Bix Beiderbecke - Knowledge (XXG)

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police ledger, the girl accused Beiderbecke of "putting his hands on her person outside of her dress." The ledger went on to state that Beiderbecke and the girl "were in an auto in the garage and he closed the door on the girl and she hollered," attracting the attention of two young men who were across the street. The young men "went over and the girl went home." Beiderbecke was released after a $ 1,500 bail bond was posted. Sarah's father, Preston Ivens, requested that the Scott County grand jury drop the charge to avoid "harm that would result to her in going over this case," and in September 1921, the grand jury returned no indictment, whereupon the County Attorney filed a dismissal of the case. It is not clear from the official documents if Sarah herself had identified Beiderbecke, but the two young men had told her father, when he questioned them a day after the alleged incident, that they had seen Beiderbecke take the girl into the garage. The surviving official documents concerning the arrest and its aftermath – including two police entries and Preston Ivens' grand jury testimony – were first made available in 2001 by Professor Albert Haim on the Bixography website. Jean Pierre Lion in his 2005 biography discussed the incident briefly and printed the texts of the documents. Earlier biographies had not reported the alleged incident.

751:, whose musical director, Eddie King, objected to Beiderbecke's modernistic style of jazz playing. Moreover, despite the fact that Beiderbecke's position within the Goldkette band was "third trumpet", a less taxing role than 1st or 2nd trumpet, he struggled with the complex ensemble passages due to his limited reading abilities. After a few weeks, Beiderbecke and Goldkette agreed to part company, but to keep in touch, with Goldkette advising Beiderbecke to brush up on his reading and learn more about music. 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. On January 26, 1925, they set two tunes to wax: "Toddlin' Blues", another number by LaRocca and Shields, and Beiderbecke's own composition, " 1452:"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. "Louis departed greatly from all cornet players in his ability to compose a close-knit individual 32 measures with all phrases compatible with each other", Spurrier told the biographers Sudhalter and Evans, "so Bix and I always credited Louis as being the father of the correlated chorus: play two measures, then two related, making four measures, on which you played another four measures related to the first four, and so on ad infinitum to the end of the chorus. So the secret was simple—a series of related phrases." 535:. While historians have traditionally suggested that his parents sent him to Lake Forest to discourage his interest in jazz, others believe that he may have been sent away in response to his arrest. 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, necessitated by the fact that Bix had failed most courses in high school, remaining a junior in 1921 despite turning 18 in March of that year. His interests, however, remained limited to music and sports. In pursuit of the former, Beiderbecke often visited Chicago to listen to jazz bands at night clubs and 856:

few exceptions to the policy include "My Pretty Girl" and "Clementine", the latter being one of the band's final recordings and its effective swan song. In addition to these commercial sessions with Goldkette, Beiderbecke and Trumbauer also recorded under their own names for the OKeh label; Bix waxed some of his best solos as a member of Trumbauer's recording band, starting with "Clarinet Marmalade" and "Singin' the Blues", recorded on February 4, 1927. Again with Trumbauer, Beiderbecke re-recorded Carmichael's "Riverboat Shuffle" in May and delivered two further seminal solos a few days later on "I'm Coming, Virginia" and "

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recordings and assessments of his cornet playing. In the April 1927 issue, bandleader Fred Elizalde stated: "Bix Bidlebeck (sic) is considered by Red Nichols himself and every other trumpet player in the States, for that matter, as the greatest trumpet player of all time". The magazine's editor, Edgar Jackson, was equally fulsome in his praise: "Bix has a heart as big as your head, which shines through his playing with the warmth of the sun's rays" (September 1927 issue); "The next sixteen bars are a trumpet solo by Bix, and if this doesn't get you right in the heart, you'd better see a vet…."

4002:, for instance, contrasts Beiderbecke's and Armstrong's personalities, styles, and the approach historians have taken to their stories. "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. "Unlike them, he played with precise, at times almost fussy articulation and a rounded, chime-like tone sticking mostly to the middle register and avoiding the interpolated high notes that became an Armstrong trademark." 1955: 1149:....To most youngsters in college, however, the weird flourishes that "Bixie's" fingers executed on trumpet and piano were expressive. They could hear the lilting melody of youth that formed a smooth background for his fantastic caricatures in sound. Hundreds of young collegians who couldn't recall a strain of Beethoven or Wagner could whistle Bix Beiderbecke choruses. In the world of professional popular music, "Bixie" was an artist comparable to Kreisler in the field of conventional music. Paul Whiteman called him "the finest trumpet player in the country". 520:, and Carlisle Evans. In the spring of 1920 he performed for the school's Vaudeville Night, singing in a vocal quintet called the Black Jazz Babies and playing his cornet. At the invitation of his friend Fritz Putzier, he subsequently joined Neal Buckley's Novelty Orchestra. The group was hired for a gig in December 1920, but a complaint was lodged with the American Federation of Musicians, Local 67, that the boys did not have union cards. In an audition before a union executive, Beiderbecke was forced to sight read and failed. He did not earn his card. 1403:

fact were evident in his music. While Armstrong often soared into the upper register, Beiderbecke stayed in the middle range, more interested in exploring the melody and harmonies than in dazzling the audience. Armstrong often emphasized the performance aspect of his playing, while Beiderbecke tended to stare at his feet while playing, uninterested in personally engaging his listeners. Armstrong was deeply influenced by the blues, while Beiderbecke was influenced as much by modernist composers such as Debussy and Ravel as by his fellow jazzmen.

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Burnette "Burnie" Beiderbecke. Burnie Beiderbecke claimed that the boy was named Leon Bix and biographers have reproduced birth certificates that agree. 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. Regardless, his parents called him Bix, which seems to have been his preference. In a letter to his mother when he was nine years old, Beiderbecke signed off, "frome your Leon Bix Beiderbecke not Bismark Remeber [

803:. The Roseland promoted a "Battle of the Bands" in the local press and, on October 12, after a night of furious playing, Goldkette's men were declared the winners. "We were amazed, angry, morose, and bewildered," Rex Stewart, Fletcher's lead trumpeter, said of listening to Beiderbecke and his colleagues play. He called the experience "most humiliating". On October 15, 1931, a few months after Beiderbecke's death, the Fletcher Henderson Orchestra recorded a version of "Singin' the Blues" that included 1225:. "For his talent there were no conservatories to get stuffy in, no high-trumpet didoes to be learned doggedly, note-perfect as written," Ferguson wrote, "because in his chosen form the only writing of any account was traced in the close shouting air of Royal Gardens, Grand Pavilions, honkeytonks, etc." He was "this big overgrown kid, who looked like he'd been snatched out of a cradle in the cornfields", Mezzrow wrote. "The guy didn't have an enemy in the world," recalled fellow musician 783:. The two hit it off, both personally and musically, despite Trumbauer having been warned by other musicians: "Look out, he's trouble. He drinks and you'll have a hard time handling him." They were inseparable for much of the rest of Beiderbecke's career, with Trumbauer acting as something of a guardian to Beiderbecke. When Trumbauer organized a band for an extended run at the Arcadia Ballroom in St. Louis, Beiderbecke joined him. There he also played alongside the clarinetist 814: 1104:, New York, on August 6, 1931. The week had been stiflingly hot, making sleep difficult. Suffering from insomnia, Beiderbecke played the piano late into the evenings, to both the annoyance and the delight of his neighbors. On the evening of August 6, at about 9:30 pm, his rental agent, George Kraslow, heard noises coming from across the hallway. "His hysterical shouts brought me to his apartment on the run," Kraslow told Philip Evans in 1959, continuing: 944:", "Sugar", "Changes" and "When". These feature specially written arrangements that emphasize Beiderbecke's improvisational skills. Bill Challis, an arranger who had also worked in this capacity for Jean Goldkette, was particularly sympathetic in writing scores with Beiderbecke in mind, sometimes arranging entire ensemble passages based on solos that Bix played. Beiderbecke also played on several notable hit records recorded by Whiteman, such as " 1074: 577: 1449:, "is that every note is spontaneous yet inevitable." Richard Hadlock describes Beiderbecke's contribution to "Jazz Me Blues" as "an ordered solo that seems more inspired by clarinetists Larry Shields of the ODJB and Leon Roppolo of the NORK than by other trumpet players." He goes on to suggest that clarinetists, by virtue of their not being tied to the melody as much as cornetists and trumpet players, could explore harmonies. 1065: 449: 44: 555:'s Creole Jazz Band, which featured Louis Armstrong on second cornet. "Don't think I'm getting hard, Burnie," he wrote to his brother, "but I'd go to hell to hear a good band." On campus, he helped organize the Cy-Bix Orchestra with drummer Walter "Cy" Welge and almost immediately got into trouble with the Lake Forest headmaster for performing indecorously at a school dance. 1463:" (September 8, 1927). Critic Frank Murphy argues that many of the same characteristics that mark Beiderbecke on the cornet are also reflected in his piano playing: the uncharacteristic fingering, the emphasis on inventive harmonies, and the correlated choruses. Those inventive harmonies, on both cornet and piano, pointed the way to future developments in jazz, particularly 734:, whose amusingly unconventional personality he also appreciated. The two became firm friends. A law student and aspiring pianist and songwriter, Carmichael invited the Wolverines to play at the Bloomington campus of Indiana University in the spring of 1924. On May 6, 1924, the Wolverines recorded a tune Carmichael had written especially for Beiderbecke and his colleagues: " 559:

to his academic failings and his extracurricular activities, which included drinking. The headmaster informed Beiderbecke's parents by letter that following his expulsion school officials confirmed that Beiderbecke "was drinking himself and was responsible, in part at least, in having liquor brought into the School." Soon after, Beiderbecke began pursuing a career in music.

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and military training. It was an institutional blunder that Benny Green described as being, in retrospect, "comical," "fatuous," and "a parody." Beiderbecke promptly began to skip classes, and after he participated in a drunken incident in a local bar, he was expelled. According to Lion, he was not expelled, but quit. That summer he played with his friends Don Murray and

1292:, spoke of Beiderbecke's lasting influence on Davenport, Iowa: "His name and face are still a huge part of the city's identity. There's an annual Bix Beiderbecke Memorial Jazz Festival, and a Bix 7 road race with tens of thousands of runners, Bix T-shirts, bumper stickers, bobble-head dolls, the whole works." In 1971, on the 40th anniversary of Beiderbecke's death, the 2064: 1437:

listening to music But I had never heard anything remotely like what Beiderbecke played. For the first time I realized music isn't all the same, it had become an entirely new set of sounds" "I tried to explain Bix to the gang," Hoagy Carmichael wrote, but "t was no good, like the telling of a vivid, personal dream the emotion couldn't be transmitted."

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chronic disregard of the tried-and-true." He argues that this stubbornness was behind Beiderbecke's decision not to switch from cornet to trumpet when many other musicians, including Armstrong, did so. In addition, Gioia highlights Beiderbecke's precise timing, relaxed delivery, and pure tone, which contrasted with "the dirty, rough-edged sound" of

895:, a schooled trumpeter who could play improvised jazz solos and read complex scores. When Ahola introduced himself, Beiderbecke famously stated "Hell, I'm only a musical degenerate". When that job ended sooner than expected, in October 1927, Beiderbecke and Trumbauer signed on with Whiteman. They joined his orchestra in Indianapolis on October 27. 2050: 1308:. A dance piece by Twyla Tharp was created in 1971 to music by Bix Biederbecke with The Paul Whiteman Orchestra. Originally entitled "True Confessions", it was later named "The Bix Pieces." "Bix: 'Ain't None of Them Play Like Him Yet", a 1981 film documentary on Beiderbecke's life directed and produced by 1246:. Her story of the doomed trumpet player Rick Martin was inspired, she wrote, by "the music, but not the life" of Beiderbecke, but the image of Martin quickly became the image of Beiderbecke: his story is about "the gap between the man's musical ability and his ability to fit it to his own life." In 1950, 1406:

Beiderbecke's most famous solo was on "Singin' the Blues", recorded February 4, 1927. It has been hailed as an important example of the "jazz ballad style"—"a slow or medium-tempo piece played gently and sweetly, but not cloyingly, with no loss of muscle." The tune's laid-back emotions hinted at what

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Beiderbecke's cornet style is often described by contrasting it with Armstrong's markedly different approach. Armstrong was a virtuoso on his instrument, and his solos often took advantage of that fact. Beiderbecke was largely, although not completely, self-taught, and the constraints imposed by that

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wrote two short articles for the magazine, "Young Man with a Horn" and "Young Man with a Horn Again", that worked to revive interest not only in Beiderbecke's music but also in his biography. Beiderbecke "lived very briefly in what might be called the servants' entrance to art", Ferguson wrote. "His

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To a large circle of those boys and girls of high school and college age whom a staid world likes to label "the jazz-mad generation," the news that Leon Bix Beiderbecke is dead will mean something, however lacking in significance it might be to their critical elders. "Bixie" was a symbol of that jazz

