra including Eddie Lang, guitar.
2193 Idolizing - Cameo 1063 (solo - 32, break)
Note: same arrangement as Nov 3, 1926 Ross Gorman Edison recording.

Here is the recording.
 
 
I find it somewhat sunusual. At times it sounds dated, at times state of the art in late 1926. The solos are quite advanced. The ensemble work seems in several instances from an earlier era. Eddie Lang on guitar. The clarinet solos are by Ross Gorman. Who is the trombonist? Miff Mole as "neophone" suggests? Opinions?
Albert


Posted on Aug 10, 2013, 1:28 PM

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Trombone not Miff

by John Leifert

The Edison's by Gorman - actually ANY Gorman from the '26 / '27 period - are very interesting. For the most part what's listed in Rust for the personnel is almost completely at odds with what we're actually hearing on the records themselves -the cream of NY studio musicians, including Eddie Lang on guitar, and even Jimmy Dorsey (who can be heard on the Edison of "You're Burning Me Up (Turning Me Down)"; on the flip, "Hawaiian Rose", he imitated a Hawaiian guitar on his alto sax solo, and there are Eddie Lang guitar solos on both "...Burning" and "Hawaiian Rose").

However, having said that, the trombonist on the Edison of "Idolizing" is not Miff Mole; this trombonist has ideas that just aren't fluid, not at all in the way that Miff could interpret. Frankly, I haven't a clue!

John L

Posted on Aug 12, 2013, 9:36 AM

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Jean Goldkette, the entrepreneur.

by

I just learned about another of Goldkette's activities. From a 1928 issue of Radio Digest:

The capable and successful broadcast station of today is a four square institution with one face on a par with the o t h e r . It must have an a r t i s t i c f r o nt and a social f r o n t ; it must have a technically efficient front and a business front. With all four fronts well established it is a f o u r s q u a r e success, and W J R is a four s q u a r e station.

On the a r t i s t i c f r o n t stands Jean Goldkette, musical director of the station. Mr. Goldkette enjoys national fame for his genius both as a d i r e c t o r and concert pianist. His name heads a dozen orchestras playing in Detroit, Chicago and Kansas City. Goldkette orchestra Victor records are in big demand. I t would be hard to find a more able and talented person t o supervise the a r t i s t i c front of WJR.

Albert



Posted on Aug 10, 2013, 7:52 AM

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From the Marcelius, NY Weekly Observer, April 2-6, 2003.

by

"Syracuse's Tommy Bridges, who portrayed Bix in a 1981 documentary film, will play cornet for the Stompers."

Does anyone know anything about this?

Albert



Posted on Aug 8, 2013, 5:30 PM

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Maybe Berman's Documentary?

by

The year fits, but no credit is given to Tommy Bridges in http://lcweb2.loc.gov/diglib/ihas/loc.natlib.jots.200013871/default.html

Maybe I will take a look at the credits at the end of the video.

Albert

BIX: AIN'T NONE OF THEM PLAY LIKE HIM YET / Brigitte Berman [motion picture]

Title BIX: AIN'T NONE OF THEM PLAY LIKE HIM YET [motion picture] Director Brigitte Berman Place of Publication/Creation Canada Copyright Date 1981 Form motion picture Source Information from: "Jazz on the Screen" by David Meeker. Used with permission. Notes Feature film (over 60 minutes). Dramatised documentary charting the life and music of Leon "Bix" Beiderbecke, narrated by Richard Basehart, which took four years to make and eventually premiered in New York on 6th August 1981, exactly 50 years to the day of Bix's untimely death. Songs (recorded) "Jazz me blues" by Tom Delaney; "Royal Garden blues" by Clarence Williams, Spencer Williams; "Tiger rag" by Harry Da Costa, Edwin B. Edwards, Nick La Rocca, Tony Spargo, Larry Shields; "Cloudy", "In a mist", "Davenport blues" by Bix Beiderbecke; "I didn't know" by Williams, Jones; "My pretty girl" by Fulcher; "I'm coming Virginia" by Will Marion Cook, Donald Heywood; "Idolizing" by Sam Messenheimer, Abrahamson, West; "Clementine" by Henry Creamer, Harry Warren; "Singin' the blues" by Sam M. Lewis, Joe Young, Con Conrad, J. Russell Robinson; "Riverboat shuffle" by Hoagy Carmichael, Irving Mills; "Krazy cat" by Chauncey Morehouse, Frank Trumbauer; "Sorry" by Howard Quicksell; "Changes" by Walter Donaldson; "From Monday on" by Bing Crosby, Harry Barris; "Sweet Sue" by Will J. Harris, Victor Young; "Coquette" by Gus Kahn, Carmen Lombardo, John Green; "Lonely melody" by Sam Coslow, Benny Meroff, Hal Dyson; "Gipsy" by Matty Malneck, Signorelli, Gilbert; "That's my weakness now" by Bud Green, Sam H. Stept; "China boy" by Dick Winfree, Phil Boutelje; "Waiting at the end of the road" by Irving Berlin; "I'll be a friend with pleasure" by Maceo Pinkard. Personnel on Camera Interviewees:- Mary Louise Shoemaker (Bix's sister), Hoagy Carmichael, Bill Challis (arranger), Esten Spurrier (cornet), Vera Korn (girlfriend), Mrs Bettendorf (school colleague), Fritz Putzier (school friend), Charlie Davis (pianist), Reagen Carey (sax player), James Regester (Indiana student), Spiegle Willcox (trombone player), Dave Wilborn (bjo player), Jess Stacy, Fred Bergin (pianist), Doc Cheatham, Matty Malneck (violinist), Al Rinker (vocalist), Izzy Friedman (clarinetist), Kurt Dieterle (violinist), Jack Fulton (trombone player), Roy Maier (sax player), Artie Shaw, Squirrel Ashcraft (pianist), Herb Weill (drummer), Al Duffy (violinist), Paul Mertz (pianist), with the voice of Louis Armstrong. Soundtrack Personnel Background instrumentals: Richard Williams, cornet; Dill Jones, Earl French, piano.

Posted on Aug 9, 2013, 10:14 AM

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A great photo of Wrixon's Capitol Harmony Kings. A generous gift from Bix aficionado ....

by

.... Frank Hagenbuch. Thanks very much, Frank.

On Jul 6, 1921, Bix joined the Doc Wrixon band aboard the Capitol steamship.

[linked image]

Doc Wrixon's band was billed as "Ten Capitol Harmony Syncopaters [sic]". Take a look at the ad for an excursion in the Jun 17, 1921 issue of the La Crosse Tribune and Leader-Press.

