In A Mist
The Origin of the
The OKeh File
Card of "In A Mist".
The Sheet Music of "In
Sources of the Sheet Music of "In A Mist."
The Origin of the Title
Performance of "In A Mist"
In A Mist of Bixology?
Commentaries (under construction)
of "In A Mist"
A Piano Roll of "In A
Arrangement of "In A Mist" for Piano
Arrangement of "In A Mist" for Accordion
Fred Elizalde's Public performance
of "In A Mist" in 1929.
The Case of the Two "In A
Origin of the Music.
A Mist is
the most important and famous of all of Bix Beiderbecke's compositions.
It is well documented that Bix recorded In A Mist on
9, 1927, but when did he compose it?
Bix had been thinking about the composition for perhaps as many as
years prior to the recording. It is widely known that, whenever a piano
was available, Bix would sit down and play what many have described as
"beautiful chords". Indeed, there is credible evidence that the seeds
A Mist go back as far as 1924. For example, Jess Stacy (who
was to record all of Bix's piano compositions) relates that in 1924 he
heard Bix play "a song called Baby Blue Eyes with the same
he used years later on In A Mist." ("Bix, The Leon Bix
Story" by Philip R. and Linda K. Evans, p.157). Cecil Huntzinger states
that in 1925 "Bix would play a few tunes on his horn, then would
to the piano. We'd just listen and enjoy. He was playing In A Mist
although he didn't have a name for it. Try to imagine, hearing it in
("Bix, The Leon Bix Beiderbecke Story" by Philip R. Evans and Linda K.
Evans, p. 182). Paul Mertz states that in 1926 "I remember hearing
was to become In A Mist for the first time here [the
Hotel in Detroit]." ("Bix, The Leon Bix Beiderbecke Story" Philip R.
and Linda K. Evans, p. 235). Hughes Panassie in "Hot Jazz", p. 121
some information, : "The principal motif of this piece [In A Mist]
was found by Bix while he was improvising on a piano... Bix
this motif, which was beautiful, and recorded it with improvisations on
it." As a matter of fact, the principal theme of In A Mist
was widely known among his fellow musicians prior to his recording it.
Evidently, throughout his active life, Bix was generating new musical
and trying them on any piano he could get his hands on. Most of his
were not recorded, but, fortunately, In A Mist was
surrounding the recording are of interest. As related in "Bix: Man and
Legend" by Richard M. Sudhalter and Philip R. Evans, Tom Rockwell, an
Records executive, had heard Bix's improvisations at the piano during
sessions of the Frank Trumbauer Orchestra. Tom was impressed and asked
Frank to convince Bix to record what became known as In A Mist.
First, Bix was reluctant, but eventually he agreed. There were also
during the recording session. The first take was too long. On the
take, Frank tapped Bix on the shoulder fifteen seconds before the
alloted time. Bix added the appropriate coda and successfully completed
the piece in the required time.The recording was mastered and issued.
rest is history.
OKeh File Card of "In A Mist".
GENERAL PHONOGRAPH CORPORATION
(However, "General" is crossed
out and replaced with "OKeh")
DATE Sept. 8, 1927 W81426-a
W81426-B = use
Recorded by H Size = 10"
Catalog No. 40916
Coupled with W81450-a
Special Catlogue No.
November 15, 1927
Selection...In A Mist
Publisher...Robbins Music Corp
Address...799 - 7th Ave, NYC
The contents of the file card was copied by
Wenzel from the Sony Archives. I am grateful to Scott for sending this
information and for his permission to reproduce it here.
Sheet Music of "In A Mist".
sheet music was published about a year later, on November 18, 1928, by
The Robbins Music Corporation of New York as "Paul Whiteman Presents a
Modern Composition for the Piano -- In A Mist -- by Bix
The first page of the music includes under the title the phrase "Edited
by William H. Challis".