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NBC radio show. However, during a live broadcast on October 8, 1930, Beiderbecke's seemingly limitless gift for improvisation finally failed him: "He stood up to take his solo, but his mind went blank and nothing happened", recalled a fellow musician, Frankie Cush. The cornetist spent the rest of the

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Armstrong tended to accentuate showmanship and virtuosity, whereas Beiderbecke emphasized melody, even when improvising, and rarely strayed into the upper reaches of the register. Mezz Mezzrow recounted in his autobiography driving 53 miles to Hudson Lake, Indiana, with Frank Teschemacher in order to

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Beiderbecke often failed to return to his dormitory before curfew, and sometimes stayed off-campus the next day. In the early morning hours of May 20, 1922, he was caught on the fire escape to his dormitory, attempting to climb back into his room. The faculty voted to expel him the next day, due both

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Beiderbecke was the youngest of three children. His brother, Burnie, was born in 1895, and his sister, Mary Louise, in 1898. He began playing piano at age two or three. His sister recalls that he stood on the floor and played it with his hands over his head. Five years later, he was the subject of an

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Historians have disagreed over the identity of the doctor who pronounced Beiderbecke dead, with several sources stating that it was Dr. John Haberski (the husband of the woman Kraslow identified) who pronounced Beiderbecke dead in his apartment. The official cause of death, as indicated on the death

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Benny Green, in particular, derided Whiteman for being a mere "mediocre vaudeville act", and suggesting that "today we only tolerate the horrors of Whiteman's recordings at all in the hope that here and there a Bixian fragment will redeem the mess." Richard Sudhalter has responded by suggesting that

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Although the Goldkette Orchestra recorded numerous sides for Victor during this period, none of them showcases Beiderbecke's most famous solos. The band found itself subjected to the commercial considerations of the popular music sector that Victor deliberately targeted the band's recordings at. The

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Both qualities—complementary or "correlated" phrasing and cultivation of the vocal, "singing" middle-range of the cornet—are on display in Bix's "Jazz Me Blues" solo, along with an already discernible inclination for unusual accidentals and inner chordal voices. It is a pioneer record, introducing a

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In his Carmichael biography, Sudhalter actually charts the similarities between recorded Beiderbecke solos in "Singin' the Blues", "Jazz Me Blues", and "Star Dust", writing: "The high spot of 'Star Dust's' first recorded performance is Hoagy's own full-chorus piano solo, its chordal devices clearly

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sums up Beiderbecke's musical legacy, arguing that "with Louis Armstrong, Bix Beiderbecke was the most striking of jazz's cornet (and of course, trumpet) fathers; a player who first captivated his 1920s generation and after his premature death, founded a dynasty of distinguished followers beginning

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Perhaps "Bixie's" death at the age of twenty-eight also is symbolical of the futility of the "jazz-mad generation's" quest for self-expression. However that may be, if it is true, as some critics contend, that "jazz" music is establishing foundations on which a distinctive and thoroughly legitimate

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He pulled me in and pointed to the bed. His whole body was trembling violently. He was screaming there were two Mexicans hiding under his bed with long daggers. To humor him, I looked under the bed and when I rose to assure him there was no one hiding there, he staggered and fell, a dead weight, in

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While he was away, Whiteman famously kept his chair open in Beiderbecke's honor, in the hope that he would occupy it again. However, when he returned to New York at the end of January 1930, Beiderbecke did not rejoin Whiteman and performed only sparingly. On his last recording session, in New York,

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The son of Bismark Herman Beiderbecke and Agatha Jane Hilton, Bix Beiderbecke was born on March 10, 1903, in Davenport, Iowa. There is disagreement over whether Beiderbecke was christened Leon Bix or Leon Bismark and nicknamed "Bix". His father was nicknamed "Bix", as was his older brother, Charles

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Some critics have highlighted "Jazz Me Blues", recorded with the Wolverines on February 18, 1924, as being particularly important to understanding Beiderbecke's style. Although it was one of his earliest recordings, the hallmarks of his playing are evident. "The overall impression we get from this

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Beiderbecke's playing – both as a cornetist and a pianist – had a profound effect on a number of his contemporaries. Eddie Condon, for instance, described Beiderbecke's cornet playing as "like a girl saying yes" and also wrote of being amazed by Beiderbecke's piano playing: "All my life I had been

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in Dwight, Illinois. According to Lion, an examination by Keeley physicians confirmed the damaging effects of Bix's long-term reliance on alcohol: "Bix admitted to having used liquor 'in excess' for the past nine years, his daily dose over the last three years amounting to three pints of 'whiskey'

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profile. A number of Beiderbecke partisans have criticised Whiteman for not giving Bix the opportunities he deserved as a jazz musician. James complains that, after Beiderbecke joined the band, "Whiteman moved farther and farther away from the easy-going, rhythmically inclined style of his earlier

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The Paul Whiteman Orchestra was the most popular and highest paid dance band of the day. In spite of Whiteman's appellation "The King of Jazz", his band was not a jazz ensemble as such, but a popular music outfit that drew from both jazz and classical music repertoires, according to the demands of

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In February 1925, Beiderbecke enrolled at the University of Iowa in Iowa City. His stint in academia was even briefer than his time in Detroit, however. When he attempted to pack his course schedule with music, his guidance counselor forced him instead to take religion, ethics, physical education,

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Where Armstrong's playing was bravura, regularly optimistic, and openly emotional, Beiderbecke's conveyed a range of intellectual alternatives. Where Armstrong, at the head of an ensemble, played it hard, straight, and true, Beiderbecke, like a shadowboxer, invented his own way of phrasing "around

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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

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Ferguson's sense of what was "right" became the basis for the Beiderbecke Romantic legend, which has traditionally emphasized the musician's Iowa roots, his often careless dress, his difficulty sight reading, the purity of his tone, his drinking, and his early death. These themes were repeated by

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The heavy touring and recording schedule with Whiteman's orchestra may have exacerbated Beiderbecke's long-term alcoholism, though this is a contentious point. Whiteman's violinist Matty Malneck said "The work was so hard, you almost had to drink" adding "He didn't get to play the things he loved

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Colleagues have testified that, far from feeling bound or stifled by the Whiteman orchestra, as Green and others have suggested, Bix often felt a sense of exhilaration. It was like attending a music school, learning and broadening: formal music, especially the synthesis of the American vernacular

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The Wolverines recorded 15 sides for Gennett Records between February and October 1924. The titles revealed a strong and well-formed cornet talent. His lip had strengthened from earlier, more tentative years; on nine of the Wolverines' recorded titles he proceeds commandingly from lead to opening

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On April 22, 1921, a month after he turned 18, Beiderbecke was arrested by two Davenport police officers on an accusation that he had taken a five-year-old girl named Sarah Ivens into a neighbor's garage and committed a lewd and lascivious act with her—a statutory felony in Iowa. According to the

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also has emphasized Beiderbecke's lack of formal instruction, suggesting that it caused him to adopt "an unusual, dry embouchure" and "unconventional fingerings," which he retained for the rest of his life. Gioia points to "a characteristic streak of obstinacy" in Beiderbecke that provokes "this

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When a musician hears Bix's solo on 'Singing the Blues', he becomes aware after two bars that the soloist knows exactly what he is doing and that he has an exquisite sense of discord and resolution. He knows also that this player is endowed with the rarest jazz gift of all, a sense of form which

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Critical analysis of Beiderbecke's work during his lifetime was sparse. His innovative playing initially received greater attention and appreciation among European critics than those in the country of his birth. The British music trade magazine "Melody Maker" published a number of reviews of his

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Mezz Mezzrow described Beiderbecke's tone as being "pickled in alcohol I have never heard a tone like he got before or since. He played mostly open horn, every note full, big, rich and round, standing out like a pearl, loud but never irritating or jangling, with a powerful drive that few white

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With all the noise going on, I don't know how they heard themselves, but they did. I didn't contribute anything, but I listened and learned I was now being influenced by these musicians, particularly horn men. I could hum and sing all of the jazz choruses from the recordings made by Bix, Phil

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In New Orleans, jazz had traditionally been expressed through polyphonic ensemble playing, with the various instruments weaving their parts into a single and coherent aural tapestry. By the early 1920s, developments in jazz saw the rise of the jazz soloist, with solos becoming longer and more

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During an engagement at the Cinderella Ballroom in New York during September–October 1924, Bix tendered his resignation with the Wolverines, leaving to join Jean Goldkette and his Orchestra in Detroit, but Beiderbecke's tenure with the band proved to be short-lived. Goldkette recorded for the

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Beiderbecke was one of the most influential jazz soloists of the 1920s, a cornet player noted for an inventive lyrical approach and purity of tone, with such clarity of sound that one contemporary famously described it like "shooting bullets at a bell”. His solos on seminal recordings such as

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While Armstrong and Dodds both claimed that they met Beiderbecke in Davenport, many historians argue it never happened. Berton writes there is "no evidence" the two met in Davenport, while Kenney writes that the two may have met in Louisiana, Missouri. Still, critic and Armstrong biographer

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generation, expressing its wistful, restless temperament through the medium of the unconventional dance music which constitutes its theme song. In his mind were conceived the wild, strange contortions of rhythm and harmony which established the basic motif of the popular music of a year ago.

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in Davenport in 1921 when the two joined a local band and played in town for three months. Beiderbecke apparently spent time with them, but it is difficult to discern the degree to which Hardy's style influenced Beiderbecke's—especially since there is no publicly known recording of a Hardy

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Beiderbecke's most influential recordings date from his time with Goldkette and Whiteman, although he also recorded under his own name and that of Trumbauer's. The Whiteman period marked a precipitous decline in his health due to his increasing use of alcohol. Treatment for alcoholism in

1033:", was inspired by Beiderbecke's improvisations, with a cornet phrase reworked by Carmichael into the song's central theme. Bing Crosby, who sang with Whiteman, also cited Beiderbecke as an important influence. "Bix and all the rest would play and exchange ideas on the piano", he said. 985:. Production delays prevented any real work from being done on the film, leaving Beiderbecke and his pals plenty of time to drink heavily. By September, he was back in Davenport, where his parents helped him to seek treatment. He spent a month, from October 14 until November 18, at the 1122:

of the brain, coupled with the effects of long-term alcoholism, have been cited as contributory factors. Beiderbecke's mother and brother took the train to New York and arranged for his body to be taken home to Davenport. He was buried there on August 11, 1931, in the family plot at

292:" (1927) is the best known of Beiderbecke's published piano compositions and the only one that he recorded. His piano style reflects both jazz and classical (mainly impressionist) influences. All five of his piano compositions were published by Robbins Music during his lifetime. 379:). His life has often been portrayed as that of a jazz musician who had to compromise his art for the sake of commercialism. Beiderbecke remains the subject of scholarly controversy regarding his full name, the cause of his death and the importance of his contributions to jazz. 2321:

Organizations like the one run by Jean Goldkette often operated multiple bands. During the summer of 1926, for instance, Goldkette split his personnel into two bands, with Beiderbecke, Trumbauer, and company playing Hudson Lake. Goldkette also managed the all-African American

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for an extended engagement at the Arcadia Ballroom in St. Louis, also under the auspices of Goldkette's organisation. Beiderbecke and Trumbauer joined Goldkette's main band at the Graystone Ballroom in Detroit in 1926. The band toured widely and famously played a set opposite

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but never recorded by Beiderbecke. Two additional compositions were attributed to him by two other jazz composers: "Betcha I Getcha", attributed to Beiderbecke as a co-composer by Joe Venuti, the composer of the song, and "Cloudy", attributed to Beiderbecke by composer

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and other community organizations, spearheaded by Paul Maringelli and The Bix Beiderbecke Sunnyside Memorial Committee, erected a plaque in Beiderbecke's honor at the apartment building in which he died in Queens. That same year, Frederick Turner published his novel

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He returned to Davenport briefly in the summer of 1922, then moved to Chicago to join the Cascades Band, working that summer on Lake Michigan excursion boats. He gigged around Chicago until the fall of 1923, at times returning to Davenport to work for his father.

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In February 1929, Beiderbecke returned home to Davenport to convalesce and was hailed by the local press as "the world's hottest cornetist". He then spent the summer with Whiteman's band in Hollywood in preparation for the shooting of a new talking picture,

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that heralded the jazz ballad style, in which jazz solos are an integral part of the composition. Moreover, his use of extended chords and an ability to improvise freely along harmonic as well as melodic lines are echoed in post-WWII developments in jazz.

1415:. More than that, though, "Singin' the Blues" has been noted for the way its improvisations feel less improvised than composed, with each phrase building on the last in a logical fashion. Benny Green describes the solo's effect on practiced ears: 714:

play Armstrong's "Heebie Jeebies" for Beiderbecke when it was released. In addition to listening to Armstrong's records, Beiderbecke and other white musicians patronized the Sunset Café on Fridays to listen to Armstrong and his band.