[linked image]

The band played for the Moonlight Dancing Trip. According to Sudhalter and Evans, "Bix: Man and Legend,", "the old stern-wheeler worked the river from Hannibal, Missouri, deep in Huck Finn country, all the way up to Winona, Minnesota, east of Rochester. Most of the trade was in 24-hour charter jobs."  When the Capitol docked in Davenport on July 15, the musicians union officials had Bix removed from the band because he did not have a union card.

Albert " Doc " Wrixon and his band-(Steamer " Capitol ", Jun 1921)--Johnny Watson-(Tb)/ Bud Shepherd-(Pn) / Happy Conger-(Bj) / Omer Van Speybroeck-(Tnsx) / George Byron Webb-(Asx) / Vic Sells-(Cnt) /Grant Harris-(Cl) /Albert " Doc " Wrixon-(Lead-Drums).

Here is Frank's photo:

[linked image]

Several postings about Doc Wrixon's band in the forum.

Albert



Posted on Aug 8, 2013, 2:26 PM

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A Preview of the soundtrack of "Boardwalk Empire," Vol. 2.

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[linked image]
Vince Giordano and the Nighthawks and vocalists.
http://www.vintagevinylnews.com/2013/08/listen-elvis-costello-goes-1920s-with.html

The track list:

  • Strut Miss Lizzie (David Johansen featuring Vince Giordano & the Nighthawks)
  • Old King Tut (Stephen DeRosa featuring Vince Giordano & the Nighthawks)
  • It Had To Be You (Elvis Costello featuring Vince Giordano & the Nighthawks)
  • Everybody Loves My Baby (Vince Giordano & the Nighthawks)
  • You've Got To See Mama Ev ry Night (Or You Can't See Mama At All) (Liza Minnelli Featuring Vince Giordano & the Nighthawks)
  • Baby Won't You Please Come Home (Leon Redbone featuring Vince Giordano & the Nighthawks)
  • Make Believe (St. Vincent featuring Vince Giordano & the Nighthawks)
  • Lovesick Blues (Pokey LaFarge featuring Vince Giordano & the Nighthawks)
  • Nobody Knows You When You're Down And Out (Neko Case featuring Vince Giordano & the Nighthawks)
  • Who's Sorry Now (Karen Elson featuring Vince Giordano & the Nighthawks)
  • You'd Be Surprised (Stephan DeRosa featuring Vince Giordano & the Nighthawks)
  • I'm Going South (Margot Bingham featuring Vince Giordano & the Nighthawks)
  • Sugarfoot Stomp (Vince Giordano & the Nighthawks)
  • Jimbo Jambo (Rufus Wainwright featuring Vince Giordano & the Nighthawks)
  • There'll Be Some Changes Made (Kathy Brier featuring Vince Giordano & the Nighthawks)
  • Somebody Loves Me (Margot Bingham featuring Vince Giordano & the Nighthawks)
  • All Alone (Chaim Tannenbaum featuring Vince Giordano & the Nighthawks)
  • The Prisoner's Song (Loudon Wainwright III featuring Vince Giordano & the Nighthawks)
  • I Ain't Got Nobody (Patti Smith featuring Vince Giordano & the Nighthawks)
  • I'll See You In My Dreams (Matt Berninger featuring Vince Giordano & the Nighthawks)
Albert


Posted on Aug 8, 2013, 9:50 AM

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Re: A Preview of the soundtrack of "Boardwalk Empire," Vol. 2.

by hal smith

Whats with all the vocalists, I'm starting to cringe at this. elvis costello? Elvis sounds like he just got out of the ring after going 10 rounds with rocky graziano. was there a Bing Crosby?

Posted on Aug 8, 2013, 10:08 AM

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Great News!

by

From Richard Halpern in facebook.

This just in: Good News for Vince Giordano and his Nighthawks! Following the sad demise of their 5-year engagement at Sofia's next week, Vince and the gang with be starting right up again just a few short blocks away at Iguana Restaurant and Dance Lounge! Their opening night will be Monday, September 9th, and they will be in residence every Monday and Tuesday! Now, that IS good news! Thank you SO much, Iguana for letting the music continue.
http://www.iguananyc.com/
Albert


Posted on Aug 9, 2013, 5:25 AM

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Russell Davies. Please sign the petition.

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From Barry McCanna.

Hello!

I've signed the petition "BBC Radio 2: Reverse their decision to drop
the Russell Davies Song Show Sunday 9pm" and need your help to get it
off the ground. Will you take 30 seconds to sign it right now? Here's
the link:

http://www.change.org/en-GB/petitions/bbc-radio-2-reverse-their-decision-to-drop-the-russell-davies-song-show-sunday-9pm


Here's why it's important:

Although the Russell Davies Song Show could be seen as a 'niche'
programme, I know it has a very loyal and devoted fan-base, both here
in the UK and abroad. It is one of very few national radio programmes
which features popular songs of the highest quality written with care
for rhyme, style and sophistication of content in what might be called
the Golden Age of Song, approximately1910-1970, and primarily in USA.
It is sometimes called the Great American Songbook and individual songs
are often referred to as standards. Russell Davies is extemely
knowledgeable and his programmes are consistently entertaining,
informative and often amusing. He is erudite and his show stands out
amongst what is becoming an increasingly anodyne and bland radio
station. I can see no good reason for his show to be discontinued and
ask the 'powers-that-be at Radio 2 to reconsider their short-sighted
decision to drop it from their schedules.

Thanks!

Barry



Posted on Aug 7, 2013, 7:11 AM

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Thank you

by Russell Davies

Thank you, both to Barry and Prof. Albert, for this support. My Song Show on BBC Radio 2 from London has run nearly 600 editions without having to repeat itself, and although I have to operate a vocal-records-only rule, which cuts out some of the best of instrumental Bix, I have been able to include a lot of Bix/Bing/Whiteman material, Trumbauer recordings with vocals both acceptable and dire, plus the late Carmichael and Beiderbecke Orch. items, the Chicago Loopers, and so forth. And it has always been a pleasure to trace the continuing Bix influence, both in instrumental playing and the phrasing of vocalists, some of whom probably didn't realise they were using Bix cadences.
The writer Hilaire Belloc once said "It is the best of all trades to make songs, and the second best to sing them." The point of my radio show is to emphasise the truth of this (though as a musician, I would say "sing and/or play them"). Anybody who has similar feelings would be doing music a favor by responding to Barry's request -- which incidentally is his own initiative, not mine. But I do thank him for taking this trouble.
Best wishes,
Russell Davies

Posted on Aug 13, 2013, 3:47 PM

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The Latest Issue of the IAJRC Journal.

by

Volume 46, No. 2, June 2013.

An excellent article by Chris Barry, friend and co-author of the "Alice and Bix" article.
Whither One Wolverine: George Johnson.

