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| Background information |
| Birth name: | Leon Bismark Beiderbecke |
| Called: | Unknown |
| Born: | 10. March 1903,
in Davenport, Iowa, U.S.A. |
| Died: | 06.August, 1931
in Davenport, Iowa, U.S.A. |
| Occupation: | Cornetist, composer |
| Instruments: | Cornet, piano |
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| Discografie |
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| Biografie |
Life
Beiderbecke originated from a wealthy and musical family of Mecklenburgian origin and already learned with four years after the hearing the piano play. Often learning the notation it refused for a long time, which prepared during its career frequently problems for it, there the musician trade union AFM to it due to its “musician examination” (union Card), which is missing to 1923, no work permit gave. Its interest in the cornet led to the fact that it taught itself the play on this instrument by self-instructions. As fifteen-year Beiderbecke with a Grammofon played the Kornettsoli of nods LaRocca of the originals Dixieland Jass volume after. In the same year he heard Louis Armstrong as this during a commitment on a Mississippi steamer in Dave haven station probably made.
For vocational training its parents sent it on the Lake Forest academy in close proximity to  Chicago, which it used however to follow to its passion for the music with the play in the different jazz chapels of the music scene in Chicago. When this admits became, it became 1922 of the academy to dismiss. It began an unsteady life as a professional musician.
Starting from at the end of of 1923 he was a most important musician in the group of The Wolverines, with which he took up also first plates. 1925 it played in the orchestra of Charlie Straight, worked however besides in numerous jazz volume. Thus it played among other things with Jimmie Noone, King of olive, Louis Armstrong or Bessie Smith.
After one year in pc. Louis with franc Trumbauer (with which it took up its legendary hit “Singing the Blues”) went it with this jazz orchestras together sinfonischen to Detroit to first led by Jean Goldkette. This orchestra had however no commercial success and 1928 was dissolved. The majority of the musicians, so also for Beiderbecke, changed to Paul Whiteman. With Whiteman it met the most well-known white jazz musicians of its time such as Jimmy and Tommy Dorsey, Bing Crosby, Jack Teagarden and Eddie long. In this time Beiderbecke took up a set of historically important jazz plates also with a small studio formation, which he called Bix and his course. Beiderbecke was Starsolist in Whitemans orchestra, but its possibilities were within that sinfonisch pompösen arrangements reduced. Now increasingly the consequences of its alcohol dependence became apparent. It failed ever more frequently because of illness and had to undergo of 1929 of an extraction cure. In the year following on it did not have still a few commitments in New Yorker jazz chapels, could however privately and vocationally anywhere more foot seize. it got sick to 1931 with a pneumonia, which led to its death.
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Meaning
Beiderbecke was one of the important and influential white jazz musicians of the 1920er years and one of the most important representatives Chicago of the jazz. Its improvisations were coined/shaped by a mixture from lyric Phrasierung and - compared to most jazz musicians of the epoch - a strong emotional restraint, which made it a forerunner coolly of the jazz. The pure, clear clay/tone of its cornet play was legendary. Numerous photographs document its also harmony understanding, which betrays the influence impressionistischer and contemporary musicians such as Debussy, progressive for a jazz musician, Ravel and Strawinsky. An impressive proof for its play is that solo ones on Singing the Blues. Beiderbecke created also a set of piano compositions (most well-known: In A muck), which a friendly Arrangeur for it noted.
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Aftereffect
Beiderbeckes cornet play had large influence on many Jazztrompeter. This effect is clear to hear with talks Nichols, Bunny Berigan and Rex Stewart. Although the cornet in the jazz in the second half of the 1920er was displaced years increasingly by the trumpet, Beiderbecke its instrument remained faithful, since it corresponded to his unorthodox play and expression better. Thus it put also the foundation-stone for “surviving” the cornet as instrument in the jazz music. Beiderbecke, which learned the cornet play as an autodidact, used uncommon grasp combinations for the valves. This play technology (“false catching ring”), which due to an easily different tendency a part of the peculiarness of its play constituted, until today one copies. Also contemporary musicians such as Franz Koglmann see a source of inspiration in Beiderbecke.
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