BIX BIEDERBECK

Biography

Leon Bix Beiderbecke was born in Davenport, Iowa on March 10, 1903. His father, Bismark Herman Beiderbecke, operated a successful fuel and lumber company. His mother, nee Agatha Jane Hilton, was a gifted pianist. Bix was raised in a comfortable middle class environment and learned to play the piano at an early age. His musical ear was so amazing that he did not learn to read music. He would ask his music teacher to play a piece "to hear how it sounded", and was able to repeat it note by note.

In common with other amazingly gifted individuals, Bix's academic performance in high school was inadequate. As a consequence, his parents decided to enroll him in Lake Forest Academy in Illinois, 35 miles northwest of Chicago. Bix arrived in September of 1921 and soon after started playing with several bands, mostly in school functions, but occasionally sitting in with bands in Chicago. Bix's escapades to Chicago after hours and poor grades contributed to his dismissal from the Academy in May 1922.

The Wolverine Orchestra was organized at the end of 1923 and had its heyday during 1924. Bix's first recording was cut in February of 1924 and released in May of 1924. The record had Fidgety Feet on one side and Jazz Me Blues on the other. This recording was followed by several more. The legendary recordings of the Wolverine Orchestra became the basis of Bix's growing reputation among jazz musicians.  Unlike the situation with the Wolverine Orchestra where memorized arrangements were common, the Goldkette musicians were trained professionals and the ability to read scores was essential. Bix failed in this respect. Thus, by December of 1924, and to the disappointment of his fellow musicians in the band, Bix had to leave the Goldkette organization.

    In January of 1925, Bix returned to Richmond, Indiana and recorded, again for Gennett Records, his first composition, the immortal Davenport Blues. Bix decided to take up his musical education and enrolled in the  University of Iowa in the 1925 Spring semester. He wanted to major in music, but there were other academic requirements which he was unwilling to fulfill. To make things worse, Bix was embroiled in a fight in a local bar. Thus, Bix's college career lasted exactly 18 days. 

During the year 1927, Bix reached the apex of his musical creativity. On February 4, Frankie Trumbauer and his Orchestra, with Bix, Jimmy Dorsey (clarinet), Bill Rank (trombone), Paul Mertz (piano), Eddie Lang (guitar) and Chauncey Morehouse (drums) recorded Singin' the Blues. This recording is, in my opinion, one of the two greatest jazz recordings of all times (the other one is Armstrong's West End Blues). The fourth recording, I'm Coming Virginia, is probably the most outstanding example of Bix's profound lyrical improvisation. 

On October 27, Bix and Tram joined the Paul Whiteman Orchestra. Paul Whiteman and his Orchestra had been playing in New York since 1920. By the mid 20's Whiteman was known (and imitated) around the world. In 1924, Whiteman commissioned  George Gershwin to compose Rhapsody in Blue, and performed it with his orchestra and the composer on piano at Aeolian Hall. By the time Bix and Tram joined the Whiteman organization, Paul Whiteman was the King of Jazz.

The years 1929 to 1931 were marked by a deterioration of Bix's health. Years of excessive consumption of bootleg gin ravaged his young body. He spent a lot of time in hospitals and at home attempting to regain his health. But whatever progress Bix made while recovering, was quickly reversed - and more - when he returned to New York and resumed his unhealthy habits. In spite of the erosion of his health, Bix still managed to participate in Whiteman's Old Gold radio broadcasts and to produce some good recordings such as China Boy and Oh, Miss Hannah. The last recording of Bix with the Whiteman band (however, see the discussion in "Is It Bix or Not?") in September of 1929, presciently entitled Waiting at the End of the Road, is worthy of special mention because of Bix's subdued and moving solo anticipating what was to come.

On September 8, 1930, Bix, under his own name, put together a group which included some of the musicians who participated in the May date with Hoagy, and recorded three sides, one of which, I'll Be a Friend with Pleasure, should be viewed as one of Bix's best recordings. It is anticipatory of the swing era in its rhythmic construction and its orchestration. Bix's solo, using a derby hat as a partial mute, must rank as one of his most melodic and poignant.

During the summer of 1931Bix moved from his usual address in New York City, the 44th Street Hotel, to apartment 1G of a new apartment building at 43-30 46th Street in Sunnyside, Queens. By August, the end was in sight. Bix had had a cold throughout the summer and was extremely weak. Finally, Bix's body could not cope with years of excessive drinking and little nourishment. He died on August 6, 1931 at 9:30 P.M., and was buried in Oakdale Cemetery in Davenport, Iowa on August 11, 1931. Bix BIEDERBECK died a chronic alcoholic.

By all accounts, Bix was a kind, gentle, and generous man. He was an individual of few words, introspective, and unconcerned by the superficial details and demands of daily routine. Music was the all-consuming focus of his life, the essence of his being; and in music, he wrought his everlasting legacy.