An article by Albert Haim.
Red and Miff: Their First Recording Session Together.

A contribution to the Discographical Forum by Albert Haim.
The June 13, 1928 recording session of the Original Memphis Five.

I will upload my two articles later today or tomorrow.

Albert



Posted on Aug 7, 2013, 7:05 AM

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The Link to the Red and Miff Article.

by

http://bixbeiderbecke.com/RedMiffSubmittedCorrected.doc

Albert



Posted on Aug 7, 2013, 8:01 AM

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The Link to "The June 13, 1928 recording session of the Original Memphis Five."

by

http://bixbeiderbecke.com/OriginalMemphisFive13June1928ArticleSubmitted.doc

Albert



Posted on Aug 7, 2013, 8:07 AM

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om5

by

I don't agree with these so-called "experts" - a] the trumpet/cornet sounds nothing like Napoleon and b] the bass sax. is clearly audible to anyone who doesn't have cloth-ears!

Posted on Aug 10, 2013, 6:25 AM

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Pete Kellys Blues (1955) trailer/production short .

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http://www.youtube.com/watch?v=L6zEgkifL4g

From bixbeiderbecke.com

Bix, Jack Webb, and Pete Kelly's Blues.
    Jack Webb is a well-known television and film actor, producer, and director. He was a jazz enthusiast. According to Charlotte Younger, Jack Webb had a collection of 6000 jazz albums and practiced the cornet for hours. Jack Webb "wanted to produce and direct a motion picture on the life of Jazz Immortal Bix Beiderbecke." (Time Magazine, March 15, 1954) He never did, but he directed, produced, and starred in the 1955 motion picture "Pete Kelly's Blues" which takes place during the 1920's. In the film, Jack Webb plays Pete Kelly, a cornet player and band leader of "Pete Kelly's and His Big Seven" (really, Matty Matlock Dixielanders).
    Early in the film, there is a reference to Bix. Edmond O'Brien plays a mobster who is trying to muscle in and take over the band. The musicians in the band decide to resist O'Brien efforts, except for Lee Marvin, who plays Al Gannaway, a clarinetist, and chooses  to quit the band. At that point, the following conversation between Al and Pete ensues.
Pete: "Where do you think you'll go?"
Al: "East, maybe; thought I might try to catch up with a big outfit, Goldkette, somebody like that."
Pete: "Paid up, got train fare?"
Al: "I'll catch a bus out of St. Louis. I ought to be used to it by now. I bet I spent half my life in bus stations. Ain't that the dangest thing? Sure wish you'd go along, Pete. You'd do good with someone like Goldkette."
Pete: "Who's playing horn there?"
Al: "Bix, I guess."
Pete: "I'm safer here, Al."
    As an aside, there is an interesting question about the participation of Joe Venuti in the film. According to the film credits, the band "features the talents" of  Dick Cathcart (cornet), Moe Schneider (trombone), George Van Eps (guitar), Ray Sherman (piano), Matty Matlock (clarinet), Eddie Miller (saxophone), Nick Fatool (drums), and Jud De Naut (string bass). According to The Guide to Jazz in Film Bibliography, Joe Venuti also plays in the Big Seven band. This is in error. The band consists of the eight musicians listed above and does not include Joe Venuti.  However, I found a mention of Joe Venuti in the entry for the film in the Cinemania 97 CD. According to the information provided, Joe Venuti is an uncredited member of the Tuxedo Band. The problem left is the identification of the Tuxedo Band. As far as I can tell, there are three distinct bands in the film. 1. Pete Kelly and His Big Seven. 2. A band of black musicians who play at a funeral at the beginning of the movie. 3. A small combo of black musicians accompanying Ella Fitzgerald. None of these groups includes Joe Venuti. Can anybody shed some light on this puzzle? Please write to ahaim@hotmail.com
Addendum 9/8/99: The Library of Congress has a website entitled "The Guide to Jazz in Film Bibliography" at http://lcweb.loc.gov/rr/mopic/jazz/o-r.html   In the review of "Pete Kelly's Blues", it is stated that the film "includes two numbers by Ella Fitzgerald, backed by Don Abney, Larry Bunker and Joe Mondragon.  Also features Perry Bodkin, Teddy Buckner, Dick Cathcart, Nick Fatool, Harper Goff, Thomas Jefferson, Matty Matlock, Eddie Miller, Jud de Naut, Moe Schneider, Ray Sherman, George Van Eps and Joe Venuti performing "Bye Bye Blackbird," "Hardhearted Hannah," "He Needs Me," "I Never Knew," "Oh, Didn't He Ramble," "Pete Kelly's Blues," "Sing Me a Rainbow," "Somebody Loves Me" and "Sugar." I highlight Joe Venuti. This is the second mention of Joe Venuti being present in the soundtrack of the film. Clearly, Joe Venuti  is not present in the video portion of the film. A violonist is never seen playing with the band. Could Venuti be in the soundtrack? Is it possible that the video tape does not contain all of the footage included in the film version?  I am going to watch the movie again and will listen carefully in search of aural evidence of the great Joe Venuti's violin sound. I will report in due course.
Addendum, 12/28/99:  Steve Cooper ( a Red Nichols expert who, with his band The Dixie Patrol, recreates the sound of Red Nichol's 1950's Capitol recordings) writes: "I just saw an article about Pete Kelly's Blues on the internet.  The Tuxedo Band was in the TV Series of Pete Kelly's Blues, not the film.  However, on the TV soundtrack album, there is NO violin in the 4 Tuxedo Band tunes. So I guess Joe Venuti was not associated in the movie at all." He adds on 12/29/99: "I've noticed lots of filmographies have erroneous information, so this is just "par for the course."
Addendum, 11/26/02: Ray Sherman writes on  25 Nov 2002, "The Tuxedo Band is the "society band" at the rich girl's party towards the middle of the picture.  Venuti could be on the sound track for that scene."

Albert



Posted on Aug 7, 2013, 6:10 AM

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Connection to the Film Score

by Malcolm Walton

Just as a matter of interest, I own the Martin Committee Trumpet that Dick Cathcart used for most of his playing and, in all probability, is the same instrument played on the Film soundtrack ! Dick also made a very good LP entitled Bix MCMLIX on Warner Brother WS 1275 featuring 12 tracks associated with Bix.

Posted on Aug 10, 2013, 12:52 AM

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Hello Malcolm; is the trumpet your have ....

by

.... one of these? http://www.trumpetmaster.com/vb/f140/dick-catharts-41-martin-committee-58525.html

From wikipedia

Charles Richard Cathcart (November 6, 1924 November 8, 1993) was an AmericanDixieland trumpet player.