5535:– A series of nineteen one-half-hour radio programs from 1971. Includes interviews with Frank Trumbauer, Louis Armstrong, Gene Krupa, Eddie Condon, Bing Crosby, Hoagy Carmichael, and Bix's brother Charles "Burnie" Beiderbecke 1420:

lends to an improvised performance a coherence which no amount of teaching can produce. The listening musician, whatever his generation or his style, recognizes Bix as a modern, modernism being not a style but an attitude.

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and twenty cigarettes.....A Hepatic dullness was obvious, 'knee jerk could not be obtained' – which confirmed the spread of the polyneuritis, and Bix was 'swaying in Romberg position' – standing up with his eyes closed".

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of his native Germany. Beiderbecke's mother was the daughter of a Mississippi riverboat captain. She played the organ at Davenport's First Presbyterian Church and encouraged young Beiderbecke's interest in the piano.

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In the spring of 1926, Bix and Trumbauer joined Goldkette's main dance band, splitting the year between playing a Summer season at a Goldkette-owned resort on Lake Hudson, Indiana, and headlining at Detroit's

478:. 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. 975:", presumably triggered by Beiderbecke's attempt to curb his alcohol intake. "He cracked up, that's all", trombonist Bill Rank said. "Just went to pieces; broke up a roomful of furniture in the hotel." 864:", recorded under the name Tram, Bix and Eddie (in their Three Piece Band). Beiderbecke switched between cornet and piano on that number, and then in September played only piano for his recording of " 628:

became the occasion for a series of band and individual photographs that resulted in the image of Beiderbecke—sitting fresh-faced, his hair perfectly combed and his cornet resting on his right knee.

2419:. Sudhalter and Evans identify the doctor as John James Haberski, Beiderbecke's across-the-hall neighbor. Lion calls him Dr. John H. Haberski, while George Kraslow referred to Haberski as a woman. 1139:

At the time of his death, Beiderbecke was still little known by the public at large, though his appreciation among fellow musicians and the collegiate set is indicated by contemporary news reports:

832: 1046:, the once-booming music industry contracted and work became more difficult to find. For a while, Beiderbecke's only regular income came from his work as a member of Nat Shilkret's orchestra on 5803: 971:

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

891:

at the Club New Yorker. The band also included guitarist Eddie Lang and violinist Joe Venuti, who had often recorded on a freelance basis with the Goldkette Orchestra. Another newcomer was

344:

rehabilitation centers, with the support of Whiteman and the Beiderbecke family, failed to stop his decline. He left the Whiteman band in 1929 and in the summer of 1931 died aged 28 in his

787:, who praised Beiderbecke's ability to drive the band. "He more or less made you play whether you wanted to or not," Russell said. "If you had any talent at all he made you play better." 709:

the lead." Where Armstrong's superior strength delighted in the sheer power of what a cornet could produce, Beiderbecke's cool approach invited rather than commanded you to listen.

1233:

most of the time." According to Ralph Berton, he was "as usual gazing off into his private astronomy", but his cornet, Condon famously quipped, sounded "like a girl saying yes".

823: 355:

His death, in turn, gave rise to one of the original legends of jazz. In magazine articles, musicians' memoirs, novels, and Hollywood films, Beiderbecke has been envisaged as a

1177:

story is a good story, quite humble and right." The romantic notion of the short-lived, doomed jazz genius can be traced back at least as far as Beiderbecke, and lived on in

4485: 5203:

The Bix Beiderbecke Story: The Jazz Musician in Legend, Fiction, and Fact; A Study of the Images of Jazz in the National Culture 1930–the Present. Unpublished dissertation

2406:

echoing Bix's fascination with the Impressionists and such 'moderns' as Igor Stravinsky—and his admiration for the now almost forgotten American composer Eastwood Lane."

5867: 5917: 4638: 1849:, which is a special Grammy award established in 1973 to honor recordings that are at least 25 years old and that have "qualitative or historical significance." 6032: 6007: 5590: 831: 2031:

2014, the 1930 recording of "Georgia on My Mind" by Hoagy Carmichael and His Orchestra, featuring Beiderbecke on cornet, inducted into the Grammy Hall of Fame

1359:

cornetists, including Sudhalter (who died in 2008), and Tom Pletcher, closely emulate his style. In 2003, to mark the hundredth anniversary of his birth, the

6022: 6017: 923:

days", becoming "more subservient to his business sense". He goes on to suggest that this artistically compromised Beiderbecke, in part causing his death.

1399:, they are "the two most influential figures in the early history of jazz" and "the twin lines of descent from which most of today's jazz can be traced." 5907: 5829: 4593: 3930: 5623: 5575: 5548: 3870: 2294:, who emulated but generally did not copy Beiderbecke's style. During World War II, McPartland married the English pianist Marian Turner in Germany; 5992: 5157: 6002: 1395:

complex. Both Beiderbecke and Armstrong were key figures in this evolution, as can be heard on their earliest recordings. According to the critic

2915: 2454:

For the blues influence on Armstrong, see Brothers , especially Chapter 7, "Ragtime and Buddy Bolden". For Bix's listening, see Lion, pp. 78–79.

6012: 5819: 4415: 1293: 1086:. Beiderbecke, who died on August 6, 1931, in New York, was buried in his hometown five days later, with only immediate family members present. 5041: 4457: 1806:"I Don't Mind Walking in the Rain" / "I'll Be a Friend with Pleasure", recorded on September 8, 1930, in New York and released as Victor 23008 1736:), recorded on January 11, 1928, in New York and released as Victor 21218-A and Victor 25249 with Bing Crosby on vocals. No. 1 for 1 week 415: 5877: 5558: 5454: 5404: 5095: 4909: 4849: 4696: 1285:, Beiderbecke's music is briefly featured, but as a symbol of cultural conservatism in a nation on the cusp of the rock and roll revolution. 3714: 6027: 5957: 5892: 5356: 4937: 1305: 457: 4336: 4278: 3898: 775:

at a lake resort in Michigan. The band was run by Goldkette, and it put Beiderbecke in touch with another musician he had met before: the

303:, leading him to adopt a non-standard fingering technique that informed his unique style. He first recorded with Midwestern jazz ensemble 3561: 505:

claimed to have met Beiderbecke when their excursion boat stopped in Davenport. Historians disagree over whether such an event occurred.

5942: 5671: 1433:

and his protégé Armstrong, whose playing was often more energetic and whose style held more sway early in the 1920s than Beiderbecke's.

5685: 1515: 1360: 1751:"There Ain't No Sweet Man That's Worth the Salt of My Tears" , recorded on February 8, 1928, in New York and released as Victor 21464 5987: 5912: 5902: 5897: 5882: 5506: 5484: 5428: 5344: 5321: 5302: 5280: 5257: 5227: 5191: 5165: 5142: 5118: 4983: 4928: 4883: 4823: 4797: 4766: 4740: 4718: 4677: 4654: 4628: 4609: 4583: 4546: 252: 4504: 1159:

One of the first serious, analytical obituaries to have been published in the months after his death was by the French jazz writer

4387: 1368:, which followed the facts of Beiderbecke's life fairly closely, focusing on his summer in Hollywood and featuring appearances by 5997: 5937: 5872: 2017:

2006, the 1927 recording of "Singin' the Blues" with Frankie Trumbauer and Eddie Lang was placed on the U.S. Library of Congress

1882: 1634: 399: 276: 5982: 5887: 5834: 5272: 474:

Burnie recalled that he stopped coming home for supper to hurry to the riverfront, slip aboard an excursion boat, and play the

795:, which was also owned by Goldkette. In October 1926, Goldkette's "Famous Fourteen", as they came to be called, opened at the 5824: 5678: 4301: 1508: 857: 748: 453: 192: 5530: 772: 1758:" / "From Monday On" , with vocals by Bing Crosby, recorded on February 28, 1928, in New York and released as Victor 21274 1647:"I'm Coming, Virginia" / "Way Down Yonder in New Orleans", recorded on May 13, 1927, in New York and released as Okeh 40843 5952: 5932: 5922: 5789: 5616: 4561: 1242: 700:

also provided a source of inspiration, though Beiderbecke's style was very different from that of Armstrong, according to

509: 360: 3176:

is forever shooting for high notes. "I'm gonna hit a note that nobody ever heard before," he tells Doris Day's character.

2037:

2021, featured in the Walt Disney EPCOT "The Soul of Jazz: An American Adventure" exhibition, which displayed his cornet.

1654:" / "Trumbology", recorded on May 13, 1927, in New York and released as Okeh 40871, Columbia 35667, and Parlophone R 3419 674:, but he nevertheless listened to, and learned from, the music around him: from the Dixieland jazz as exemplified by the 5947: 5796: 5009: 4777: 4359: 4247: 2323: 2188: 1822: 1252: 675: 490: 481:

When Burnie returned to Davenport at the end of 1918 after serving stateside during World War I, he brought with him a

5927: 5134: 5020: 4370: 2018: 1607:"My Pretty Girl" / "Cover Me Up with Sunshine", recorded on February 1, 1927, in New York and released as Victor 20588 1661:" / "Wringin' an' Twistin'", recorded on September 9, 1927, in New York and released as Okeh 40916 and Vocalion 3150 1459:" (May 13, 1927), "Wringin' and Twistin'" (September 17, 1927)—all with ensembles—and his only solo recorded work, " 43: 5757: 5702: 5336: 4646: 4620: 4601: 4505:

Michaelsen, Shannen. PHOTOS, VIDEO: “The Soul of Jazz: An American Adventure” Now Open at EPCOT. February 1, 2021.

2100: 1973:

1971, Bix Beiderbecke Memorial Society established in Davenport, Iowa; founded annual jazz festival and scholarship

1601: 1554:"Fidgety Feet" / "Jazz Me Blues", recorded on February 18, 1924, in Richmond, Indiana, and released as Gennett 5408 1333: 1109:

my arms. I ran across the hall and called in a woman doctor, Dr. Haberski, to examine him. She pronounced him dead.

304: 2562: 1954: 1686:"Sorry" / "Since My Best Gal Turned Me Down", recorded on October 25, 1927, in New York and released as Okeh 41001 1614: 328:. He made his greatest recordings in 1927. The Goldkette band folded in September 1927 and, after briefly joining 5977: 5967: 5962: 5661: 5396: 4971: 4669: 2415:

Berton identifies the doctor as Dr. Haberski and (alone among Beiderbecke commentators) has Beiderbecke dying in

1846: 1689:"Wa-Da-Da (Everybody's Doin' It Now)", recorded on July 7, 1928, in Chicago, Illinois, and released as Okeh 41088 1651: 1494: 1456: 1043: 937: 861: 799:

in New York City opposite the Fletcher Henderson Orchestra, one of the East Coast's outstanding African American

4219: 1777:"Because My Baby Don't Mean "Maybe" Now", recorded on June 18, 1928, in New York and released as Columbia 1441-D 1748:"Back in Your Own Back Yard" , recorded on January 28, 1928, in Camden, New Jersey, and released as Victor 21240 1296:

was founded in Davenport, Iowa, to honor the musician. In 1974, Sudhalter and Evans published their biography,

512:

from 1918 to 1921. During this time, he sat in and played professionally with various bands, including those of

5609: 5494: 5420: 5366: 5110: 2428:

See Spencer, for an in-depth discussion of Beiderbecke's cause of death, informed by both medicine and history.

2396:

Bix: 'Ain't None of Them Play Like Him Yet' (1981), film documentary, directed and produced by Brigitte Berman.

1155:

American music eventually will be built, Bix Beiderbecke has left his mark on the future culture of the nation.

1124: 1082:

Bix Beiderbecke's grave (left) is positioned near the Beiderbecke family marker (right) at Oakdale Cemetery in

941: 875:

hoped to snatch up Goldkette's best musicians for his traveling orchestra, but Beiderbecke, Trumbauer, Murray,

679: 648: 604:." During this time, Beiderbecke also took piano lessons from a young woman who introduced him to the works of 544: 5523: 1528: 1430: 445:

that proclaimed, "Seven-year-old boy musical wonder! Little Bickie Beiderbecke plays any selection he hears."

5067: 4433: 3776: 493:. From these records, Beiderbecke learned to love hot jazz; he taught himself to play cornet by listening to 5972: 5733: 5446: 5206: 4815: 3927: 3744: 2510: 2416: 2109: 2078: 1836:", with Hoagy Carmichael on vocals, recorded on September 15, 1930, in New York and released as Victor 23013 651:. Beiderbecke's solo on the latter heralded something new and significant in jazz, according to biographers 2539: 1718:, the Rhythm Boys, and Izzy Friedman, recorded on January 4, 1928, in New York and released as Victor 25366 1092: 927:

Beiderbecke saw the Whiteman band as an opportunity to pursue musical ambitions that did not stop at jazz:

5743: 4758: 4556: 4468: 2088: 1761:"My Angel", recorded on April 21, 1928, in New York and released as Victor 21388-A. No. 1 for 6 weeks 1683:"Royal Garden Blues" / "Goose Pimples", recorded on October 5, 1927, in New York and released as Okeh 8544 1321: 1237: 718:

of the New Orleans Rhythm Kings insisted that Beiderbecke's chief influence was the New Orleans cornetist

601: 280: 2281:

described his friend Beiderbecke as "playin' stuff all his own. Didn't sound like Louis or anybody else"

660:

musician of great originality with a pace-setting band. And it astonished even the Wolverines themselves.