The circumstances surrounding the publishing of the music are also of
As related by Bill
Challis (Bix, The Leon Bix Beiderbecke Story, by Philip R. and
K. Evans, p. 302-303), "He [Jack Robbins] wanted to publish
A Mist] because he knew the Paul Whiteman connection was a good
[Paul Whiteman was part owner of the Robbins Corporation; hence several
of its publications were part of the Paul Whiteman presents series] Jack
asked me if I'd do the arrangement. Jack had a definite idea as to the
format. He wanted a rhythmic opening, then he wanted a melodic middle
along the lines of Rhapsody in Blue. Bix didn't take too long
write the melodic part. When Bix could find the time, he'd come to my
where we did the arranging. When we first started, we'd get down about
four bars. Never more than eight or ten. We crawled and it took us six
months to do the arrangements. Bix would play each part two or three
He was very patient as he wanted to complete the work." The
version and the published version differ in several ways. As pointed
by Geoffrey J. Haydon in his Ph. D. dissertation,
"An entire section, present in the published work, is omitted in the
recorded version. Other differences are due to the improvisational
of some sections of the piece. Bix's right-hand single and double note
melodies feature different material in each version." Undoubtedly,
both versions were improvisations. Bill Challis complained that during
the transcription sessions, Bix would not replay a given part in the
manner. The improvisational style of Bix's playing is clearly
by Bill Challis (Bix, The Leon Bix Beiderbecke Story, Philip R. Evans
Linda K. Evans, p. 303) , "One thing I hate to hear is for people to
play In A Mist and improvise the tune. It is already an
in itself. Play it the way Bix put it down!"
Sources of the Sheet Music of "In A Mist."
A Mist" was also published in "Play Like A Pro. 72 piano Arrangements
the Professional Touch," Edited by Stuart Isacoff and Becca Pulliam.
Ekay Music, Inc., 333 Adams Street, Bedford Hills, NY 10507. ISBN #:
"In A Mist" appears on pages 110 to 111 and is transcribed by Don
In the opinion of Steen Hoffman from Denmark, the arrangement is
leaving out several choruses.
I am grateful to Steen Hoffman for having sent
the above information.
book of sheet music called "Ragtime", compiled by David A. Jasen and
by Big 3 Music contains all four piano compositions by Bix.
arrangement (improvisation) on "In a Mist" by Mary Lou Williams is
in a book of piano solos calledI also ran across an arrangement
on "In a Mist" by Mary Lou Williams in a book of piano solos called
Genius of Jazz Giants-Book 3, Masters of Boogie-Woogie". This really
honor to the piece, writes Caroline Kraft, who kindly alerted me to the
existence of this source.
Origin of the Title.
are varying -and contradictory- accounts as to how the title of the
famous of Bix's compositions was conceived. In the seventeenth segment
of the Bix
program broadcast in 1971 by WMUB, the
radio station of Miami University in Ohio, Frank Trumbauer tells about
the recording session of September 9, 1927 for the OKeh Recording
Frank first describes the various attempts to get the recording done
the allotted time. Following the completion of the successful take 2,
then tells how the title came about. The following is an exact
of Frank's words: "In reviewing the master, we realized that we had
something very significant -at least we thought we did, but we couldn't
find a title for it and Tommy Rockwell, the recording manager of the
Company at that time, said 'well this thing is all confused', he says
kind of foggy; after all we can't call it fog or haze; why don't we
it In A Mist?' And that's how the title was born."
In "Tram -
Frank Trumbauer Story" by Philip R. Evans and Larry F. Kiner, p. 76,
Trumbauer provides a different account of what transpired when the
recording was completed: "Okay", said Tom. "But what will we call
Well, I thought to myself, Bix was certainly in a fog when he made it.
And then it hit me. Fog. Mist. In A Mist. That's it -"In A
Yes, that's the true story of how it got its title. The success of this
composition is musical history.
but not identical to the previous one is provided in "Bix, The Leon Bix
Beiderbecke Story" by Philip R. and Linda K. Evans, p. 280: "Tom
asked what the title was. Since Bix was somewhat in a fog when he
it, someone suggested using that idea in the title. Frank quickly
"In A Fog" to the more evocative "In A Mist"."