Born and raised in Michigan City, Indiana; Cathcart was best known as a member of the Lawrence Welk orchestra, in which he appeared on the Maestro's television program from 1962 to 1968. Before that, he played with bands led by Ray Noble and Ben Pollack and had stints with Bob Crosby and Alvino Rey. He also worked as a studio musician for MGM Studios from 1946 to 1949.

Cathcart was also close friends with actor/producer Jack Webb, whom he met while they both served in World War II. He later provided the music on Webb's radio and television series Dragnet, and made his acting debut in the movie version as well. He also appeared in Webb's other film Pete Kelly's Blues in which he played a cornet player.

Here is a recording of "Goose Pimples" fromHe joined the Welk orchestra in 1962 as a trumpet player, and also sang with the Curt Ramsey Quintet as well. In 1964, he married Peggy Lennon of the Lennon Sisters, and would have six children along with the three he had from his first marriage.

After leaving Welk, Cathcart continued performing with several other Dixieland Jazz bands until his death from cancer in 1993, aged 69.

Here is a recording of Goose Pimples by from Pete Kelly's Blues radio show (9/19/51).

http://www.youtube.com/watch?v=IyldUsN-xHU

The arrangement is clearly based on Bix's recording.

And here is his interpretation of Candlelights.

http://www.youtube.com/watch?v=j60YxE3tTdY

From bixbeiderbecke.com

Bix MCMLIX. Warner Brothers W 1275. The album contains a number of songs identified with Bix played by Dick Cathcart on trumpet  with orchestral arrangements and direction by Warren Barker. Some of the songs, which were recorded in December of 1959, are Jazz Me Blues, In A Mist, At the Jazz Band Ball, Singin' the Blues and I'm Coming Virginia.

From http://www.discogs.com/Dick-Cathcart-BIX-MCMLIX/release/4193103

[linked image]

[linked image]

[linked image]

[linked image]

Albert



Posted on Aug 10, 2013, 5:29 AM

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Aug 6, 1931. RIP, Bix.

by

Bix's physical life ended 82 years ago. But Bix is alive through his musical legacy. Play severl Bix records today and be amazed -and thankful- by what he was able to do in his too short life.

[linked image]

http://www.youtube.com/watch?v=xma8PvEOk2I

Albert



Posted on Aug 6, 2013, 8:05 AM

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To Honor Bix (and Andy's version is great)

by

-- a friend from Kentucky was in town visiting, and accompanied me and my husband Rick to Jerry's Used Records in Pittsburgh-- so of course we were digging as much through the jazz -- and 78's -- as the opera/classical. That was the first homage to Bix (I'm sure Bix must have enjoyed browsing record shops in his day, and those were the times when a customer could listen to selections of a 78 before buying -- Jerry and Willie allow the same thing for their records they sell: try 'em out before buying, whether it's a 78 -- not on old Victrola, alas -- or an LP.) I wanted desperately to find another copy that Metropolitan Jazz Octet LP for John, but I'll dub my own record onto cd so he can have a copy of that fabulous version of Bix's In The Dark.

We played Bix selections today after going to lunch and returning back to the house, and since John just left for the 7 hour drive back to Louisville, I got online to listen again to Bix favorites on YouTube -- the Okeh Blue River with its 1920's photo accompanyments of people swimming and boating; the 1924 version of Riverboat Shuffle, and Bix's Ostrich walk, and then the Josh Duffee Trumbauer Band performing Ostrich Walk with Andy Schumm doing a splendid, admirable turn -- really marvelous at capturing that Bix sound, and not as an imitation, but the perfect essence.

Glad those of you who went to the Fest had a good time, and I'm looking forward to hearing more about it!

Laura



Posted on Aug 6, 2013, 12:37 PM

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Re: August 6

by

People come with varied gifts--some of us with some good ones, some of us with a few, small ones. Bix came into this world blessed with one great gift, and whatever else he did, he was faithful to that one. He never knew it, but by doing so he also has given great joy to many, many people since.

We got to share that joy together last weekend. Thank you, Bix.

"Well done, good and faithful servant," says it all.



http://www.youtube.com/watch?v=MJgfGK7jTho

Posted on Aug 6, 2013, 4:03 PM

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The Bix Fest in Davenport

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I'd say the festival was a great success. The crowds seemed to be larger and I KNOW the music was great as were the seminars...especially the "scoop" Albert shared with us about Bix's girlfriend and his finding Bix's piano. I'll leave it Albert to report about that and what he thought about the festival as I'm no doubt bias. Here's a link to one article in the QC Times newspaper. I don't know how the reporter thought I'd replaced my Dad on the BBMS board (that's the only error in the article). My Dad was never on the board, but of course I have been for several years now.

Many thanks to all who attended this year! During the festival, I personally enjoyed spending time with actor and singer Johnny Crawford, best known for his role as Mark McCain in the old "Rifleman" TV show of the late 50's and early 60's. He's blessed with a keen sense of humor and a very pleasant singing voice. Johnny performed with Josh Duffee's band and pianist John Weber during the festival.

http://qctimes.com/news/jazz-lovers-celebrate-bix-at-his-gravesite/article_c281eb9d-6a18-59a6-a6ef-93e680ba63ed.html



Posted on Aug 4, 2013, 9:42 PM

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The Highligths of the Festival (in my opinion).

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- Four fantastic bands (in alphabetical order)  
    * Josh Duffees Graystone Monarchs
    * Dan Levinsons Roof Garden Jass Band
    * Randy Sandke's New York All-Stars
    * Andy Schumm & His Flatland Gang

- The Bix Lives Award presented to Gerri Bowers, Bix historian, co-author with Rich Johnson of "Bix, The Davenport Album," member of the Bix Society and the Bix Museum Boards, my contact in Davenport who took care of receiving Bix's piano and taking care of it while in Davenport. Highly deserved. Congratulations, Gerri!

- My lecture about Bix, Alice and Bix's piano.

- My giving Bix's piano as a permanent loan to the Bix Museum.

- The playing of "In the Dark" by Mark Shane on Bix's piano.

- The overall atmosphere during the festival, with hundreds  of devoted Bix fans taking on the sights, the music and the magic of Davenport.

To the organizers of the Festival: well done, guys!

Someone (I forget who, sorry!) made a very important suggestion: Bix's piano should be brought out during the Bix Festival every year, placed on exhibit, and one pianist would be assigned to play Bix's piano compositions. It should become part of the special events. I suggest a similar commemoration about Bix's cornet. It should become an integral part of the festival (not an event on Th afternoon) with one cornet player playing several of the most important Bix's recordings. The playing of Bix's cornet and piano could be one of the highlights of the festival, perhaps a one-hour event on Saturday evening in the Adler Theatre with no competing events.