432:

The son of German immigrants, Beiderbecke's father was a well-to-do coal and lumber merchant named after

5750: 5570: 5382: 4230: 2094: 1677: 1327: 617: 596:

and recoiling from so-called sweet music, the band took its name from one of its most frequent numbers,

532: 300: 4950:"Solo in Sunnyside: Frank Gray travels through Queens, New York, in search of the late Bix Beiderbecke" 3952:"Solo in Sunnyside: Frank Gray travels through Queens, New York, in search of the late Bix Beiderbecke" 631:

On February 18, 1924, the Wolverines made their first recordings. Two sides were waxed that day at the

5030: 3915: 1774:"Tain't So, Honey, 'Tain't So", recorded on June 10, 1928, in New York and released as Columbia 1444-D 5862: 5857: 2083: 1818: 1742: 1352: 1222: 1030: 994:

on September 15, 1930, Beiderbecke played on the original recording of Hoagy Carmichael's new song, "

945: 548: 4412: 1312:, featured interviews with Hoagy Carmichael, Bill Challis and others, who knew and worked with Bix. 932:

idiom with a more classical orientation, so much sought-after in the 1920s, were calling out to him.

5057: 4454: 2518: 1993: 1977: 1781: 1501: 1301: 1023: 904:

its record-buying and concert-going audience. Whiteman was perhaps best known for having premiered

528: 5564: 5552: 1745:, recorded on January 21, 1928, in New York and released as Victor 35883-A. No. 1 for 2 weeks 1725:", recorded on January 4, 1928, in New York and released as Victor 21214-A. No. 1 for 3 weeks 1424:

Like Green, who made particular mention of Beiderbecke's "amount of teaching," the jazz historian

4901: 1928: 1833: 1768: 1722: 1630: 1522:"Candlelights", "Flashes", and "In the Dark" are piano compositions transcribed with the help of 1315:

Beiderbecke's music was featured in three British comedy drama television series, all written by

1268:. In this version, in which Hoagy Carmichael also plays a role, the Rick Martin character lives. 995: 949: 880: 792: 776: 403: 317: 284: 5353: 5087: 4333: 4275: 2014:

2004, inducted into the inaugural class of the Lincoln Center's Nesuhi Ertegun Jazz Hall of Fame

1160: 584:

Beiderbecke joined the Wolverine Orchestra late in 1923, and the seven-man group first played a

4523: 3895: 497:'s horn lines. He also listened to jazz from the riverboats that docked in downtown Davenport. 5809: 5775: 5717: 5502: 5480: 5450: 5424: 5400: 5340: 5317: 5298: 5276: 5253: 5223: 5187: 5161: 5138: 5114: 5091: 4979: 4924: 4905: 4879: 4845: 4819: 4807: 4793: 4762: 4736: 4714: 4692: 4673: 4650: 4624: 4605: 4579: 4542: 3558: 2295: 2025: 1999: 1641: 1569: 1558: 1377: 1273: 1101: 1029:

Beiderbecke's playing had an influence on Carmichael as a composer. One of his compositions, "

796: 780: 767:. An arrangement of "Davenport Blues" as a piano solo was published by Robbins Music in 1927. 735: 636: 597: 433: 395: 391: 345: 321: 312: 4949: 2944: 1304:. In 1977, the Beiderbecke childhood home at 1934 Grand Avenue in Davenport was added to the 1051:

year at home in Davenport and then, in February 1931, he returned to New York one last time.

5722: 5464: 4706: 4566: 3951: 3781: 3749: 3713:

Cedar Rapids Evening Gazette and Republican, August 11, 1931, cited in the Bixography Forum

2347: 2291: 2210: 2055: 1729: 1168: 986: 981: 972: 953: 910: 884: 871:

Under financial pressure, Goldkette folded his premier band in September 1927 in New York.

731: 475: 376: 220: 182: 2034:

2017, the Bix Beiderbecke Museum & Archives opens in Bix's hometown of Davenport, Iowa

838:

Beiderbecke's cornet solo in "Singin' the Blues" recorded on February 4, 1927, in New York.

722:, who died in 1925 at the age of 23. Indeed, Beiderbecke had met Hardy and the clarinetist 5814: 5665: 5647: 5476: 5370: 5360: 5219: 5071: 5024: 5013: 4833: 4530: 4472: 4461: 4437: 4419: 4374: 4363: 4340: 4305: 4282: 4234: 4223: 3934: 3902: 3565: 2139: 1755: 1705: 1610:"Sunny Disposish", recorded on February 3, 1927, in New York and released as Victor 20493B 1585: 1480: 1309: 1115: 1083: 1019: 905: 892: 784: 752: 697: 632: 576: 498: 383: 296: 85: 5580: 5443:

How the Beatles Destroyed Rock 'n' Roll: An Alternative History of American Popular Music

4874:(1997) . "Young Man with a Horn Again"". In Wilson, Dorothy; Chamberlain, Robert (eds.). 4299:"Bix Beiderbecke by Ted McElhiney, 1979", Western Illinois University Index of Public Art 936:

Beiderbecke is featured on a number of Whiteman recordings, including "From Monday On", "

336:'s band in New York, Trumbauer and Beiderbecke joined America's most popular dance band: 4526:. The Red Hot Jazz Archive: A History of Jazz Before 1930. Retrieved November 15, 2020. 2134:

For summaries of Beiderbecke's life, see Lion, Sudhalter/Evans and the documentary film

1680:" / "Jazz Me Blues", recorded on October 5, 1927, in New York and released as Okeh 40923 1073: 580:

The Wolverines with Beiderbecke at Doyle's Academy of Music in Cincinnati, Ohio, in 1924

5707: 5377: 5290: 4391: 2252: 2194: 1829:, recorded on May 21, 1930, in New York and released as Victor V-38139 and Victor 25371 1826: 1794:"Oh! Miss Hannah", recorded on May 4, 1929, in New York and released as Columbia 1945-D 1664:"Borneo" / "My Pet", recorded on April 10, 1928, in New York and released as Okeh 41039 1613:"Clementine", recorded on September 15, 1927, in New York and released as Victor 20994 1396: 1282: 1247: 1240:

borrowed the title of her friend Otis Ferguson's first article and published the novel

1190: 1186: 1182: 1011: 915: 888: 755:", which subsequently became a classic jazz number, recorded by musicians ranging from 687: 652: 589: 540: 448: 333: 329: 308: 1064: 414: 5851: 5712: 5179: 4999: 4871: 4859: 4538: 3772: 3740: 2202: 2105: 1983: 1692:"Rhythm King", recorded on September 21, 1928, in New York and released as Okeh 41173 1347:. Filmed partially in the Beiderbecke home, which Avati had purchased and renovated, 1261: 1173: 872: 764: 756: 691: 644: 609: 605: 368: 349: 337: 5175: 5034: 4954: 4728: 3961: 2331: 2327: 2198: 1644:" / "Ostrich Walk", recorded on May 9, 1927, in New York and released as Okeh 40822 1588:", recorded on January 26, 1925, in Richmond, Indiana, and released as Gennett 5654 1572:" / "Susie (Of the Islands)", recorded on May 6, 1924, and released as Gennett 5454 1533: 1523: 1475:

Bix Beiderbecke wrote or co-wrote six instrumental compositions during his career:

1446: 1257: 1218: 1210: 1178: 1007: 965: 723: 719: 640: 513: 494: 364: 187: 4298: 1764:"Louisiana" , recorded on April 23, 1928, in New York and released as Victor 21438 1711:"Changes" , recorded on November 23, 1927, in Chicago and released as Victor 25370 382:

He composed or played on recordings that are jazz classics and standards such as "

4711:

The Stardust Road & Sometimes I Wonder: The Autobiography of Hoagy Carmichael

4615:

Blumenthal, Bob (2000). "The Birth of Modern Jazz". In Hasse, John Edward (ed.).

830: 5438: 5241: 5237: 2343: 2339: 2278: 2069: 1739:"San" , recorded on January 12, 1928, in New York and released as Victor 24078-A 1715: 1316: 1226: 1015: 957: 804: 683: 670: 613: 552: 356: 3871:"Q&A: Delving into the Life of the Inscrutable Jazz Legend Bix Beiderbecke" 1784:", recorded on September 18, 1928, in New York and released as Columbia 50103-D 5782: 5538: 5373:. Lewis Porter, Tim Wilkins, and Ted Gioia, eds. Retrieved September 19, 2010. 4837: 4750: 2375:, writes of Whiteman as having been cast "a villain" in the Beiderbecke story. 2335: 2220: 2214: 2045: 1562: 1547:

Bix Beiderbecke's first recordings were as a member of the Wolverine Orchestra

1412: 1408: 1343: 1338: 1278: 1003: 999: 847: 715: 625: 517: 502: 465: 461: 5006: 4486:"Bix Beiderbecke Gets a Museum in America's (Other) Birthplace of Jazz: Iowa" 4356: 5654: 5586: 5468: 4893: 4317: 2206: 1976:

1977, Beiderbecke's 1927 recording of "Singin' the Blues" inducted into the

1965: 1905: 1788: 1658: 1487: 1460: 1425: 1373: 1369: 1265: 1022:. In 2014, the 1930 recording of "Georgia on My Mind" was inducted into the 876: 865: 807:

performing a nearly note-for-note homage to Beiderbecke's most famous solo.

760: 621: 593: 585: 536: 486: 387: 372: 289: 264: 118: 5017: 4367: 17: 5107:

Jelly Roll, Bix, and Hoagy: Gennett Studios and the Birth of Recorded Jazz

3500: 3498: 3496: 2290:

Beiderbecke's replacement in the Wolverines was the 17-year-old Chicagoan

2241:

Depending on the source. Feather says age two; Fairweather says age three.

4597: 3938: 3069: 3067: 2312:

For complete Beiderbecke discographies, see Sudhalter and Evans; and Lion

1771:", recorded on May 15, 1928, in New York and released as Columbia 50068-D 1708:", recorded on November 18, 1927, in Chicago and released as Victor 35877 1604:", recorded on October 15, 1926, in New York and released as Victor 20273 800: 482: 1455:

Beiderbecke plays piano on his recordings "Big Boy" (October 8, 1924), "

1096:

Plaque in Sunnyside, N.Y., where the jazz musician Bix Beiderbecke died.

5542: 5246:

Hear Me Talkin' to Ya: The Story of Jazz as Told by the Men Who Made It

2063: 1791:", recorded on May 3, 1929, in New York and released as Columbia 1945-D 1637:", recorded on February 4, 1927, in New York and released as Okeh 40772 647:

from the Original Dixieland Jazz Band, and "Jazz Me Blues", written by

268: 5295:

Lost Chords: White Musicians and Their Contribution to Jazz, 1915–1945

4781: 2583: 2581: 1100:

Beiderbecke died in his apartment, No. 1G, 43–30 46th Street, in

968:

and we played the same thing every night, and it got to be tiresome."

5331:

Sudhalter, Richard M.; Evans, Philip R.; Dean-Myatt, William (1974).

4490: 4216: 151: 5363: 1992:

1980, Beiderbecke's 1927 recording of "In a Mist" inducted into the

2715: 2713: 5601: 5249: 5064: 4430: 2005:

1993, inducted into the International Academy of Jazz Hall of Fame

1953: 1464: 1221:. Beiderbecke was portrayed as a tragic genius along the lines of 1119: 1091: 575: 447: 413: 156: 1622:

With Frankie Trumbauer and His Orchestra and guitarist Eddie Lang

4641:(2000). "The Flourishing of Jazz". In Hasse, John Edward (ed.). 1407:

would become, in the 1950s, the cool jazz style, personified by

868:". This was perhaps the most fruitful year of his short career. 418:

Beiderbecke, age 8, poses with a neighbor, Nora Lasher, in 1911.

261: 113: 5605: 5045: 4465: 3955: 2104:) with a jazz soundtrack in the Beiderbecke style performed by 3853: 3851: 1561:", recorded on May 6, 1924, and released as Gennett 5453B and 1018:

on tenor saxophone. The song would go on to become a jazz and

620:

allusions, and influenced Beiderbecke's style, especially on "

425: 299:, Iowa, Beiderbecke taught himself to play the cornet largely 235: 5596: 5545:- An mp3 of Beiderbecke's first recording under his own name. 4227: 3625: 3623: 3621: 2817: 2815: 307:

in 1924, after which he played briefly for the Detroit-based

3723: 3721: 812: 5804:

Private Astronomy: A Vision of the Music of Bix Beiderbecke

5065:"Jazz at Lincoln Center's Nesuhi Ertegun Jazz Hall of Fame" 4431:"Jazz at Lincoln Center's Nesuhi Ertegun Jazz Hall of Fame" 4251: 3411: 3409: 3407: 2658: 2656: 2511:"Say How? A Pronunciation Guide to Names of Public Figures" 2259:

that Beiderbecke did, in fact, hear Armstrong in Davenport.