A third -
different - account is related in "Bix: Man and Legend" by Richard M.
and Philip R. Evans, pp. 211 and 217. At the completion of the
session, the recording engineer asked Bix for the name of the
Bix replied that he had not thought about it. Since Bix and Tram had a
recording date for the following week, it was proposed that they come
with a title by then.The story is taken up by Esten Spurrier (Bix's
school friend) who relates what Bix had told him. It was not until
5, 1927 that the question of the title was brought up again."As he
the story to Spurrier, the first person he [Bix] spied upon arrival was
the recording man who had supervised the piano solo session. "How about
that title, Bix? Thought of something yet?" "Gosh, I don't know," he
parking himself at the keyboard. In truth he hadn't given the matter a
moment's thought."Don't ask me that one today, man, I'm just in a fog."
With all the predictability of the commercially-conditioned mind, the
-whose name has been lost to recollection-recoiled in delight. "Hey!
perfect! We'll call it "In A Fog". Bix, said Spurrier, scarcely hid his
annoyance. "Aw c'mon, man. That's corny. And besides, it sounds all
heavy, like a guy with a hangover. That's not the way I hear it." "I
it," the OKeh man repeated. "Unless you can come up with something
it stays in." "After kicking it around for a while," said Spurrier,
word "Mist" replaced "Fog." Bix said he thought it more in keeping with
his feeling for the thing. So "Mist" it was and "Mist" it stayed."
have several interpretations, which, not only differ in detail, but are
contradictory. Frank Trumbauer himself provides two contradictory
In one, he credits Tom Rockwell with the idea of the title. In the
Trumbauer assigns to himself all the credit for the title. If we are to
accept Spurrier's account of what Bix told him, it does not seem likely
that Trumbauer could be responsible for the title. The October 5, 1927
recording date was scheduled for Bix Beiderbecke and His Gang, a group
which did NOT include Frank Trumbauer. According to Esten
account of what Bix related to him, when asked for a title, Bix
of being in a fog, and someone in the studio suggested the word "Mist".
That "someone", unless he happened to be hanging around in the studio,
could not have been Trumbauer, since he was not one of the musicians
took part in the recording session on that day. Nor could it have been
Tom Rockwell in view of Spurrier's account of the role of the recording
man in the discussion of what title to use.
are we to accept? Who had the idea for the title? Was it a single
Was it a collective effort? I think that the Spurrier account is the
believable; but will we ever know?
Public Performance of "In A Mist".
On Sunday, October 7, 1928 at
p.m., Paul Whiteman and his Orchestra presented a concert in Carnegie
This was the third in a series of experimental concerts. This
occasion was the premiere performance of the "Paul Whiteman Presents"
tour which consisted of eighty concerts or dances in twenty two states
and Canada. For the Carnegie Hall concert, the orchestra, which
of the twenty six regular members, was augmented by twelve violins.
Title: Jazz Piano Roots: The Case of the Two "In a
Dieterle, Charles Gaylord, Matty Malneck, Mischa Russell.
Cullen, Wilber Hall, Bill Rank, Jack Fulton.
Margulis, Bix Beiderbecke [cornet], Eddie Pinder, Harry Goldfield.
Hazlett, Frank Trumbauer, Charles Strickfaden, Red Maier, Rube Crozier,
Guitar: Austin Young.
A. DeLong, Pops: Paul Whiteman King of Jazz, New
Century Publishers, 1983, p.124: "On October 7 an
audience of 7,000 gathered to hear Paul's latest concert program, with
its anticipated innovative works, colorful novelty numbers, and
contrasting medleys." The "highbrow" compositions performed in the
concert were George Gershwin's Concerto in F and Ferde
(the first public performance). The concert was "an exhibition for
remarkable virtuosity and precision of Whiteman's players. Willie Hall,
armed with trombone and bicycle pump, played a Grofe oddity entitled Free
Air, or Variation Based on Noises from a Garage. Chet
presented his own Valse Inspiration. The Sweet Trio vocalized Melody
Out of the Sky. Mike signed in with his banjo perennial, Linger
Awhile. An unusual twist was the premiere of a keyboard work by
whose singular talent now began to focus on the piano. Bix joined Bargy
and Hayton in a three-piano rendition of Bix's own In A Mist."
