Volume five of Bix Restored was originally supposed to be a CD version of the grand idea that concludes Sunbeam's original Sincerely, Bix Beiderbecke LP set -- demonstrating the influence that Beiderbecke had upon his colleagues and successors. Yet with the inclusion of three recently found Bix outtakes -- the first such discovery in 30 years or so -- this album became a must-have for Bix fanatics. Not-so-dedicated outsiders may wonder what all the shouting is about. Only one of the selections ("Futuristic Rhythm") contains ...
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Volume five of Bix Restored was originally supposed to be a CD version of the grand idea that concludes Sunbeam's original Sincerely, Bix Beiderbecke LP set -- demonstrating the influence that Beiderbecke had upon his colleagues and successors. Yet with the inclusion of three recently found Bix outtakes -- the first such discovery in 30 years or so -- this album became a must-have for Bix fanatics. Not-so-dedicated outsiders may wonder what all the shouting is about. Only one of the selections ("Futuristic Rhythm") contains a full-blown new Beiderbecke solo, whereas "Ol' Man River" with the Paul Whiteman Orchestra has only a brief, two-bar appearance by Bix that is almost identical with the original, and "Raisin' the Roof" contains only two Bix statements of the bridge of the tune. In his fascinating liner notes, Bix scholar Richard Sudhalter readily acknowledges some disappointment. Still, "Futuristic Rhythm" may well be worth the price of admission, for Bix's solo is different and equally as inventive as that of the released take, with a neat new smear to open the last eight bars. And it's a great record, too, with a jumping, genuinely prophetic rhythm. After the Bix addenda comes a parade of soloists and bands from the late '20s and 1930s, whether trumpeters like Red Nichols, Jimmy McPartland, and Andy Secrest, who openly evoke Bix's tone and phrasing, non-trumpeters (Benny Goodman on alto sax, a scatting Bing Crosby) who incorporated the Bix influence in their sound at one time, or performers like Rex Stewart and Red Norvo who put their own spins on Bix's repertoire. There are few masterpieces on the tour (Duke Ellington's swingin' "Kissin' My Baby Good-Night" is one), some simpering period vocals to wade through, and one sexy anachronism, a 1934 vocalese version of "Singin' the Blues" by Marion Harris that would have been at home in the 1950s! Sunbeam's aim is to carefully remaster and issue every note Beiderbecke ever played in front of a microphone or recording horn -- and pending discovery of any hitherto-unknown rejected outtakes in some cobwebbed closet, they have done it, with valuable historical perspective in the deal. ~ Richard S. Ginell, Rovi
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