Albert

[linked image]

Thanks to Jim Petersen for his thoughtful (and generous) presentation of a plaque about Bix's piano. (See below)

[linked image]

I must say that I am surprised that, except for my lecture on Friday morning, there was no official mention (as far as I can remember) of my permanent loan of Bix's piano or of Jim's gracious gift of the plaque to the Bix Museum and Archives...    



Posted on Aug 6, 2013, 4:38 PM

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Re: Bix's Piano

by

I was fortunate enough to be attending the performance in the Adler when Mark Shane played an unscheduled "In the Dark." Needless to say, it was a uniquely moving experience. Bix may well have played that piece when trying out his purchase, and it was a moment in history to hear it played, perhaps for the first time since then.

Quite a few people reported making an impromptu visit to the Adler to see, touch, or even strike a few notes as the piano sat in the middle of the stage in the darkened theatre. Your part in bringing it there was well known, but I agree that there would have been quite a crowd had the Society scheduled a special session, perhaps with pianists from all the bands (all of which were quite proficient) taking a turn at one of Bix's recorded piano performances (even "Big Boy" and the Bix, Tram and Eddie sessions) and his solo compositions. Pianos need to be played, and I am sure that Bix would have preferred his piano be used in performance rather than merely a permanently roped-off museum piece.

Your suggestion to make the piano the centerpiece of an annual scheduled performance is an excellent one. I also like the idea of the Bix cornet being used at the same time in a concert of Bix's music, and I believe it would be an attraction that would fill that huge balcony in the Adler! Such an event would be an effective way to generate media and public interest in the Beiderbecke Festival. I can imagine a segment on NPR already, not to mention a wonderful video clip for other media!

Josh Duffee, how about scheduling it at the top of your list of events for next year?

Posted on Aug 7, 2013, 5:59 AM

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I forgot to mention that Josh Duffee, ....

by

.... a man of multiple talents, among them he is the foremost Jean Goldkette specialist, stated, in a matter-of-fact manner, that the controversial "Birmingham Bertha" was recorded by the Jean Goldkette orchestra. Indeed, all the facts that Nick and I reported in our two-part article and the aural evidence provide definitive proof that "Birmingham Bertha" was not recorded by McKinney's Cotton Pickers or a mixed Goldkette-McKinney's band but by an orchestra made up exclusively of Goldkette musicians.

http://www.vjm.biz/159-goldkette.pdf

http://www.vjm.biz/160-goldkette.pdf

Albert



Posted on Aug 8, 2013, 5:12 PM

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WVIK, the radio station of Augustana College ....

by

.... had a short segment on Bix's piano.

http://www.wvik.org/wvik-news/bixs-last-piano.html

Albert

 



Posted on Aug 7, 2013, 5:11 AM

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Some Images

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Friday, Aug 2, 2013, River Music Experience, after my Alice and Bix seminar. Randy Sandke, John Otto and Albert Haim (who needs a haircut). Courtesy of Bob Jacobsen.

https://sphotos-a-ord.xx.fbcdn.net/hphotos-frc1/998074_697250486956783_1121915562_n.jpg

Friday, Aug 2, 2013, Adler Theatre. Albert Haim in front of Bix's piano. Courtesy of Debbie White.

https://fbcdn-sphotos-g-a.akamaihd.net/hphotos-ak-ash3/1098061_10201934067056226_1874668306_n.jpg

Friday, Aug 2, 2013, Adler Thatre. John Otto, John Landry and Albert Haim examining Bix's piano. Courtesy of Vicki Wassenhoff, daughter of Bix's friend Les Swanson.

https://lh4.googleusercontent.com/-_VE4bzgw_iE/Uf-tNWC1FdI/AAAAAAAARTI/e9Dwq1q8B8U/w855-h568-no/IMG_8009.JPG

Saturday, Aug 3, 2013, River Music Experience, Fred Beiderbecke and Albert Haim. Courtesy of Debbie White.

https://fbcdn-sphotos-d-a.akamaihd.net/hphotos-ak-ash4/p480x480/1011560_10201934052495862_628955024_n.jpg

Aug 2, 2013. Randy Sandke's New York All-Stars. Courtesy of Vicki Wassenhoff, daughter of Bix's friend Les Swanson.

https://lh6.googleusercontent.com/-n-1FAFG9z98/Uf-tJJHTa-I/AAAAAAAARSg/6f_WBVwf43g/w744-h568-no/IMG_7977.JPG

Aug 2, 2013. Josh Duffee's Graystone Monarchs. Courtesy of Vicki Wassenhoff, daughter of Bix's friend Les Swanson.

https://lh5.googleusercontent.com/-FQ1nWMqNHsw/Uf-tJwIM5pI/AAAAAAAARSs/pKAVvZG7D0I/w877-h568-no/IMG_7991.JPG

Albert



Posted on Aug 10, 2013, 10:23 AM

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Re: Some Images

by

The final photo in the list isn't Josh's Graystone Monarchs. It's a very good picture of Andy Schumm and His Flatland Gang. though.

Posted on Aug 10, 2013, 11:40 AM

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Indeed, Andy Schumm's Flatland Gang.

by

Thanks for the correction. Josh was everywhere, so it was hard to keep track of the bands!

Albert



Posted on Aug 10, 2013, 12:57 PM

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Sittin' In!

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Yes, he was! And John Otto and Dave Boeddinghaus were right behind Josh in accrued time-on-stage. The Iron Men Trio!

Posted on Aug 10, 2013, 4:38 PM

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Hello Davenport, Good-bye Long Island!

by

Tomorrow at 9 am I will take the limousine to LaGuardia and then fly to Chicago; change planes in Chicago and fly to Moline, one of the Quad Cities. I have a car rental and will drive to the Beiderbecke Inn.

My lecture about Alice and Bix's piano will be on Friday morning at 11 am. Those of you who will attend the festival, please stop by and say hello.

I will check the forum and my mail everyday.

Will be back on Monday night.

Albert



Posted on Jul 31, 2013, 1:21 PM

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In today's QC Times.

by

http://qctimes.com/entertainment/music/the-nd-annual-bix-beiderbecke-memorial-jazz-festival/article_6ad129d5-89f3-5540-bd62-7cae75c6c490.html

Albert



Posted on Aug 1, 2013, 4:22 AM

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Goldkette Recording of "Adoration"

by Josh Duffee

While looking through some Chauncey Morehouse research of mine (gearing up for the Bix Festival here in Davenport!!), I ran across a note Chauncey had made about the Goldkette recording of "Adoration." Here is what Chauncey wrote as his note:

""Adoration," (non-released). Doc had a solo on this one almost all the way thru, but Paul Whiteman wouldn't let Victor release it. Too competitive.

I thought that was very interesting to read.