and Philip R. Evans, Bix: Man and Legend, p. 256,
provide a description of Bix's presentation: "The program went off
incident, and when the time came for In A Mist, it was a
Bix who left the brass section and walked forward to where his concert
grand had been wheeled out for him. There, in Carnegie Hall, with the
of thousands on him, Bix Beiderbecke, self-taught pianist, playing a
he himself had written, with two pianists he deeply admired providing
accompaniment. It is only too possible to speculate on what was in his
mind at this supreme moment. Roy Bargy provides a small insight:
applauded loud and long, and Paul called for Bix to come forward and
a bow. He did, with a sort of nervous yet characteristically polite
you," made a real quick dip toward the audience for a bow, and hurried
back to the section, as though embarrassed about the whole thing."
been one of the most satisfying moments in Bix's professional life. At
a time when he was becoming quite serious about musical composition and
turning more and more toward the piano as the vehicle for his
musical inventiveness, performing his own piano masterpiece in one of
world's top concert halls was undoubtedly one of the highest points in
Addendum. On July 25, 2001 in
to my question as to whether this concert was the first jazz concert to
take place in Carnegie Hall, Robert Hudson, Assistant Archivist,
Carnegie Hall wrote. "In fact, the 1928 Whiteman concert was not the
"jazz" concert at Carnegie Hall. That distinction belongs to
Reese Europe, whose Clef Club Orchestra played Carnegie Hall on May 2,
1912. Also, W.C. Handy gave a concert here (that included Fats
on April 27 of 1928. Whiteman
himself had appeared in
Hall three times prior to the October 7, 1928 concert. For me,
real thrill about the October 7, 1928 concert is that we can now
Bix Beiderbecke definitely played at Carnegie Hall, and that he joins
long list of jazz legends that have performed here, in
whose company he truly belongs.
A Mist or Bixology?
OKeh record 3150 was issued in the United States as In A Mist.
Simultaneously with the release in the US, there were releases in
and England under the title Bixology. In addition,
reissues in the US were also under the title Bixology. The name
was undoubtedly inspired by Trumbology, a recording made
by Frankie Trumbauer and his Orchestra on February 4, 1927 (the same
that the inmortal Singin' the Blues was recorded).
Bix's piano compositions - "Modern Suite" - in two articles published
the April and May 1985 issues of "Keyboard". The first article focusses
on "In A Mist", while the second covers the remaining compositions,
"Flashes" and "In The Dark".
that Bix's piano compositions were transcribed by Bill Challis because
Bix had no formal musical training. This has consequences in that
of Bix's reliance on Challis' notation, there are some hazardous hand
in the sheet music." Mr.Hyman proposes and provides an example of "what
seems to be a more sensible distribution between the hands."
out that Bix's version in his 1927 recording is substantially different
form later recorded versions by other artists. First, a slow, lyrical
is not included in Bix's version. Second, "later interpreters have
to play the piece more slowly and gracefully, although this tends to
down the sprightliness of the subsequent jazzy sections". Mr. Hyman
that Bix's version may have been vivace because of the time
associated with 78 rpm recordings. In support of his hypothesis, he
the fact that Challis published transcription is marked moderato.
his article by stating that "the piece may be performed at several
tempos and work in different ways. My own preference is for a slower
than Bix's recordings, but not so slow as to turn the dance rythm into
is highly perceptive. "In A Mist", as recorded by Bix, is a jazz
Although the tempo may be varied, the spirit of that truly great piece
of music must not be tampered with.
- The Case of the Two "In A
Author: Hyman, Dick
Today 26:2 [Spring 2006] p. 25
IIMP Citation Number:
prepared a transcription for the Twyla Tharp Dance Foundation of a
piece I've been playing in two different forms since I was a teenager.
The back story, as journalists say, is complex and goes like this:
Bix Beiderbecke's only solo piano
recording, In A Mist, took place in New York on September 9,
1927. The piece, his own composition, also released under the title Bixology,
seems to have been in the making for several years; his friends
described him as frequently extemporizing similar material on whatever
piano was available. He was 24, already an experienced performer on
cornet with the Jean Goldkette Orchestra, and had gigged around the
Midwest since dropping out of school.