860:". Beiderbecke earned co-writing credit with Trumbauer on " 241: 229: 5532:

Bix Beiderbecke Resources: A Creative Aural History Thesis

3802: 3800: 2787: 2785: 2197:

film adapted from Baker's novel of the same name starring

1958:

Bix Beiderbecke Memorial in LeClaire Park, Davenport, Iowa

1445:

solo, as in all of Bix at his best," writes the trumpeter

686:

and other black artists; to the classical compositions of

4941: 4344: 4286: 2515:

National Library Service for the Blind and Print Disabled

914:

in New York in 1924, and the orchestrator of that piece,

547:. He also traveled to the predominantly African-American 4167: 4035: 3504: 3475: 3386: 3362: 3293: 3257: 3245: 3209: 3109: 3073: 2957: 2955: 2953: 2802: 2800: 2587: 2213:. See also the English-language, Italian-produced film, 2024:

2007, inducted into the Gennett Records Walk of Fame in

730:

Beiderbecke certainly found a kindred musical spirit in

5314:

Stardust Melody: The Life and Music of Hoagy Carmichael

5075: 4441: 4321: 4228:

The Red Hot Jazz Archive: A History of Jazz Before 1930

3132: 3130: 2743:

Evans and Evans, pp. 16–17; Sudhalter and Evans, p. 26.

3346: 3344: 1989:

1979, inducted into the Big Band and Jazz Hall of Fame

1381:

with Jimmy McPartland and moving on down from there."

4976:

The Reluctant Art: Five Studies in the Growth of Jazz

2688: 2686: 2673: 2671: 460:. It was purchased and renovated by Italian director 253: 244: 4810:(2000). "Bix Beiderbecke". In Kirchner, Bill (ed.). 4691:. New York: W.W. Norton & Company. p. 218. 3317:

Quotation from Trumbauer's journal; in Lion, p. 101.

1197:

Beiderbecke's friends in various memoirs, including

238: 232: 226: 5767: 5731: 5695: 5639: 5216:

Paul Whiteman: Pioneer in American Music, 1890–1930

1845:Bix Beiderbecke was posthumously inducted into the 260:; March 10, 1903 – August 6, 1931) was an American 223: 175: 165: 144: 127: 106: 92: 72: 62: 57: 34: 2151:For a study of Beiderbecke's legend, see Perhonis. 665:solo without any need for a respite from playing. 616:were self-consciously American whilst also having 2719: 2169:For example, see Carmichael, Condon, and Mezzrow. 5082:Johnson, Rich; Arpy, Jim; Bowers, Gerri (2009). 2298:went on to become a jazz great in her own right. 624:." A subsequent gig at Doyle's Dance Academy in 5269:Jazz and Death: Medical Profiles of Jazz Greats 5154:'Bix: The Definitive Biography of a Jazz Legend 1106: 527:In September 1921, Beiderbecke enrolled at the 3830: 2326:, a band that at one time or another featured 551:to listen to classic black jazz bands such as 283:" (both 1927) demonstrate a gift for extended 5617: 5591:Discography of American Historical Recordings 5560:Twelve Essential Bix Beiderbecke Performances 363:" (a novel, later made into a movie starring 8: 5007:"International Academy of Jazz Hall of Fame" 4938:"Grammy Hall of Fame Award: Past Recipients" 4357:"International Academy of Jazz Hall of Fame" 4334:"Grammy Hall of Fame Award: Past Recipients" 4276:"Grammy Hall of Fame Award: Past Recipients" 4119: 4071: 3857: 3818: 2662: 2647: 1853:Bix Beiderbecke: Grammy Hall of Fame Awards 1714:"Lonely Melody" / "Mississippi Mud" , with 1593:With the Jean Goldkette Orchestra in 1926–27 668:In some respects, Beiderbecke's playing was 4755:The Baby Dodds Story, as Told to Larry Gara 3974: 3160: 3121: 2821: 2308: 2306: 2304: 485:phonograph and several records, including " 5830:The Smithsonian Collection of Classic Jazz 5624: 5610: 5602: 4792:. Bakersfield, California: Prelike Press. 4788:Evans, Philip R.; Evans, Linda K. (1998). 4263: 4095: 4011: 3727: 3653: 3641: 3629: 2776: 2764: 2731: 2635: 1577:As Bix Beiderbecke and his Rhythm Jugglers 42: 31: 4576:Remembering Bix: A Memoir of the Jazz Age 3576: 3554: 3552: 3550: 3427: 3415: 3221: 3034: 2833: 2791: 2564:Bix Beiderbecke & the Chicago Cornets 2136:Bix: Ain't None of Them Play Like Him Yet 964:with the Whiteman band because we were a 887:instead joined the bass saxophone player 4733:We Called It Music: A Generation of Jazz 4191: 4023: 3986: 3806: 3197: 3185: 3136: 2623: 2611: 2599: 1851: 531:, a boarding school north of Chicago in 5868:Alcohol-related deaths in New York City 5525:Bix Beiderbecke Resources: A Bixography 5364:Jazz.com Encyclopedia of Jazz Musicians 4522:Alexander, Scott with Pereyra, Dennis. 4413:2000 ASCAP Jazz Wall of Fame Inductees. 4388:"Bix Beiderbecke by Ted McElhiney 2000" 4155: 3896:Jazz.com Encyclopedia of Jazz Musicians 3689: 3097: 2974: 2961: 2806: 2502: 2127: 1811:With Hoagy Carmichael and His Orchestra 1163:. The notice appeared in October 1931. 5918:Deaths from pneumonia in New York City 4215:Alexander, Scott with Dennis Pereyra. 4168:Sudhalter, Evans & Dean-Myatt 1974 4107: 4083: 4036:Sudhalter, Evans & Dean-Myatt 1974 3842: 3665: 3520:, February 10, 1929; see Lion, p. 209. 3505:Sudhalter, Evans & Dean-Myatt 1974 3476:Sudhalter, Evans & Dean-Myatt 1974 3387:Sudhalter, Evans & Dean-Myatt 1974 3363:Sudhalter, Evans & Dean-Myatt 1974 3294:Sudhalter, Evans & Dean-Myatt 1974 3258:Sudhalter, Evans & Dean-Myatt 1974 3246:Sudhalter, Evans & Dean-Myatt 1974 3210:Sudhalter, Evans & Dean-Myatt 1974 3110:Sudhalter, Evans & Dean-Myatt 1974 3074:Sudhalter, Evans & Dean-Myatt 1974 2878: 2866: 2692: 2588:Sudhalter, Evans & Dean-Myatt 1974 1943:By Hoagy Carmichael and His Orchestra 1337:(1988). In 1991, the Italian director 1294:Bix Beiderbecke Memorial Jazz Festival 845: 5597:Bix Beiderbecke Museum & Archives 5501:. New York: Oxford University Press. 5391:Teachout, Terry Frederick T. (2009). 5316:. New York: Oxford University Press. 5297:. New York: Oxford University Press. 4923:. New York: Oxford University Press. 4844:. New York: Oxford University Press. 4842:The Biographical Encyclopedia of Jazz 4131: 4059: 4047: 3463: 3451: 3439: 3281: 2677: 998:", with Carmichael doing the vocals, 678:; to the hotter Chicago style of the 543:, where he sometimes sat in with the 456:in Davenport, Iowa, is listed on the 7: 6033:Jazz musicians from New York (state) 6008:20th-century American male musicians 5267:Spencer, Frederick J., M.D. (2002). 5035:National Register of Historic Places 4776:DownBeat Critics (August 31, 1962). 4689:Louis Armstrong: Master of Modernism 4246:DownBeat Critics (August 31, 1962). 4203: 4179: 4143: 3701: 3677: 3612: 3600: 3588: 3541: 3529: 3487: 3398: 3374: 3350: 3335: 3305: 3269: 3233: 3148: 3085: 3058: 3046: 3022: 3010: 2998: 2986: 2940: 2902: 2890: 2845: 2752: 2704: 2268:For more about Gennett, see Kennedy. 1799:As Bix Beiderbecke and His Orchestra 1306:National Register of Historic Places 458:National Register of Historic Places 5380:(September 2005). "Homage to Bix". 4790:Bix: The Leon Bix Beiderbecke Story 2112:, as the hero is a Beiderbecke fan. 2008:2000, statue dedicated in Davenport 6023:Victor Recording Orchestra members 6018:The Wolverines (jazz band) members 5473:Jazz: A History of America's Music 5201:Perhonis, John Paul (March 1978). 2916:"Bixography Forum post 07.01.2001" 2216:Bix: An Interpretation of a Legend 2178:For example, see Baker and Turner. 1970:s Jazz Hall of Fame, critics' poll 1615:"Jean Goldkette and his Orchestra" 1538:as a composition from circa 1924. 1361:Greater Astoria Historical Society 1344:Bix: An Interpretation of a Legend 467:Bix: An Interpretation of a Legend 25: 5908:American people of German descent 5218:. Vol. I. Lanham, Maryland: 4898:The Birth (And Death) of the Cool 4524:"Paul Whiteman and his Orchestra" 4217:"Paul Whiteman and his Orchestra" 2384:Green; also quoted in Sudhalter, 5571:Bix Beiderbecke Memorial Society 5129:Kenney, William Howland (2005). 4600:. Retrieved September 19, 2010. 4318:"Big Band and Jazz Hall of Fame" 2857:Dodds, p. 24; Armstrong, p. 209. 2138:(1981), written and directed by 2062: 2048: 1697:With the Paul Whiteman Orchestra 1072: 1063: 1010:on clarinet and alto saxophone, 846:Problems playing this file? See 828: 452:Beiderbecke's childhood home at 219: 5993:20th-century American composers 5835:Jazz: The Smithsonian Anthology 5576:All That Jazz: Bix Beiderbecke. 5393:Pops: A Life of Louis Armstrong 5354:Sudhalter, Richard M. (Merrill) 5273:University Press of Mississippi 5078:. Retrieved September 19, 2010. 5048:. Retrieved September 19, 2010. 5037:. Retrieved September 19, 2010. 5027:. Retrieved September 19, 2010. 4944:. Retrieved September 19, 2010. 4784:. Retrieved September 19, 2010. 4535:Satchmo: My Life in New Orleans 4237:. Retrieved September 14, 2010. 3894:See Sudhalter biography at the 2720:Johnson, Arpy & Bowers 2009 1669:As Bix Beiderbecke and His Gang 643:", written by Nick LaRocca and 489:" and "Skeleton Jangle" by the 6003:20th-century American pianists 5825:Leon Bismark Beiderbecke House 5312:Sudhalter, Richard M. (2002). 4948:Gray, Frank (April 30, 2005). 4308:. Retrieved November 27, 2011. 3950:Gray, Frank (April 30, 2005). 3172:The Kirk Douglas character in 2082:, a three-part 1980s British ( 1441:musicians had in those days." 858:Way Down Yonder in New Orleans 749:Victor Talking Machine Company 588:called the Stockton Club near 1: 6013:People from Sunnyside, Queens 5790:Young Man with a Horn (novel) 5415:Turner, Frederick W. (2003). 5105:Kennedy, Richard Lee (1999). 5046:Starr Gennett Foundation Inc. 4666:Louis Armstrong's New Orleans 4475:. Retrieved October 18, 2009. 4466:Starr Gennett Foundation Inc. 4444:. Retrieved October 18, 2009. 4377:. Retrieved October 18, 2009. 4347:. Retrieved October 18, 2009. 4324:. Retrieved October 18, 2009. 4289:. Retrieved October 18, 2009. 4254:. Retrieved October 18, 2009. 3918:. Retrieved November 5, 2009. 3905:. Retrieved November 5, 2009. 3777:"Young Man with a Horn Again" 2011:2000, ASCAP Jazz Wall of Fame 1497:" (1927) with Frank Trumbauer 1288:Brendan Wolfe, the author of 682:and the south-side bands of 49: 27:American musician (1903–1931) 5878:American male jazz composers 5797:Young Man with a Horn (film) 4996:Jazz Masters of the Twenties 4812:The Oxford Companion to Jazz 4778:"1962 DownBeat Critics Poll" 4507:Walt Disney World News Today 4248:"1962 DownBeat Critics Poll" 3559:Grammy Hall of Fame Database 2472:Carmichael quoted in Berton. 1922: 1899: 1876: 1300:, which was nominated for a 1205:(1965) by Hoagy Carmichael, 702:The Oxford Companion to Jazz 676:Original Dixieland Jazz Band 491:Original Dixieland Jazz Band 6028:20th-century jazz composers 5958:People from Davenport, Iowa 5893:American male jazz pianists 5135:University of Chicago Press 5012:September 11, 2018, at the 4362:September 11, 2018, at the 3965:Retrieved October 18, 2009. 3941:. Retrieved August 8, 2009. 2019:National Recording Registry 1819:"Barnacle Bill, the Sailor" 464:for portions of his biopic 6049: 5943:Lake Forest Academy alumni 5758:The Beiderbecke Connection 5703:The Wolverines (jazz band) 5587:Bix Beiderbecke recordings 5337:Arlington House Publishers 5335:. New Rochelle, New York: 5152:Lion, Jean Pierre (2005). 5070:December 23, 2010, at the 4994:Hadlock, Richard (1974) . 4731:; Sugrue, Thomas (1992) . 4670:W. W. Norton & Company 4436:December 23, 2010, at the 4233:November 13, 2010, at the 3901:February 21, 2008, at the 3831:Shapiro & Hentoff 1966 2160:For example, see Ferguson. 2101:The Beiderbecke Connection 1982:1979, statue presented at 1376:. The critic and musician 1334:The Beiderbecke Connection 938:Back In Your Own Back Yard 824:"Singin' the Blues" (1927) 470:during the summer of 1990. 5662:For No Reason at All in C 5581:Bix Beiderbecke 1903–1931 5397:Houghton Mifflin Harcourt 5395:. Boston. Massachusetts: 5369:November 1, 2011, at the 5023:November 4, 2011, at the 4687:Brothers, Thomas (2014). 4664:Brothers, Thomas (2006). 4373:November 4, 2011, at the 3933:January 18, 2012, at the 3914:See the NRHP website for 3518:Davenport Sunday Democrat 2324:McKinney's Cotton Pickers 1652:For No Reason at All in C 1495:For No Reason at All in C 1457:For No Reason at All in C 1044:Wall Street Crash of 1929 862:For No Reason at All in C 539:, including the infamous 311:Orchestra before joining 41: 5988:Vocalion Records artists 5913:Columbia Records artists 5903:American male trumpeters 5898:American jazz trumpeters 5883:American jazz cornetists 5359:August 31, 2012, at the 5111:Indiana University Press 5109:. Bloomington, Indiana: 5086:. Barnegat, New Jersey: 5084:Bix: The Davenport Album 4876:The Otis Ferguson Reader 4509:, accessed 4 March 2021. 4222:January 5, 2012, at the 4120:Mezzrow & Wolfe 1998 4072:Condon & Sugrue 1992 3875:The National Book Review 3858:Condon & Sugrue 1992 3819:Mezzrow & Wolfe 1998 2663:Mezzrow & Wolfe 1998 2648:Condon & Sugrue 1992 2481:Mezzrow quoted in Gioia. 2463:Condon quoted in Berton. 956:", the latter featuring 942:You Took Advantage Of Me 680:New Orleans Rhythm Kings 545:New Orleans Rhythm Kings 443:Davenport Daily Democrat 441:admiring article in the 313:Frankie "Tram" Trumbauer 68:Leon Bismark Beiderbecke 5998:20th-century trumpeters 5938:Gennett Records artists 5873:American jazz composers 5734:The Beiderbecke Trilogy 5583:at Red Hot Jazz Archive 5549:"Bixology" (an excerpt) 5447:Oxford University Press 5271:. Oxford, Mississippi: 5207:University of Minnesota 5052:James, Burnett (1959). 4816:Oxford University Press 4643:Jazz: The First Century 4617:Jazz: The First Century 4574:Berton, Ralph (2000) . 