Hope to see lots of you in Davenport for the Bix Festival this upcoming weekend. It's going to be another great year of music in Bix's hometown!

Sincerely Yours,

Josh Duffee

Posted on Jul 29, 2013, 8:04 PM

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More about "Adoration."

by

Very interesting, Josh. According to the EDVR site, four takes of "Adoration" were made; 2 and 3 were destroyed; 1 and 4 were held. 1 was eventually released in the Sunbeam and Bix Restored sets. The Victor files show two cornets. Does anyone hear three horns (two trumpets and one cornet)? Could the sax solo in the released take have been played by George Williams and not by Doc Ryker?

See also http://www.network54.com/Forum/27140/message/1253715835/Adoration

Albert



Posted on Jul 30, 2013, 5:11 AM

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In A Mist: A Recording by Manny Albam and his Jazz Greats.

by Albert Haim

From http://en.wikipedia.org/wiki/Manny_Albam

"Manny Albam (June 24, 1922 in Samana, Dominican Republic October 2, 2001 in Croton-on-Hudson, New York, USA) was a jazz baritone saxophone player who eventually became a composer, arranger, producer, and educator. He was well known for his association with United Artists-Solid State Records.

The son of Lithuanian immigrants, who was born in the Dominican Republic when his mother went into labour en route to the United States, Albam grew up in New York City. He became interested in jazz on hearing Bix Beiderbecke and at sixteen dropped out of school to play for Dixieland trumpeter-leader Muggsy Spanier, but it was his membership in a group led by Georgie Auld that turned Albam's career around."

In April 1958. Manny Albam and His Jazz Greats recorded the LP album "Jazz New York." I has been reprinted on CD.

[linked image]

One of the tracks  is "In A Mist." Through the generosity of Frank van Nus, here is an mp3 file.

bixbeiderbecke.com/InAMistMannyAlbam.mp3

Frank writes,
"It has a  very subdued mood (more so than many other interpretations), with a semi-improvised solo by Bobby Brookmeyer on valve trombone. After this, the band trails off into a fade-out (which seems to me rather unusual). Manny Albam said of it: "(...) Bix Beiderbecke's 'In A Mist' is a song I've wanted to do since the first time I heard it. I think it was while I was in high school - a record of Bix playing the piano.
Here are the recording details:
Bernie Glow, Ernie Royal, Art Farmer, tp; Jim Dahl, Tommy Mitchell, tb; Bob Brookmeyer, vtb; Gene Quill, clar; Frank Socolow, Al Cohn, ts; Pepper Adams, bar; Eddie Costa, vib; Milt Hinton, b; Osie Johnson, d."

Thanks very much, Frank. I appreciate all your contributions to the forum.

Albert





Posted on Jul 29, 2013, 7:03 AM

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Impressed!

by John Leifert

I was very impressed with this modern yet tasteful and compelling interpretation of Bix' "In a Mist". It is a highly creative and introspective interpretation, with some fine solo work which do not seem out of place at all with the composition itself. It just goes to show how far ahead of his time Bix really was!

Thanks to Frank, and to Albert, for sharing this. I was unaware of it until now! Tasty stuff indeed!

John L

Posted on Jul 29, 2013, 9:36 AM

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Re: Impressed!

by

John, I was really impressed with this performance, too. It has a very nice late 1950s progressive jazz groove without taking any egregious liberties with the composition as written.

It is rhythmic, impressionistic, and lovely. I think you nailed it when you pointed out that it shows "how far ahead of his time Bix really was."

Posted on Jul 30, 2013, 11:54 AM

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Thanks, Frank!

by

I just heard Manny Albam's "In a Mist" this morning and was so haunted by it I immediately went online and ordered the entire CD. (So much for people at record companies who complain that free downloads are killing CD sales; sometimes they DRIVE CD sales!) It's obvious from the opening ensemble featuring vibraphone and clarinet that Albam was influenced by the magnificent 1933 Red Norvo recording of "In a Mist," which combined Norvo on xylophone and Benny Goodman on bass clarinet (to my knowledge the only time Goodman recorded on the bigger, deeper version of his usual instrument). But that's an excellent model, and Albam's "In a Mist" goes on my short list of the very finest versions alongside Bix's own, Norvo's and Ralph Sutton's 1950 piano solo.

Posted on Aug 2, 2013, 4:17 PM

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WBIX # 213.

by

 Radio Program # 213. (loaded on 07/26/2013) Vincent Lopez's Recordings: 1922-1928.  64 min 15 sec

Real Audio   Streaming audio file      Download file.    15.7 M  

mp3 files  
Streaming mp3 file  
http://bixography.com/wbixmp3/WBIX213.m3u
    
Download file    
bixography.com/wbixmp3/WBIX213.mp3   46.3 MB

All recordings  by Vincent Lopez's Orchestra.

Nola. Mar 28, 1922.
Stumbling, Apr 1922.
Raggin' the Scale. May 23, 1923.
Yes! We have No Bananas. May 23, 1923.
I Want to Be Happy. Jul 31, 1924.
Me and the Boy Friend. Sep 23, 1924. Vocal by Billy Jones.
Stomp Off, Lets's Go. Sep 19, 1925.
The Meanest Kind of Blues. Sep 19, 1925.
T-N-T. Jan 28, 1926.
Hello Blue Bird. Dec 6, 1926. Vocal by Lynch and the Kelly Sisters.
A Lane in Spain. Apr 29, 1927. Vocal by Lynch and the Kelly Sisters.
Just Like A Butterfly. Jun 2, 1927. Vocal by Franklyn Bauer.
You Took Advantage of Me. Apr 27, 1928.
Alexander's Ragtime Band. May 11, 1928. Vocal by Ed Smalle and Dick Robertson.


WBIX # 214 will be uploaded on August 30, 2013.


Enjoy.

Albert



Posted on Jul 25, 2013, 2:26 PM

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Wow! Who knew Lopez ever played this hot?

by

Wow! Not only was this another glitch-free program, it was utterly fascinating and a revelation. Previously the only Vincent Lopez recordings I'd heard were from the 1930's, when he played primarily "sweet" non-jazz dance music and occasionally let loose the young Betty Hutton for a vocal. (Of his two late-1930's film shorts, the one for Paramount includes a not-bad rendition of Larry Clinton's "The Dipsy-Doodle" which is credible as jazz, though hardly on the level of Ella Fitzgerald's with Chick Webb's band, but on the Warner Bros. short she demolishes Louis Armstrong's "Old Man Mose" and reaches the low point when she starts clucking like a chicken.)

