Bix Beiderbecke

Bix Beiderbecke(比克斯.貝德貝克）1903 ~ 1931
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主要演奏樂(lè)器：短號(hào)
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主要音樂(lè)風(fēng)格：古典爵士樂(lè)
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1903年5月10日生于美國(guó)依阿華州的達(dá)文潑特市。貝德貝克(早逝的奇才)大約在3歲時(shí)就能在鋼琴上憑借聽(tīng)覺(jué)的記憶彈奏出曲調(diào)來(lái)，并且在幼年時(shí)幾乎是靠自學(xué)掌握了短號(hào)的演奏方法。1921年，貝德貝克被父母送到弗羅斯特湖軍事學(xué)院學(xué)習(xí)，他們期望軍校嚴(yán)格的訓(xùn)練能改變兒子不切實(shí)際的幻想。然而．貝德貝克為了學(xué)習(xí)、交流爵士樂(lè)．不惜逃課、逃學(xué)，最終因缺課大多而被勒令退學(xué)，這反而成全了他成為專(zhuān)職爵士樂(lè)音樂(lè)家的愿望。1923年．貝德貝克成為了“沃爾夫林斯”樂(lè)隊(duì)的明星短號(hào)手，一年后與樂(lè)隊(duì)錄制了一些經(jīng)典的樂(lè)曲。1924年下半年，貝德貝克離開(kāi)“沃爾夫林斯“樂(lè)隊(duì)，加盟簡(jiǎn)·古德特的管弦樂(lè)隊(duì)，但最終因不識(shí)譜而丟掉了飯碗。1925年，貝德貝克利用業(yè)余時(shí)間苦下功夫?qū)W習(xí)識(shí)譜。1927年．他再次加盟辭退他的簡(jiǎn)·古德凱特的管弦樂(lè)隊(duì)，并錄制了根據(jù)德彪西的音樂(lè)而產(chǎn)生創(chuàng)作靈感的鋼琴名曲《在霧中》，同時(shí)還與樂(lè)隊(duì)一起錄制了不少經(jīng)典名曲。后來(lái)，他簽約受雇于保羅·惠特曼的管弦樂(lè)隊(duì)，貝德貝克自己最滿意的獨(dú)奏是在喬治·格什溫的《F大調(diào)協(xié)奏曲》中竭盡才思的表演。與惠特曼在一起，貝德貝克的獨(dú)奏極其神奇，配器非常有特點(diǎn)，他創(chuàng)作的熱門(mén)歌曲《甜蜜的蘇》就是一個(gè)最好的例證。1929年，酗酒的惡習(xí)已漸漸侵蝕了貝的德貝克的音樂(lè)靈性，到1930年，他錄制的一些唱片已非常令樂(lè)迷失望。1931年8月6曰，貝德貝克在紐約州紐約市因酗酒過(guò)量去世，年僅28歲。
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* 趣味故事 *
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~ 不識(shí)譜的“演奏家” ~
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比克斯·貝德貝克在成為專(zhuān)業(yè)演奏時(shí)還不會(huì)識(shí)譜．開(kāi)始，他總是靠自己的天賦和耳熟能詳之后，再進(jìn)行演奏。說(shuō)起來(lái)，貝德貝克開(kāi)始的處竟有點(diǎn)象中國(guó)的一句成語(yǔ)——濫竽充數(shù)。很快，樂(lè)隊(duì)指揮就發(fā)現(xiàn)了貝德貝克是個(gè)不識(shí)譜的“演奏家”，一次排練時(shí)，指揮把他叫起來(lái)，并拿來(lái)一份新的樂(lè)譜讓他演奏，貝德貝克這下傻了眼，只好承認(rèn)了不識(shí)譜的實(shí)情。指揮沒(méi)有嘲笑他，只是很客氣地對(duì)他說(shuō)了一句話：“噢噢！原來(lái)是這樣，你明天可以在家睡慵覺(jué)了！”貝德貝克知道指揮這句話的意思。從此便告別了樂(lè)團(tuán)，用了整整一年的功夫?qū)W習(xí)識(shí)譜，天賦和勤奮成全了他，使他很快趕上并超過(guò)了同齡人。
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著名專(zhuān)輯:
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《芝加哥短號(hào)》
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And the Chicago Cornets (1924—1925年)
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《歌唱布魯斯》(第l集)
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Bix Beiderbecke,Vol.1:The Blues (1927年)
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《在爵士樂(lè)隊(duì)舞會(huì)上》(第1集)
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At the Jazz Band Ball,Vol.2 (1927—1928年)
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《不可缺少》
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The Indispensible (1924-1930年)
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《比克斯現(xiàn)場(chǎng)錄音》
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Bix Lives (1927—-1930年)
by Scott Yanow
Bix Beiderbecke was one of the greatest jazz musicians of the 1920s. His colorful life, quick rise and fall, and eventual status as a martyr made him a legend even before he died, and he has long stood as proof that not all the innovators in jazz history were black. Possessor of a beautiful, distinctive tone and a strikingly original improvising style, Beiderbeckes only competitor among cornetists in the 20s was Louis Armstrong but (due to their different sounds and styles) one really could not compare them.
Beiderbecke was a bit of a child prodigy, picking out tunes on the piano when he was three. While he had conventional training on the piano, he taught himself the cornet. Influenced by the original Dixieland Jazz Band, Beiderbecke craved the freedom of jazz but his straight-laced parents felt he was being frivolous. He was sent to Lake Forest Military Academy in 1921 but, by coincidence, it was located fairly close to Chicago, the center of jazz at the time. Beiderbecke was eventually expelled he missed so many classes. After a brief period at home he became a full-time musician. In 1923, Beiderbecke became the star cornetist of the Wolverines and a year later this spirited group made some classic recordings.
In late 1924, Beiderbecke left the Wolverines to join Jean Goldkettes orchestra but his inability to read music resulted in him losing the job. In 1925, he spent time in Chicago and worked on his reading abilities. The following year he spent time with Frankie Trumbauers orchestra in St. Louis. Although already an alcoholic, 1927 would be Beiderbeckes greatest year. He worked with Jean Goldkettes orchestra (most of their records are unfortunately quite commercial), recorded his piano masterpiece In a Mist (one of his four Debussy-inspired originals), cut many classic sides with a small group headed by Trumbauer (including his greatest solos: Singin the Blues, Im Comin Virginia, and Way Down Yonder in New Orleans), and then signed up with Paul Whitemans huge and prosperous orchestra. Although revisionist historians would later claim that Whitemans wide mixture of repertoire (much of it outside of jazz) drove Beiderbecke to drink, he actually enjoyed the prestige of being with the most popular band of the decade. Beiderbeckes favorite personal solo was his written-out part on George Gershwins Concerto in F.
With Whiteman, Beiderbeckes solos tended to be short moments of magic, sometimes in odd settings; his brilliant chorus on Sweet Sue is a perfect example. He was productive throughout 1928, but by the following year his drinking really began to catch up with him. Beiderbecke had a breakdown, made a comeback, and then in September 1929 was reluctantly sent back to Davenport to recover. Unfortunately, Beiderbecke made a few sad records in 1930 before his death at age 28. The bad liquor of the Prohibition era did him in.
For the full story, Bix: Man & Legend is a remarkably detailed book. Beiderbeckes recordings (even the obscure ones) are continually in print, for his followers believe that every note he played was special.