Although he had become known as a
soloist, both on cornet and piano, Bix's reading skill had always
lagged behind, and to notate the new piece for publication, Bix sought
the services of Bill Challis, a close associate who had arranged many
of the scores for the Goldkette Orchestra. As printed the following
year, In A Mist bears a credit for Challis for ''editing.''
The differences between the recorded
and published versions of In A Mist are both great and small:
great in that the recording entirely omits a pretty, slower section
and substitutes a more rhythmic passage. The small differences are
those variations an improvising jazz player tends to make when
repeating material, offering equivalent but not identical figures
(compare bars 7 and 81).
All of this proved to be important
for a proposed dance
series by the Twyla Tharpe Dancers back in 1979. Twyla had
choreographed ''The Bix Pieces,'' which included In A Mist, and
had been performing it to a series of recordings. For the new season at
the Brooklyn Academy of Music, an on-stage pianist and orchestra would
perform the music live. I was called in to arrange and perform the
whole sequence, and it was the first time I encountered the problem of
the two In A Mists: the dancers were used to the recorded
version, and it wouldn't do for the pianist to play the considerably
different published version.
Since I was familiar with the piece
at that time, I
made an approximate version of the recording for my own use, a little
more detailed than a lead sheet but not altogether exact, and we
performed ''The Bix Pieces'' live a number of times. I don't believe
the dance has been done with piano and orchestra since that time.
Recently, however, the possibility of another live performance has come
up, not necessarily by Twyla Tharpe's dancers nor with me as the
pianist, so I was commissioned to get the recorded version on paper so
that it might be accurately read by another player. This is the result
of those efforts.
The following pages include the
sheet music as detailed below.
IIMP Citation Number:
"In a Mist"
Piano Today 26:2 [Spring 2006] p. 25-30
sheet music of Bix Beiderbecke's "In a Mist" for solo piano,
transcribed by Dick Hyman from the
1927 recording by the composer, is
Recordings of In A Mist (in
- Bix Beiderbecke.
Recorded in New York for OKeh Records on September 9, 1927.
- Red Norvo.
Reissued in CD "Dance of the Octopus", HEP (IRE) 1044.
- Frankie Trumbauer.
for orchestra (includes Charlie and Jack Teagarden, Roy Bargy, and Dick
McDonough, among others). Recorded in 1934 and released as Brunswick
- Lilian Crawford.
Recorded in 1934 in Richmond, Indiana and released as Champion 16817.
- Manuel Salsamendi. Piano
Recorded in 1935 on Argentinian Odeon.
- Benny Goodman.
orchestra. In CD "Airplay". Originally a transcription of a 1936 radio
- Jess Stacy.
from a Benny Goodman Camel Caravan broadcast of 1938.
- Bunny Berigan and
1938. Reissued in album "Bunny Plays Bix".
- Larry Clinton.
orchestra. 1938 or 1939. Issued in CD "Larry Clinton and His Orchestra
: Live in 1938 and 1939", Jazz Band, 2000.
- Unknown. 1940?
Vinyl test pressing,
perhaps Decca, never issued. Arrangement for harpsichord (really a
an early electric keyboard instrument) and wind octet. Information
the test pressing and a streaming file of the music can be found in
Field's website. Click
- Alix Combelle.
10, 1941. For piano and small group of French jazz musicians ("Le Jazz
de Paris"), including Django Reinhardt's brother, Joseph.
in CD "1940-1941" Jazz Chronological Classics # 751. 1994. The title of
"In A Mist" is given in this recording as "En Souvenir." I
thank Jean-Pierre Lion for some of this information.
- Charles Magnante. 1940s. Arranged
for accordion quartet. World Transcription Record. To hear an mp3 file,
- Mel Henke. 1947.
vocal group (The Honeydreamers) Vitacoustic U-669 (78 rpm record).
(I thank Bill Anthony for providing the information about this
of "In A Mist." To see the label, kindly supplied by Jean-Pierre Lion, click
- Jimmy McPartland.
for orchestra. Issued on Unison. Marian McPartland on piano.