What was really surprising about the Lopez recordings this early was how convincing his group was as a jazz band. Not only are there two songs here that Bix recorded ("A Lane in Spain" and "You Took Advantage of Me"), there are three that were recorded by Louis Armstrong ("T-N-T" and "The Meanest Kind of Blues" with Fletcher Henderson and "Stomp Off, Let's Go" with Erskine Tate), and while none of Lopez's trumpeters were at Armstrong's level, the overall sound of the band on these pieces is authentically jazzy and hot. THIS is the Vincent Lopez orchestra members of Henderson's band recalled giving them a run for their money at battles of the bands at Roseland, including the night Lopez creamed them with a new song, labeled "Oil Can" on the sheet music, that turned out to be the New Orleans Rhythm Kings' jazz standard "Milenburg Joys."

I'm a bit surprised at two typos: referring to "Lynch and the Kelly Sisters" (as you well know, it was Keller!) and adding an "e" to Franklyn Baur's last name. I'm also surprised that you weren't aware that "Yes! We Have No Bananas" was quite famously pieced together from other songs, including the "Hallelujah Chorus" from Handel's "Messiah" (the source of the first four notes) and "I Dreamed I Dwelt in Marble Halls," though the passage in this record quoting "O sole mio" wasn't part of the song and was probably a joking reference inserted by Lopez's arranger. But there's nothing as egregious here as a mistake in WBIX #212 I forgot to point out last month, which was that Frankie Marvin may have recorded with Bix but nothing they did together was actually released: the vocalist on Jean Goldkette's "Idolizing" and "I'd Rather Be the Girl in Your Arms" was Frank Bessinger. (A pity it WASN'T Marvin on the released versions: he was far more musical than the atrocious Bessinger, whose vocal on "Idolizing" is redeemed only by Eddie Lang's stunning guitar work under it!)

Otherwise, this was a marvelous program, showing off a side of Vincent Lopez's music I hadn't known about before and presenting some interesting records, including an obviously male voice singing "Me and the Boyfriend." This was a product of the music publishers of the time, who insisted that everyone who recorded a song had to keep the lyric exactly the same, which led to bizarre spectacles like the thoroughly heterosexual Bing Crosby singing "There Ain't No Sweet Man Worth the Salt of My Tears" on the marvelous Whiteman record with Bix and Tram. The only record here I really didn't like was "Hello, Bluebird," which I have on a 1920's 78 by Charles Kaley and on the soundtrack of Judy Garland's last film, "I Could Go On Singing." Judy turned it into a psychodrama; Kaley crooned it as a bit of mindless optimism; the Keller Sisters and Lynch with Lopez's band zipped through it WAY too fast and made it virtually meaningless.

Posted on Aug 2, 2013, 4:34 PM

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Thanks for the comments about WBIX 212,.

by

Typos corrected (Kelly/Keller; Bauer/Baur). Thanks for pointing these out.

There was no egregious mistake. In fact, at the beginning of the show I clearly stated that although Frank Marvin recorded one number with Bix, the recording was not issued. Further, I did  mention Frank Bessinger as the vocalist in the later (issued) recording of "I'd Rather Be the Girl in Your Arms."

Albert



Posted on Aug 7, 2013, 7:47 AM

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Re: Wow! Who knew Lopez ever played this hot?

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Frank Bessinger of Bessinger and Wright/The Radio Franks, "atrocious?" He's one of the better early electric-era vocalists, in my opinion, but if you don't like his clear tenor sound, which faded in popularity only a few years later, then I guess one might not like him.

Posted on Aug 7, 2013, 2:05 PM

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Thanks...

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...for the heads up on Lopez. I ran to my collection of custom cds by good friend Warren Jacob of CA. About ten years ago he made up a disc from his great collection
of recordings. He sent me 25 up through May, 1930. Seven as you had on your show and
the rest I'll be playing this coming week on my "jimmiejazz" show, Thursday, the 8th,
WOOL.LP, 1-3.

Some of the sides will be:
Bluin' the Blues
Aggravatin' Papa
Don't Wait Too Long
Paddlin' Madelin Home
Black Horse Stomp
Honey Bunch
Could I? I Certainly Could

( Gee,I hope it's okay to pitch my own radio show.)




Posted on Aug 4, 2013, 7:12 AM

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Bix & Tram on Jim Cullum's Riverwalk Jazz

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"Bix & Tram in the Whiteman Years" will be highlighted on this weekend's Jim Cullum's Riverwalk Jazz. It will be on our station's HD2 radio channel and livestreaming online at 5 p.m. Sunday, but times may vary in other markets.

It can be heard livestreaming online at www.Riverwalkjazz.org and also can be accessed on the same site's "Recent Radio Broadcasts" page for the next four weeks.

Posted on Jul 24, 2013, 12:29 PM

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The Tunes

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Beautiful Changes: The Whiteman Years

  • NIGHTSPELL
  • WANG WANG BLUES
  • WHEN DAY IS DONE
  • WASHBOARD BLUES
  • (BEAUTIFUL) CHANGES
  • SAN w/Vince Giordano, Andy Stein
  • LONELY MELODY
  • WILDCAT w/Vince Giordano, Andy Stein
  • TAINT SO HONEY, 'TAINT SO
  • THERE AIN'T NO SWEET MAN WORTH THE SALT IN MY TEARS w/Vince Giordano
  • BACK IN YOUR OWN BACKYARD w/Vince Giordano

Albert



Posted on Jul 25, 2013, 11:39 AM

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Jean Goldkette 1925

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Radio Digest - August 22, 1925


[linked image]

[linked image]


Posted on Jul 24, 2013, 3:05 AM

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Excellent Find!

by

Thanks for posting it here.

Albert



Posted on Jul 24, 2013, 4:41 AM

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Question re Test Pressings

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I think I have a decent understanding of how records were made both in the acoustic period and early electric period but I have not been able to find information about how "test pressings" were produced. Were they actually made from the matrix/master/metal stamper process used for all records but with only a handful produced or was there a more direct way of making a shellac disk immediately after recording? The latter would involve a different cutting machine separate from the one cutting the wax which would be used to make a master, one which would produce a playable disk immediately like the ones eventually common later in the 30s and were not really pressed? I have read several accounts of people (including Bix) leaving a recording session with a test pressing. If anyone could direct me to a publication or other source in which I could learn the process for making test pressings in late 1926 -1930 I would be extremely grateful.

Posted on Jul 23, 2013, 5:03 PM

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Testing!

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In 1930 and long before, test pressings were made the same way as ordinary issued records: The wax was rushed to the factory, metal parts were made, and a few copies, with white labels, were punched out on the press. These discs usually were oversized (11" for a 10" master) and one-sided. They were sent around to the various departments of the company to check for possible problems with the recording, the pressing or the performance. When everyone signed off on that test, it was "passed" for issue.