4418:March 31, 2013, at the 4304:March 14, 2012, at the 3745:"Young Man with a Horn" 2417:Queens General Hospital 2232:See Johnson; also Lion. 2079:The Beiderbecke Trilogy 1277:, a 1955 film starring 1048:The Camel Pleasure Hour 1038:Napoleon, and the rest. 614:orchestral arrangements 5983:Victor Records artists 5888:American jazz pianists 5820:Memorial Jazz Festival 5744:The Beiderbecke Affair 5076:Jazz at Lincoln Center 4958:. www.theguardian.com/ 4460:March 3, 2012, at the 4442:Jazz at Lincoln Center 4339:June 26, 2015, at the 4281:June 26, 2015, at the 4264:Evans & Evans 1998 4012:Evans & Evans 1998 3654:Evans & Evans 1998 3642:Evans & Evans 1998 3630:Evans & Evans 1998 2777:Evans & Evans 1998 2765:Evans & Evans 1998 2732:Evans & Evans 1998 2219:(1991), from director 2089:The Beiderbecke Affair 1959: 1422: 1322:The Beiderbecke Affair 1157: 1151: 1146: 1111: 1097: 1040: 1020:popular music standard 934: 817: 711: 662: 581: 471: 419: 58:Background information 5751:The Beiderbecke Tapes 5291:Sudhalter, Richard M. 5186:. New York: Citadel. 5133:. Chicago, Illinois: 4978:. New York: Da Capo. 4878:. New York: Da Capo. 4864:Young Man with a Horn 4757:. Alma, Mississippi: 4735:. New York: Da Capo. 4713:. New York: Da Capo. 4578:. New York: Da Capo. 4562:Young Man with a Horn 4471:May 16, 2016, at the 3775:(November 18, 1940). 3564:July 7, 2015, at the 3516:"Bix Beiderbecke" in 3174:Young Man with a Horn 3035:Ward & Burns 2000 2834:Ward & Burns 2000 2792:Ward & Burns 2000 2359:Quoted in Sudhalter, 2190:Young Man with a Horn 2095:The Beiderbecke Tapes 2086:) television series ( 1957: 1678:At the Jazz Band Ball 1417: 1328:The Beiderbecke Tapes 1253:Young Man with a Horn 1243:Young Man with a Horn 1152: 1147: 1141: 1095: 1035: 929: 816: 706: 657: 655:and Philip R. Evans: 579: 533:Lake Forest, Illinois 510:Davenport High School 508:Beiderbecke attended 451: 417: 361:Young Man with a Horn 5953:Okeh Records artists 5933:Dixieland trumpeters 5923:Dixieland cornetists 5655:In a Mist (Bixology) 5031:"Iowa: Scott County" 4900:. Golden, Colorado: 4818:. pp. 122–131. 4759:Rebeats Publications 2084:Yorkshire Television 1986:, in Davenport, Iowa 1963:1962, inducted into 1584:"Toddlin' Blues" / " 1353:Cannes Film Festival 1351:was screened at the 1223:Ludwig van Beethoven 653:Richard M. Sudhalter 618:French Impressionist 324:in New York City in 281:I'm Coming, Virginia 5948:Musicians from Iowa 5333:Bix: Man and Legend 5214:Rayno, Don (2003). 4921:The History of Jazz 4919:Gioia, Ted (1997). 4623:. pp. 87–111. 4266:, pp. 585–591. 4170:, pp. 100–101. 4026:, pp. 132–163. 3644:, pp. 544–545. 3615:, pp. 279–281. 3579:, pp. 108–110. 3532:, pp. 230–234. 3430:, pp. 423–424. 3377:, pp. 308–339. 3365:, pp. 403–472. 3296:, pp. 132–133. 3272:, pp. 338–339. 3163:, pp. 124–125. 2519:Library of Congress 2441:See also Teachout, 1994:Grammy Hall of Fame 1978:Grammy Hall of Fame 1854: 1847:Grammy Hall of Fame 1841:Grammy Hall of Fame 1390:Style and influence 1302:National Book Award 1298:Bix: Man and Legend 1024:Grammy Hall of Fame 529:Lake Forest Academy 340:and his Orchestra. 277:"Singin' the Blues" 102:New York City, U.S. 5928:Dixieland pianists 5563:by Brendan Wolfe, 5551:by Brendan Wolfe, 5499:The Jazz Tradition 4808:Fairweather, Digby 4649:. pp. 25–51. 4604:, pp. 87–111 4598:Festival de Cannes 3939:Festival de Cannes 3916:Scott County, Iowa 3785:. pp. 692–695 3753:. pp. 354–355 3692:, pp. 99–106. 3401:, p. 154–163. 3200:, pp. 238–39. 1960: 1929:Georgia on My Mind 1852: 1834:Georgia on My Mind 1769:My Melancholy Baby 1631:Clarinet Marmalade 1490:(Bixology)" (1927) 1250:directed the film 1215:We Called It Music 1203:Sometimes I Wonder 1098: 996:Georgia on My Mind 881:Chauncey Morehouse 818: 793:Graystone Ballroom 777:C-melody saxophone 592:. Specializing in 582: 472: 420: 404:Georgia on My Mind 318:Fletcher Henderson 5843: 5842: 5810:23457 Beiderbecke 5776:Jazz (miniseries) 5718:Frankie Trumbauer 5539:"Davenport Blues" 5465:Ward, Geoffrey C. 5456:978-0-19-534154-6 5406:978-0-15-101089-9 5386:. pp. 65–68. 5131:Jazz on the River 5097:978-0-9774018-5-7 5042:"Bix Beiderbecke" 4911:978-1-933108-31-5 4851:978-0-19-507418-5 4707:Carmichael, Hoagy 4698:978-0-393-06582-4 4455:"Bix Beiderbecke" 4394:on March 14, 2012 4062:, pp. 71–72. 3743:(July 29, 1936). 3442:, pp. 18–19. 3308:, pp. 94–95. 3224:, pp. 52–56. 3151:, pp. 78–79. 3061:, pp. 44–45. 3013:, pp. 39–40. 2973:For example, see 2922:. January 7, 2001 2836:, pp. 81–83. 2767:, pp. 28–29. 2296:Marian McPartland 2187:For example, see 2026:Richmond, Indiana 2000:23457 Beiderbecke 1947: 1946: 1883:Singin' the Blues 1825:, with vocals by 1642:Riverboat Shuffle 1635:Singin' the Blues 1570:Riverboat Shuffle 1378:Digby Fairweather 1274:Blackboard Jungle 1231:out of this world 1199:The Stardust Road 1131:Legend and legacy 1114:certificate, was 1102:Sunnyside, Queens 1014:on trombone, and 833: 797:Roseland Ballroom 781:Frankie Trumbauer 736:Riverboat Shuffle 637:Richmond, Indiana 598:Jelly Roll Morton 454:1934 Grand Avenue 434:Otto von Bismarck 400:Singin' the Blues 396:Riverboat Shuffle 375:, and his friend 346:Sunnyside, Queens 322:Roseland Ballroom 201: 200: 16:(Redirected from 6040: 5978:Swing trumpeters 5968:Swing cornetists 5963:Sony BMG artists 5723:Hoagy Carmichael 5626: 5619: 5612: 5603: 5512: 5495:Williams, Martin 5490: 5460: 5434: 5410: 5387: 5350: 5327: 5308: 5286: 5263: 5233: 5210: 5197: 5184:Really the Blues 5171: 5148: 5124: 5101: 5061: 5003: 4989: 4967: 4965: 4963: 4934: 4915: 4889: 4867: 4855: 4834:Feather, Leonard 4829: 4803: 4772: 4746: 4724: 4702: 4683: 4660: 4634: 4589: 4570: 4567:Houghton Mifflin 4552: 4531:Armstrong, Louis 4511: 4502: 4496: 4495: 4482: 4476: 4451: 4445: 4428: 4422: 4410: 4404: 4403: 4401: 4399: 4390:. 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Knopf 5463: 5457: 5437: 5431: 5414: 5407: 5390: 5378:Teachout, Terry 5376: 5371:Wayback Machine 5361:Wayback Machine 5347: 5330: 5324: 5311: 5305: 5289: 5283: 5266: 5260: 5244:, eds. (1966). 5236: 5230: 5220:Scarecrow Press 5213: 5200: 5194: 5174: 5168: 5151: 5145: 5128: 5121: 5104: 5098: 5081: 5072:Wayback Machine 5054:Bix Beiderbecke 5051: 5040:Jacobsen, Bob. 5025:Wayback Machine 5014:Wayback Machine 4993: 4986: 4970: 4961: 4959: 4947: 4931: 4918: 4912: 4892: 4886: 4870: 4858: 4852: 4832: 4826: 4806: 4800: 4787: 4769: 4749: 4743: 4727: 4721: 4705: 4699: 4686: 4680: 4663: 4657: 4639:Brooks, Michael 4637: 4631: 4614: 4586: 4573: 4555: 4549: 4529: 4519: 4514: 4503: 4499: 4484: 4483: 4479: 4473:Wayback Machine 4462:Wayback Machine 4453:Jacobsen, Bob. 4452: 4448: 4438:Wayback Machine 4429: 4425: 4420:Wayback Machine 4411: 4407: 4397: 4395: 4386: 4385: 4381: 4375:Wayback Machine 4364:Wayback Machine 4355: 4351: 4341:Wayback Machine 4332: 4328: 4316: 4312: 4306:Wayback Machine 4297: 4293: 4283:Wayback Machine 4274: 4270: 4262: 4258: 4245: 4241: 4235:Wayback Machine 4224:Wayback Machine 4214: 4210: 4202: 4198: 4190: 4186: 4178: 4174: 4166: 4162: 4154: 4150: 4142: 4138: 4130: 4126: 4118: 4114: 4106: 4102: 4096:Carmichael 1999 4094: 4090: 4082: 4078: 4070: 4066: 4058: 4054: 4046: 4042: 4034: 4030: 4022: 4018: 4014:, p. xxii. 4010: 4006: 3997: 3993: 3985: 3981: 3973: 3969: 3949: 3945: 3935:Wayback Machine 3926: 3922: 3913: 3909: 3903:Wayback Machine 3893: 3889: 3879: 3877: 3869: 3868: 3864: 3856: 3849: 3841: 3837: 3829: 3825: 3817: 3813: 3805: 3798: 3788: 3786: 3771: 3770: 3766: 3756: 3754: 3739: 3738: 3734: 3728:Blumenthal 2000 3726: 3719: 3712: 3708: 3700: 3696: 3688: 3684: 3676: 3672: 3664: 3660: 3652: 3648: 3640: 3636: 3628: 3619: 3611: 3607: 3599: 3595: 3587: 3583: 3575: 3571: 3566:Wayback Machine 3557: 3548: 3540: 3536: 3528: 3524: 3515: 3511: 3503: 3494: 3486: 3482: 3474: 3470: 3462: 3458: 3450: 3446: 3438: 3434: 3426: 3422: 3414: 3405: 3397: 3393: 3385: 3381: 3373: 3369: 3361: 3357: 3349: 3342: 3334: 3330: 3325: 3321: 3316: 3312: 3304: 3300: 3292: 3288: 3280: 3276: 3268: 3264: 3256: 3252: 3244: 3240: 3232: 3228: 3220: 3216: 3208: 3204: 3196: 3192: 3184: 3180: 3171: 3167: 3159: 3155: 3147: 3143: 3135: 3128: 3120: 3116: 3108: 3104: 3096: 3092: 3084: 3080: 3072: 3065: 3057: 3053: 3045: 3041: 3033: 3029: 3021: 3017: 3009: 3005: 2997: 2993: 2985: 2981: 2972: 2968: 2960: 2951: 2939: 2935: 2925: 2923: 2914: 2913: 2909: 2901: 2897: 2889: 2885: 2877: 2873: 2865: 2861: 2856: 2852: 2844: 2840: 2832: 2828: 2820: 2813: 2805: 2798: 2790: 2783: 2775: 2771: 2763: 2759: 2751: 2747: 2742: 2738: 2730: 2726: 2718: 2711: 2703: 2699: 2691: 2684: 2676: 2669: 2661: 2654: 2646: 2642: 2636:Carmichael 1999 2634: 2630: 2622: 2618: 2610: 2606: 2598: 2594: 2586: 2579: 2569: 2567: 2560: 2559: 2555: 2546: 2544: 2541:Bix Beiderbecke 2538: 2537: 2533: 2523: 2521: 2509: 2508: 2504: 2500: 2495: 2494: 2489: 2485: 2480: 2476: 2471: 2467: 2462: 2458: 2453: 2449: 2436: 2432: 2427: 2423: 2414: 2410: 2404: 2400: 2395: 2391: 2383: 2379: 2370: 2366: 2358: 2354: 2320: 2316: 2311: 2302: 2289: 2285: 2276: 2272: 2267: 2263: 2249: 2245: 2240: 2236: 2231: 2227: 2186: 2182: 2177: 2173: 2168: 2164: 2159: 2155: 2150: 2146: 2140:Brigitte Berman 2133: 2129: 2124: 2119: 2068: 2061: 2054: 2049: 2047: 2044: 1998:1989, Asteroid 1952: 1843: 1823:"Rockin' Chair" 1756:Mississippi Mud 1706:Washboard Blues 1586:Davenport Blues 1544: 1531: 1481:Davenport Blues 1473: 1392: 1387: 1310:Brigitte Berman 1193:and many more. 1161:Hugues Panassié 1133: 1116:lobar pneumonia 1090: 1089: 1088: 1087: 1084:Davenport, Iowa 1079: 1078: 1077: 1069: 1068: 1057: 906:George Gershwin 901: 893:Sylvester Ahola 853: 852: 844: 842: 841: 840: 839: 836: 829: 826: 819: 813: 785:Pee Wee Russell 773:Howdy Quicksell 753:Davenport Blues 744: 698:Louis Armstrong 633:Gennett Records 602:Wolverine Blues 574: 569: 499:Louis Armstrong 412: 384:Davenport Blues 325: 254: 222: 218: 204: 197: 166: 161: 140: 123: 101: 97: 86:Davenport, Iowa 84: 78: 76: 63: 53: 37: 36:Bix Beiderbecke 28: 23: 22: 15: 12: 11: 5: 6046: 6044: 6036: 6035: 6030: 6025: 6020: 6015: 6010: 6005: 6000: 5995: 5990: 5985: 5980: 5975: 5973:Swing pianists 5970: 5965: 5960: 5955: 5950: 5945: 5940: 5935: 5930: 5925: 5920: 5915: 5910: 5905: 5900: 5895: 5890: 5885: 5880: 5875: 5870: 5865: 5860: 5850: 5849: 5841: 5840: 5838: 5837: 5832: 5827: 5822: 5817: 5812: 5807: 5800: 5793: 5786: 5779: 5771: 5769: 5765: 5764: 5762: 5761: 5754: 5747: 5739: 5737: 5729: 5728: 5726: 5725: 5720: 5715: 5710: 5708:Jean Goldkette 5705: 5699: 5697: 5693: 5692: 5690: 5689: 5682: 5675: 5668: 5664:" (1927) with 5658: 5651: 5643: 5641: 5637: 5636: 5631: 5629: 5628: 5621: 5614: 5606: 5600: 5599: 5594: 5584: 5578: 5573: 5568: 5556: 5546: 5536: 5528: 5519: 5518:External links 5516: 5515: 5514: 5507: 5491: 5485: 5461: 5455: 5435: 5429: 5412: 5405: 5388: 5374: 5351: 5345: 5328: 5322: 5309: 5303: 5287: 5281: 5264: 5258: 5234: 5228: 5211: 5198: 5192: 5180:Wolfe, Bernard 5172: 5166: 5149: 5143: 5126: 5119: 5102: 5096: 5079: 5062: 5049: 5038: 5028: 5004: 4991: 4984: 4968: 4945: 4935: 4929: 4916: 4910: 4890: 4884: 4872:Ferguson, Otis 4868: 4860:Ferguson, Otis 4856: 4850: 4830: 4824: 4804: 4798: 4785: 4774: 4767: 4747: 4741: 4725: 4719: 4703: 4697: 4684: 4678: 4661: 4655: 4647:William Morrow 4635: 4629: 4621:William Morrow 4612: 4602:William Morrow 4590: 4584: 4571: 4557:Baker, Dorothy 4553: 4547: 4527: 4518: 4515: 4513: 4512: 4497: 4477: 4446: 4423: 4405: 4379: 4349: 4326: 4310: 4291: 4268: 4256: 4239: 4208: 4206:, p. 339. 4196: 4194:, p. 136. 4184: 4182:, p. 156. 4172: 4160: 4148: 4136: 4134:, pp. 73. 4124: 4112: 4100: 4098:, p. 110. 4088: 4076: 4064: 4052: 4040: 4038:, p. 196. 