- Harry James.
for big band. Issued on Columbia.
- Sal Franzella. 1940s? Jazz
Quintette. Included in the 8-inch 33 rpm Lang-Worth
Transcriptions, LW IN4.
- Ralph Sutton. 1950.
Issued on Commodore.
- Jess Stacy.
Issued by Columbia.
- Mel Henke Quartet. 1955. Mel
Henke (p) Bill Newman (g) Bob
Reed (b) Shelly Manne (d). Contemporary C-5003.
- The Les Jowett Seven.
For 7-piece band. In British Esquire LP "A Tribute to Les Jowett". The
pianist, who played and wrote the arrrangement, was Terry Whitney. Les
Jowett was a Bix-inspired cornet player who died at age 35 in the
1960. (I thank Malcolm Walton for first calling my attention to
this recording and for providing information . I also thank Pat
for corrections and additional information. Pat writes, "I was on
some of the Les Jowett tracks playing guitar on the date when "In A
was recorded. All this now referenced in the book The Brighton Jazz
Line by Keith Samuel and Peter Simpkins, EverGreen Graphics, UK
- Red Nichols. 1953.
for orchesta. Re-released in Audiophile ACD-2, "LORING "RED" NICHOLS
HIS BAND -SYNCOPATED CHAMBER MUSIC."
- Dill Jones. 1955.
First British recording of the number.
- Jimmy McPartland.
orchestra (Cutty Cutshall, trombone; Bill Stegmeyer, clarinet; Bud
tenor sax; Romeo Penque, oboe; George Berg, bassoon; Marian McPartland,
piano; Sandy Block, bass; George Wettling, drums. Recorded in 1956.
in 1977 in the double LP MCA2-4110, "Shades of Bix, Jimmy McPartland
- Tom Talbert.
Arranged for orchestra.
Originaly recorded in 1956 and issued in Atlantic LP 1250. Reissued in
CD "Bix Fats Duke", 1993, See Breeze Jazz CDSB-3013..
arrangement is by Eddie Sauter and heavily features marimba player Joe
Venuto. In "Under Analysis LP, RCA Victor LPM-1364. Recorded in
I thank Daniel Krystkiewicz for providing this information. He writes,
" Under Analysis is an
album of arrangements paying tribute to various musicians of the
era, and I
suspect the arrangement of In A Mist here was inspired by the 1933
by Sauter's old emplyer Red Norvo, as well as by Bix himself.
- Les Jowett.
cornet. Terry Whitney plays piano and is the arranger.
- Manny Albam. 1958. In LP "Manny
Albam and His Jazz Greats: New York" with Art Farmer, Donald Byrd, Ernie Royal,
Bob Brookmeyer, Jerome
Richardson, Zoot Sims, Al Cohn, Pepper Adams, Milt Hinton, Osie Johnson
& Eddie Costal. Reissued in 2005 in Lonehill Jazz CD entitled ""Manny Albam and His Jazz Greats."
- Lou Busch. Arranged for piano and
orchestra. Released in 1958 in Capitol LP T 1702, "Lazt Rhapsody.
- Michel Legrand.
orchestra. In album "Legrand Jazz", 1958.
- Dick Cathcart.
orchestra. In album "Bix MCMLIX", 1959.
- The Metropolitan
Arranged for orchestra. In album "The Legend of Bix", 1959.
- Johnny Guarnieri.
solo. First shown on TV program "Chicago and All That Jazz." Later
by Sounds great.
- Lew Davies. 1962. Orchestra. In LP
album Command R 33 829/RS 829 SD - Strange Interlude.
- Ralph Sutton.
and bass. In album "Ragtime", 1963.
- Clark Terry.
Arranged for orchestra.
In 1994 CD "Happy Horns". Originally released in 1964.
- Armand Hug.
Issued on Dulai.
- Len Bernard.
in 1968 or 1969 by Swaggie.
- Ralph Sutton.
In album "Knocked-Out Nocturne."
- Dill Jones. Piano solo.
album "Davenport Blues."
- Jack Crossan.