N.b., I have just such a pressing from Aeolian Vocalion, (a 1923 Ben Selvin item), eleven inches wide, with a dangerously rough outer edge, on their trademark brick-colored shellac, with a beige label. The signatures of three Vocalion department heads fill blanks to "OK" each step of the vetting process.

At that time, there was absolutely no way a delicate wax master could be played back without ruining it. You HAD to wait a day or two for the processing. The protocol for handling those waxes must have been very strict. They had to be kept away from heat, and immaculately free from dust and fingerprints. There must have been some kind of "white room" at the big companies where this very exacting step was taken. I can't imagine how Victor, OKeh, et cetera, managed this on field trips, when the waxes were shipped thousands of miles to the home factory, but somehow they had it down to a science.

-Brad Kay

Posted on Jul 23, 2013, 6:15 PM

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Unauthorized "test pressings."

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http://78records.wordpress.com/2012/09/17/tales-from-the-columbia-vaults-the-unauthorized-test-pressings/

Albert



Posted on Jul 24, 2013, 6:19 AM

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Waxes, Shells and Stampers

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http://www.charm.rhul.ac.uk/history/p20_4_7.html

Albert



Posted on Jul 24, 2013, 7:00 AM

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Further info on producing metal parts

by

Norman field also has an excellent description of the process, including a "flow chart", of the steps involved between wax blank and pressed disc:
http://www.normanfield.com/78manufacture.htm

"Instantaneous" discs, the ones playable immediately without processing, were available by the later 1920s, but primarily for radio transcriptions and amateur recordings (starting in 1930, some of the more expensive Victor radio-phonographs had cutting heads designed to be used with the company's recording blanks).

Presto's lacquer-coated aluminum discs, introduced in 1934, were the first professional-quality instantaneous disc recording medium. By the late 1930s, some recording firms were using them instead of wax blanks.

Posted on Jul 24, 2013, 12:16 PM

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Thank you!

by

Many thanks, Brad, Albert and Harold. This is exactly the information I was looking for. Thanks for taking the time to dig out so much about a process I have always wanted to know more about. The piece about the record companys decision and practice of dumping some of these treasures from their vaults is fascinating. The stories then about people leaving a recording session in the late 20s with a test pressing only to have someone sit on it on the way home must have been a reference to an awfully long day at the studio or to a test pressing from an earlier recording session. Terrific stuff!

Posted on Jul 25, 2013, 4:11 PM

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Fantastic News From Gerri, the coordinator in Bix's hometown for ....

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... welcoming Bix's piano to Davenport.

The piano is in the Adler Theatre. Gerri coordinated the whole affair, people in the Adler, a piano expert who already tuned the piano, a local pianist who tried it by playing Bix's "Flashes" and the local press to provide an account of this historical event.

Thanks to Gerri and all the Davenportians who were involved in the event. I can't wait to see the piano and give my lecture. I'll be in Davenport in nine days, if everything works out as scheduled.

Unfortunately, when we came back from New York City last Friday after spending two days celebrating my younger son's 50th birthday (he came especially from Georgia with wife an children), when we arrived home, my wife tripped, fell and broke her arm. She has been in the Stony Brook hospital waiting for surgery. The celebration was such a nice affair -there were friends from high school, college, graduate school, his various positions in New York City, California and Georgia, and it ended up in an unfortunate manner. Of course, we will do our best to go to Davenport, and I am pretty sure I will, but I am not so sure that my wife will be able to make it.

I'll keep you posted.

Albert

 



Posted on Jul 23, 2013, 2:39 PM

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The Piano in the QC Times.

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http://qconline.com/archives/qco/display.php?id=646784&query=bix

Albert

 



Posted on Jul 24, 2013, 5:19 AM

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Nice article!

by Liz Beiderbecke-Hart

Love the story, love the pictures and love your comments, Albert!! This is all SO exciting!!!!!!

Posted on Jul 24, 2013, 12:03 PM

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Bix Piano

by Gerri Bowers

Thank You Albert, for giving a day I will always remember. The only thing missing was Rich Johnson.

I will take my antique piano stool down to the Adler on Thursday, so it really looks like 1930.

Hope all ok well, this Friday.

Posted on Jul 24, 2013, 7:18 AM

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Sorry about your wife's arm

by Laura Demilio

--and hope she has a quick recovery -- it would be too bad to miss the Bix Fest.

Laura

Posted on Jul 24, 2013, 8:41 AM

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Thanks, Laura.

by

Surgery is on Friday, the festival begins on Thursday, Aug 1.Very tight. We shall see.

Albert



Posted on Jul 24, 2013, 2:00 PM

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The surgeon was very pleased with the operation.

by

He is the best orthopedic surgeon in Stony Brook. My wife is not so enthusiastic. Lots of pain and unable to travel on Thursday. Still in the hospital. I will be going by myself. First time I go without her since 1999 or 2000, and we have not missed one festival since then. The only reason I am not cancelling is the important unveiling of Bix' piano and my scheduled seminar. Otherwise, I would stay by her side.

We have been friends since 1949 and a married couple since 1955! This is what we looked like in 1955 in Los Angeles. She has not changed much. I have aged considerably and people who knew me as a young man would not recognize me now, but mind and body are in excellent condition.

[linked image]

Albert



Posted on Jul 28, 2013, 6:48 AM

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Re: The surgeon was very pleased with the operation.

by Gerri Bowers

Lovely photo, The best to you always

Posted on Jul 29, 2013, 6:36 PM

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Re: Photo

by

What a handsome couple! I'm so sorry your wife has to miss the Bix Festival.

Posted on Jul 29, 2013, 6:45 PM

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Bix in Sunnyside on Aug 3, 2013

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Bix Beiderbecke Memorial Concert
Category:
Music
When:
Saturday, August 3, 2013 12:30 pm -
7:00 pm

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Where:


4610 Queens Blvd
New York, NY 11104

Cost:
Free
Submitted by:

Rob M. See all of Rob M.'s events »
What/Why:
The Bix Beiderbecke Sunnyside Memorial Committee, Sunnyside Shines BID and Community Board 2 invite all to an afternoon of music celebrating the short-but-prolific life of jazz musician Bix Beiderbecke, who lived nearby.

Performers include The Sunnyside Wolverines (Linda Ipanema, vocals; David Shenton, piano and violin; Jordan Sandke, trumpet; Carol Sudhalter, sax; Herb Gardner, trombone; Mark Wade, bass; and Paul Maringeli, drums and washboard), the Sunnyside Drum Corps, Svetlana & the Delcancey Five and Antique Phonograph DJ Michael Cumella, Smidge Malone & Matt Dallow.

Beiderbecke died at age 28 on Aug. 6, 1931, on 46th Street (Bliss St.) in Sunnyside.

Posted on Jul 21, 2013, 6:16 AM

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