[80] On the evening of August 6, at about 9.30 pm, his rental agent, George Kraslow, heard noises coming from across the hallway. [52] Some six weeks after leaving the band, Bix arranged a Gennett recording session back in Richmond with some of the Goldkette band members, under the name Bix and His Rhythm Jugglers. [11] More recent research — which takes into account church and school records in addition to the will of a relative — suggests he was named Leon Bismark. He also listened to jazz from the riverboats that docked in downtown Davenport. "Bixie" was a symbol of that jazz generation, expressing its wistful, restless temperament through the medium of the unconventional dance music which constitutes its theme song. During an engagement at the Cinderella Ballroom in New York in September–October 1924, Bix tendered his resignation with the Wolverines,[50] leaving to join Jean Goldkette and his Orchestra in Detroit, but Beiderbecke's tenure with the band proved to be short-lived. The listening musician, whatever his generation or his style, recognizes Bix as a modern, modernism being not a style but an attitude.[105]. Brendan Wolfe, the author of Finding Bix, spoke of Beiderbecke's lasting influence on Davenport, Iowa: "His name and face are still a huge part of the city's identity. ", On November 30, 1928, whilst on tour in Cleveland, Beiderbecke suffered what Lion terms "a severe nervous crisis" and Sudhalter and Evans suggest "was in all probability an acute attack of delirium tremens", presumably triggered by Beiderbecke's attempt to curb his alcohol intake. [25] Jean Pierre Lion in his 2005 biography discussed the incident briefly and printed the texts of the documents. In October 1926, Goldkette's "Famous Fourteen", as they came to be called, opened at the Roseland Ballroom in New York City opposite the Fletcher Henderson Orchestra, one of the East Coast's outstanding African American big bands. Beiderbecke's cornet solo in "Singin' the Blues" recorded on February 4, 1927, in New York. [29] Regardless, Mr. and Mrs. Beiderbecke apparently felt that a boarding school would provide their son with both the faculty attention and discipline required to improve his academic performance,[30] necessitated by the fact that Bix had failed most courses at High School, remaining a junior in 1921 despite turning 18 in March of that year. [39], The Wolverines recorded 15 sides for Gennett Records between February and October 1924. A native of Davenport, Iowa, Beiderbecke taught himself to play the cornet largely by ear, leading him to adopt a non-standard fingering technique that informed his unique style. His death, in turn, gave rise to one of the original legends of jazz. "Jazz Me Blues" was also important because it introduced what has been called the "correlated chorus", a method of improvising that Beiderbecke's Davenport friend Esten Spurrier attributed to both Beiderbecke and Armstrong. ....To most youngsters in college, however, the weird flourishes that "Bixie's" fingers executed on trumpet and piano were expressive. The band also included guitarist Eddie Lang and violinist Joe Venuti, who had often recorded on a freelance basis with the Goldkette Orchestra. His interests, however, remained limited to music and sports. [63], The Paul Whiteman Orchestra was the most popular and highest paid dance band of the day. "[36] During this time, Beiderbecke also took piano lessons from a young woman who introduced him to the works of Eastwood Lane. Beiderbecke's health problems could not have been caused simply by drinking a lot. The two became firm friends. [87], The New Republic critic Otis Ferguson wrote two short articles for the magazine, "Young Man with a Horn" (July 29, 1936) and "Young Man with a Horn Again" (November 18, 1940), that worked to revive interest not only in Beiderbecke's music but also in his biography. [97], At the beginning of the 21st century, Beiderbecke's music continued to reside mostly out of the mainstream and some of the facts of his life are still debated, but scholars largely agree—due in part to the influence of Sudhalter and Evans—that he was an important innovator in early jazz; jazz cornetists, including Sudhalter (who died in 2008), and Tom Pletcher, closely emulate his style. Following Sandke's lead, he reminds his readers that during Prohibition, the government poisoned, or "denatured," any alcohol manufactured for industrial use in order to prevent it from being consumed as a beverage. Following the Wall Street Crash of 1929, the once-booming music industry contracted and work became more difficult to find. A friend remembered that Beiderbecke showed little interest in the Saturday matinees they attended, but as soon as the lights came on he rushed home to duplicate the melodies the accompanist had played. "Beiderbecke's style, which was all but fully formed when he made his first recordings, was completely different from that of the New Orleans-born cornet and trumpet players who preceded him, Armstrong included," Teachout writes.
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