In album "Keyboard Kaleidoscope", Westminster Gold WGS-8162, 1972. (I
thank Mike Heckman for providing the information about this version of
"In A Mist.")
- Freddie Hubbard.
orchestra. In CD "Sky Dive". Originally recorded in 1972.
- Bucky Pizzarelli.
guitar quintet. In album "The Bucky Pizzarelli Quintet Plays the Music
of Bix Beiderbecke in Arrangements by Bill Challis", 1974. Reissued on
CD in 1988, on Audiophile DADCD-238.
- Geoff Bland.
y Roger Bell's band. Issued on Swaggie.
- Dick Hyman.
solo. In double
LP Set "Dick Hyman Plays Keyboard Classics of the Nostalgia Years."
Cadence Records CR 2001.
- Swingle Singers.
"a cappella group" directed by Ward Swingle. In CBS LP # 80947 "Rags
All That Jazz." From 1975. (I thank Alex Revell
providing this information.)
- Trace. Arranged
In album "Birds"' 1975.
- Keith Nichols. Piano
One-Up in 1975.
- Armand Hug.
solo. In album
"Bix Hug", 1976.
- Ralph Sutton. Piano
1976 on Dutch Riff label.
- Dave Frishberg.
Reissued in CD "Getting Some Fun out of Life". Originally recorded in
- Kenny Werner.
Finnadar 9019 LP album "Piano Music", 1978.
- Ry Cooder.
orchestra. In album "Ry Cooder Jazz", 1978.
- Vintage Jazz Band.
grup from Brisbane.
- Eddie Higgins.
album "My Time of Day", 1978. Re-released as CD Solo
Art SACD-128 in 1995.
- Charlie Byrd.
Laurindo Almeida. In CD "Charlie Byrd: Jazz Concord Heritage Series",
- Franca Mazzola.
1981. Isssued on Carosello.
- Bucky Pizzarelli
Jr. In CD "Complete Guitar Duos", 1984.
- Lou Stein. Piano
solo. In Audiophile
album "Lou Stein, solo", 1984.
- Bob Haggart.
and coda in 1986 Jazzology album "Portrait of Bix."
- Marco Fumo. Piano solo. Originally
recorded in 1987, reissued in 1999 in CD "Last Time Rag," Dynamic(
- Saint Louis Stompers.
in 1988 in Argentina.
- Joe LoCascio. Piano solo. In
A Mist (The Music of Bix Beiderbecke)." 1988. Cassette Tape GSS
- Morten Gunnar Larsen.
solo. In CD "Maple Leaf Rag", 1989.
- London Gabrieli Brass Ensemble.
Arranged for brass quintet. In Timeless CD "The London Gabrieli Brass
Ensemble, The Influence of Jazz." 1989. Last track of "Magnolia Suite."
The title of the track is not "In A Mist," but "The Inner Bix." I thank
Rob Rothberg for calling my attention to this recording.
for several types of guitars, flute. In CD Protosynthesis: Jazz
- Classical Jazz, RVA Victor #60460, 1990.
- Cesare Poggi.
CD "Bix, An Interpretation of a Legend", 1991.
- Eddie Daniels with
Arranged for clarinet, vibraphone, piano, bass and drums. In CD "Benny
Rides Again", 1992.
- Butch Thompson.
In CD "Minnesota [sic] Wonder 88's", 1992.
- Eddie Daniels. Arrangement
clarinet, piano, acoustic bass and drums. In CD GRP9655, 1992.
- Mike Polad.
solo. In CD
"Piano Deco, Vol. I", 1993.
- Guy Barker. Duet by Guy
Barker Trumopet) and bass (Alec Dankworth) in CD "Isn't It," Spotlite
- Charlie Byrd and the
Guitar Quintet. Arrranged for six guitars. In CD "Aquarelle", 1993.
- Ralph Sutton.
CD "Live at Maybeck Recital Hall, Vol. 30", 1993.
- Randy Sandke and the
Recorded live in Hamburg, June 1993. In Nagel_Meyer CD "One, Two, Three
- Jazz Live At The Musikhalle The First Three Concerts (1992-1993).