4028: 4016: 4004: 3991: 3979: 3977:, p. 122. 3967: 3943: 3920: 3907: 3887: 3862: 3847: 3845:, p. 254. 3835: 3833:, p. 151. 3823: 3811: 3796: 3773:Ferguson, Otis 3764: 3741:Ferguson, Otis 3732: 3717: 3706: 3704:, p. xiv. 3694: 3682: 3680:, p. 278. 3670: 3658: 3656:, p. 546. 3646: 3634: 3632:, p. 549. 3617: 3605: 3603:, p. 256. 3593: 3591:, p. 177. 3581: 3577:Sudhalter 2002 3569: 3546: 3544:, p. 233. 3534: 3522: 3509: 3507:, p. 264. 3492: 3490:, p. 203. 3480: 3478:, p. 235. 3468: 3456: 3454:, pp. 77. 3444: 3432: 3428:Sudhalter 1999 3420: 3418:, p. 423. 3416:Sudhalter 1999 3403: 3391: 3389:, p. 211. 3379: 3367: 3355: 3353:, p. 126. 3340: 3338:, p. 104. 3328: 3319: 3310: 3298: 3286: 3274: 3262: 3260:, p. 127. 3250: 3248:, p. 188. 3238: 3226: 3222:Sudhalter 1999 3214: 3212:, p. 119. 3202: 3190: 3188:, p. 218. 3178: 3165: 3153: 3141: 3126: 3124:, p. 127. 3114: 3112:, p. 101. 3102: 3090: 3078: 3063: 3051: 3039: 3027: 3015: 3003: 2991: 2979: 2966: 2949: 2933: 2907: 2895: 2883: 2881:, p. 123. 2871: 2859: 2850: 2838: 2826: 2824:, p. 125. 2811: 2796: 2781: 2769: 2757: 2745: 2736: 2724: 2722:, p. 218. 2709: 2697: 2682: 2667: 2652: 2640: 2628: 2616: 2604: 2592: 2577: 2561:Yanow, Scott, 2553: 2531: 2501: 2499: 2496: 2493: 2492: 2490:Quote in Lion. 2483: 2474: 2465: 2456: 2447: 2430: 2421: 2408: 2398: 2389: 2377: 2371:Sudhalter, in 2364: 2352: 2314: 2300: 2283: 2277:The cornetist 2270: 2261: 2253:Terry Teachout 2243: 2234: 2225: 2195:Michael Curtiz 2180: 2171: 2162: 2153: 2144: 2126: 2125: 2123: 2120: 2118: 2115: 2114: 2113: 2108:and cornetist 2074: 2073: 2059: 2043: 2040: 2039: 2038: 2035: 2032: 2029: 2022: 2015: 2012: 2009: 2006: 2003: 1996: 1990: 1987: 1980: 1974: 1971: 1951: 1948: 1945: 1944: 1941: 1938: 1935: 1932: 1925: 1921: 1920: 1918: 1915: 1912: 1911:Jazz (single) 1909: 1902: 1898: 1897: 1895: 1892: 1889: 1888:Jazz (single) 1886: 1879: 1875: 1874: 1871: 1870:Year Inducted 1868: 1865: 1862: 1859: 1858:Year Recorded 1842: 1839: 1838: 1837: 1830: 1827:Carson Robison 1815: 1814: 1812: 1808: 1807: 1803: 1802: 1800: 1796: 1795: 1792: 1785: 1778: 1775: 1772: 1765: 1762: 1759: 1752: 1749: 1746: 1740: 1737: 1726: 1719: 1712: 1709: 1701: 1700: 1698: 1694: 1693: 1690: 1687: 1684: 1681: 1673: 1672: 1670: 1666: 1665: 1662: 1655: 1648: 1645: 1638: 1626: 1625: 1623: 1619: 1618: 1611: 1608: 1605: 1597: 1596: 1594: 1590: 1589: 1581: 1580: 1578: 1574: 1573: 1566: 1555: 1551: 1550: 1548: 1543: 1540: 1520: 1519: 1512: 1505: 1498: 1491: 1484: 1472: 1469: 1397:Terry Teachout 1391: 1388: 1386: 1383: 1283:Sidney Poitier 1248:Michael Curtiz 1191:Jaco Pastorius 1187:Billie Holiday 1183:Charlie Parker 1132: 1129: 1081: 1080: 1071: 1070: 1062: 1061: 1060: 1059: 1058: 1056: 1053: 1042:Following the 1012:Jack Teagarden 966:symphonic band 900: 897: 889:Adrian Rollini 843: 837: 827: 822: 821: 820: 811: 810: 809: 743: 740: 688:Claude Debussy 590:Hamilton, Ohio 573: 570: 568: 565: 411: 408: 334:Adrian Rollini 330:bass saxophone 309:Jean Goldkette 305:The Wolverines 271:and composer. 203:Musical artist 202: 199: 198: 196: 195: 190: 185: 179: 177: 173: 172: 169: 163: 162: 160: 159: 154: 148: 146: 142: 141: 139: 138: 135: 131: 129: 125: 124: 122: 121: 116: 110: 108: 104: 103: 100:(aged 28) 96:August 6, 1931 94: 90: 89: 83:March 10, 1903 74: 70: 69: 66: 60: 59: 55: 54: 47: 39: 38: 35: 26: 24: 14: 13: 10: 9: 6: 4: 3: 2: 6045: 6034: 6031: 6029: 6026: 6024: 6021: 6019: 6016: 6014: 6011: 6009: 6006: 6004: 6001: 5999: 5996: 5994: 5991: 5989: 5986: 5984: 5981: 5979: 5976: 5974: 5971: 5969: 5966: 5964: 5961: 5959: 5956: 5954: 5951: 5949: 5946: 5944: 5941: 5939: 5936: 5934: 5931: 5929: 5926: 5924: 5921: 5919: 5916: 5914: 5911: 5909: 5906: 5904: 5901: 5899: 5896: 5894: 5891: 5889: 5886: 5884: 5881: 5879: 5876: 5874: 5871: 5869: 5866: 5864: 5861: 5859: 5856: 5855: 5853: 5846: 5836: 5833: 5831: 5828: 5826: 5823: 5821: 5818: 5816: 5813: 5811: 5808: 5806: 5805: 5801: 5799: 5798: 5794: 5792: 5791: 5787: 5785: 5784: 5780: 5778: 5777: 5773: 5772: 5770: 5766: 5760: 5759: 5755: 5753: 5752: 5748: 5746: 5745: 5741: 5740: 5738: 5736: 5735: 5730: 5724: 5721: 5719: 5716: 5714: 5713:Paul Whiteman 5711: 5709: 5706: 5704: 5701: 5700: 5698: 5694: 5687: 5683: 5680: 5676: 5673: 5669: 5667: 5663: 5659: 5656: 5652: 5649: 5645: 5644: 5642: 5638: 5634: 5627: 5622: 5620: 5615: 5613: 5608: 5607: 5604: 5598: 5595: 5592: 5588: 5585: 5582: 5579: 5577: 5574: 5572: 5569: 5566: 5562: 5561: 5557: 5554: 5550: 5547: 5544: 5540: 5537: 5534: 5533: 5529: 5527: 5526: 5522: 5521: 5517: 5510: 5508:0-19-507816-0 5504: 5500: 5496: 5492: 5488: 5486:0-679-44551-X 5482: 5478: 5474: 5470: 5466: 5462: 5458: 5452: 5448: 5444: 5440: 5436: 5432: 5430:1-58243-265-1 5426: 5422: 5418: 5413: 5408: 5402: 5398: 5394: 5389: 5385: 5384: 5379: 5375: 5372: 5368: 5365: 5362: 5358: 5355: 5352: 5348: 5346:0-02-872500-X 5342: 5338: 5334: 5329: 5325: 5323:0-19-516898-4 5319: 5315: 5310: 5306: 5304:0-19-514838-X 5300: 5296: 5292: 5288: 5284: 5282:1-57806-453-8 5278: 5274: 5270: 5265: 5261: 5259:0-486-21726-4 5255: 5251: 5247: 5243: 5239: 5235: 5231: 5229:0-8108-4579-2 5225: 5221: 5217: 5212: 5208: 5204: 5199: 5195: 5193:0-8065-1205-9 5189: 5185: 5181: 5177: 5176:Mezzrow, Mezz 5173: 5169: 5167:0-8264-2754-5 5163: 5159: 5155: 5150: 5146: 5144:0-226-43733-7 5140: 5136: 5132: 5127: 5122: 5120:0-253-21315-0 5116: 5112: 5108: 5103: 5099: 5093: 5089: 5085: 5080: 5077: 5073: 5069: 5066: 5063: 5059: 5055: 5050: 5047: 5043: 5039: 5036: 5032: 5029: 5026: 5022: 5019: 5015: 5011: 5008: 5005: 5001: 5000:Collier Books 4997: 4992: 4987: 4985:0-306-80441-7 4981: 4977: 4973: 4969: 4962:September 19, 4957: 4956: 4951: 4946: 4943: 4939: 4936: 4932: 4930:0-19-512653-X 4926: 4922: 4917: 4913: 4907: 4903: 4899: 4895: 4891: 4887: 4885:0-306-80744-0 4881: 4877: 4873: 4869: 4865: 4861: 4857: 4853: 4847: 4843: 4839: 4835: 4831: 4827: 4825:0-19-512510-X 4821: 4817: 4813: 4809: 4805: 4801: 4799:0-9665448-0-3 4795: 4791: 4786: 4783: 4779: 4775: 4770: 4768:1-888408-08-1 4764: 4760: 4756: 4752: 4748: 4744: 4742:0-306-80466-2 4738: 4734: 4730: 4729:Condon, Eddie 4726: 4722: 4720:0-306-80899-4 4716: 4712: 4708: 4704: 4700: 4694: 4690: 4685: 4681: 4679:0-393-33001-X 4675: 4671: 4667: 4662: 4658: 4656:0-688-17074-9 4652: 4648: 4644: 4640: 4636: 4632: 4630:0-688-17074-9 4626: 4622: 4618: 4613: 4611: 4610:0-688-17074-9 4607: 4603: 4599: 4595: 4591: 4587: 4585:0-306-80937-0 4581: 4577: 4572: 4568: 4564: 4563: 4558: 4554: 4550: 4548:0-306-80276-7 4544: 4540: 4536: 4532: 4528: 4525: 4521: 4520: 4516: 4510: 4508: 4501: 4498: 4493: 4492: 4487: 4481: 4478: 4474: 4470: 4467: 4463: 4459: 4456: 4450: 4447: 4443: 4439: 4435: 4432: 4427: 4424: 4421: 4417: 4414: 4409: 4406: 4393: 4389: 4383: 4380: 4376: 4372: 4369: 4365: 4361: 4358: 4353: 4350: 4346: 4342: 4338: 4335: 4330: 4327: 4323: 4319: 4314: 4311: 4307: 4303: 4300: 4295: 4292: 4288: 4284: 4280: 4277: 4272: 4269: 4265: 4260: 4257: 4253: 4249: 4243: 4240: 4236: 4232: 4229: 4225: 4221: 4218: 4212: 4209: 4205: 4200: 4197: 4193: 4192:Williams 1993 4188: 4185: 4181: 4176: 4173: 4169: 4164: 4161: 4158:, p. 81. 4157: 4152: 4149: 4146:, p. 65. 4145: 4140: 4137: 4133: 4128: 4125: 4122:, p. 80. 4121: 4116: 4113: 4110:, p. 91. 4109: 4104: 4101: 4097: 4092: 4089: 4086:, p. 89. 4085: 4080: 4077: 4074:, p. 84. 4073: 4068: 4065: 4061: 4056: 4053: 4050:, p. 34. 4049: 4044: 4041: 4037: 4032: 4029: 4025: 4024:Brothers 2014 4020: 4017: 4013: 4008: 4005: 4001: 4000:Homage to Bix 3995: 3992: 3989:, p. 65. 3988: 3987:Teachout 2005 3983: 3980: 3976: 3971: 3968: 3964: 3963: 3958: 3957: 3953: 3947: 3944: 3940: 3936: 3932: 3929: 3924: 3921: 3917: 3911: 3908: 3904: 3900: 3897: 3891: 3888: 3876: 3872: 3866: 3863: 3860:, p. 85. 3859: 3854: 3852: 3848: 3844: 3839: 3836: 3832: 3827: 3824: 3821:, p. 78. 3820: 3815: 3812: 3809:, p. 19. 3808: 3807:Ferguson 1936 3803: 3801: 3797: 3784: 3783: 3778: 3774: 3768: 3765: 3752: 3751: 3746: 3742: 3736: 3733: 3730:, p. 99. 3729: 3724: 3722: 3718: 3715: 3710: 3707: 3703: 3698: 3695: 3691: 3686: 3683: 3679: 3674: 3671: 3667: 3662: 3659: 3655: 3650: 3647: 3643: 3638: 3635: 3631: 3626: 3624: 3622: 3618: 3614: 3609: 3606: 3602: 3597: 3594: 3590: 3585: 3582: 3578: 3573: 3570: 3567: 3563: 3560: 3555: 3553: 3551: 3547: 3543: 3538: 3535: 3531: 3526: 3523: 3519: 3513: 3510: 3506: 3501: 3499: 3497: 3493: 3489: 3484: 3481: 3477: 3472: 3469: 3466:, p. 38. 3465: 3460: 3457: 3453: 3448: 3445: 3441: 3436: 3433: 3429: 3424: 3421: 3417: 3412: 3410: 3408: 3404: 3400: 3395: 3392: 3388: 3383: 3380: 3376: 3371: 3368: 3364: 3359: 3356: 3352: 3347: 3345: 3341: 3337: 3332: 3329: 3326:Brooks, p. 32 3323: 3320: 3314: 3311: 3307: 3302: 3299: 3295: 3290: 3287: 3284:, p. 29. 3283: 3278: 3275: 3271: 3266: 3263: 3259: 3254: 3251: 3247: 3242: 3239: 3235: 3230: 3227: 3223: 3218: 3215: 3211: 3206: 3203: 3199: 3198:Brothers 2014 3194: 3191: 3187: 3186:Brothers 2014 3182: 3179: 3175: 3169: 3166: 3162: 3157: 3154: 3150: 3145: 3142: 3138: 3137:Teachout 2009 3133: 3131: 3127: 3123: 3118: 3115: 3111: 3106: 3103: 3099: 3094: 3091: 3088:, p. 60. 3087: 3082: 3079: 3076:, p. 95. 3075: 3070: 3068: 3064: 3060: 3055: 3052: 3049:, p. 43. 3048: 3043: 3040: 3037:, p. 84. 3036: 3031: 3028: 3025:, p. 83. 3024: 3019: 3016: 3012: 3007: 3004: 3001:, p. 27. 3000: 2995: 2992: 2989:, p. 26. 2988: 2983: 2980: 2977:, p. 49. 2976: 2970: 2967: 2964:, p. 49. 2963: 2958: 2956: 2954: 2950: 2946: 2942: 2937: 2934: 2921: 2917: 2911: 2908: 2904: 2899: 2896: 2893:, p. 18. 2892: 2887: 2884: 2880: 2875: 2872: 2869:, p. 24. 2868: 2863: 2860: 2854: 2851: 2848:, p. 12. 2847: 2842: 2839: 2835: 2830: 2827: 2823: 2818: 2816: 2812: 2809:, p. 48. 2808: 2803: 2801: 2797: 2794:, p. 81. 2793: 2788: 2786: 2782: 2778: 2773: 2770: 2766: 2761: 2758: 2754: 2749: 2746: 2740: 2737: 2734:, p. 17. 2733: 2728: 2725: 2721: 2716: 2714: 2710: 2706: 2701: 2698: 2694: 2689: 2687: 2683: 2679: 2674: 2672: 2668: 2664: 2659: 2657: 2653: 2649: 2644: 2641: 2637: 2632: 2629: 2625: 2624:Ferguson 1997 2620: 2617: 2613: 2612:Ferguson 1936 2608: 2605: 2601: 2600:Perhonis 1978 2596: 2593: 2589: 2584: 2582: 2578: 2570:September 26, 2566: 2565: 2557: 2554: 2543: 2542: 2535: 2532: 2520: 2516: 2512: 2506: 2503: 2497: 2487: 2484: 2478: 2475: 2469: 2466: 2460: 2457: 2451: 2448: 2444: 2440: 2439:Homage to Bix 2434: 2431: 2425: 2422: 2418: 2412: 2409: 2402: 2399: 2393: 2390: 2387: 2381: 2378: 2374: 2368: 2365: 2362: 2356: 2353: 2349: 2345: 2341: 2337: 2333: 2329: 2325: 2318: 2315: 2309: 2307: 2305: 2301: 2297: 2293: 2287: 2284: 2280: 2274: 2271: 2265: 2262: 2258: 2257:Homage to Bix 2254: 2247: 2244: 2238: 2235: 2229: 2226: 2222: 2218: 2217: 2212: 2208: 2204: 2203:Lauren Bacall 2200: 2196: 2192: 2191: 2184: 2181: 2175: 2172: 2166: 2163: 2157: 2154: 2148: 2145: 2141: 2137: 2131: 2128: 2121: 2116: 2111: 2107: 2106:Frank Ricotti 2103: 2102: 2097: 2096: 2091: 2090: 2085: 2081: 2080: 2076: 2075: 2071: 2065: 2060: 2057: 2046: 2041: 2036: 2033: 2030: 2027: 2023: 2020: 2016: 2013: 2010: 2007: 2004: 2001: 1997: 1995: 1991: 1988: 1985: 1984:LeClaire Park 1981: 1979: 1975: 1972: 1969: 1967: 1962: 1961: 1956: 1949: 1942: 1939: 1936: 1933: 1930: 1926: 1923: 1919: 1916: 1913: 1910: 1907: 1903: 1900: 1896: 1893: 1890: 1887: 1884: 1880: 1877: 1872: 1869: 1866: 1863: 1860: 1857: 1856: 1850: 1848: 1840: 1835: 1831: 1828: 1824: 1820: 1817: 1816: 1813: 1810: 1809: 1805: 1804: 1801: 1798: 1797: 1793: 1790: 1786: 1783: 1779: 1776: 1773: 1770: 1766: 1763: 1760: 1757: 1753: 1750: 1747: 1744: 1741: 1738: 1735: 1731: 1730:Ol' Man River 1727: 1724: 1720: 1717: 1713: 1710: 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