Dahlberg. Pianist, in IMCD 029 entitled "Sven-Eric Dahlberg 1-2-3." Recorded at
Studio 12, Gothenburg, Sweden in June 1994.
- Jess Stacy.
Solo. In CD
"EC-STACY" ASV Living Era 5172, 1995.
- Roy Eldridge. For jazz group.
In 1995 CD "Heckler's Hop," Hep Records # 1030 CD.
- Lincoln Mayorga.
In CD "Sophisticated Innocence: American Novelty Piano Solos", 1995.
- Eddie Higgins. Piano solo. In
Solo Art # 124 CD entitled "In Chicaago." Issued in 1995.
- Beau Hunks.
nine saxophones, two guitars, string bass and drums. In CD "Saxophone
Basta 3090 892, 1996.
- Robert Smith.
faithfully follows the Bill Challis published score. In the New
Jazz Orchestra CD (their volume 5) "Roll On Mississippi, Roll On", 1997
- Robert Smith.
the New Wolverine Jazz Orchestra CD "The Bix Beiderbecke Legacy", 1998.
- Joseph Smith. Piano
Vol.4 -American Piano-Rhythm CD, Premier # 1028, 1998.
- Duncan Browne. Guitar
+ ? In
VV CD "Duncan Browne (+ Bonus Tracks)", 1998.
- London Symphony
1998 Aleph CD mostly devoted to Thelonious Monk's compositions.
- Charlie Byrd. Guitar solo. In
Concord Records 4816 entitled "Charlie Byrd, The Concord Heritage Jazz
Series." Issued in 1998.
- Dick Walter. Arranged
orchestra. In 1998 ASC CD "Secret Moves."
- Beau Hunks. Arranged for nine
saxophones. In 1998 Basta 30-9089-2 CD entitled, "The Beau Hunks
Saxophone Soctette." I thank Victor Bronsgeest for
calling my attention to this recording.
- Dean Cotrill. In
CD "A Moment
With You", 2000.
- Andy Bey. Scat
Vocal and Piano
accompanied by orchestra. In CD "Tuesdays in Chinatown," NK2 Encoded
# 4223, 2001.
- Bucky Pizzarelli. For
seven-string guitar solo. In Arbors Records CD # 19524 "One Morning in
May," issued in 2001.
- Mark Atkinson. For trio
consisting of two acoustic guitars and string bass. In Pacific
Music CD "The Mark Atkinson Trio, II." Issued in 2002.
- Dick Hyman. Piano solo. In Arbors
Records CD entitled "The Piano
Giants at Bob Haggart's 80th Birthday Party." Issued in 2002.
- Geoff Muldaur.
violin, cornet, trombone, clarinet, alto sax, baritone sax and tuba. In
2003 CD entitled "A Vision of the Music of Bix Beiderbecke, Private
- Vasari Singers. Arranged for
the Swinger Singers with lyrics by Tony Isaacs. In CD "Deep
Purple," Guild # GMCD 7267, 2003.
- Bratislava Serenaders. Unknown
arrangement. In CD entitled "Cotton Club Stomp." 2003.
- Claude Bolling.
Piano solo. In Fremeaux and Assoc. CD "Ragtime Bolling and Boogie."
Issued in 2004.
- Philip Aaberg.
In CD "Windham Hill America." Issued in 2004. I thank Sven
Bjerstedt for this information.
- Scott Whitfield Jazz
Orchestra East. In Summit CD entitled "Live at Birdland."
Issued in 2004.
- Heinz von Hermann.
For saxophone, piano and string bass. In Jive Music CD JM 2047-2 "Hi
Bix." Issued in 2004.
- Dick Hyman. Piano
solo. In Arbors ARCD 19283 "If Bix Played Gershwin." Issued in 2004.
- Westwind Brass.
For brass quintet, trumpet, trombone, tuba. In LMP CD entitled
"Jazztet." Issued in 2005.
- Jason Wanner.
Piano solo. In CD "Nature Boy" released in 2005.
- Patrick Artero. In
CD Nocturne 352 "2 Bix But Not Too Bix." Arranged for small jazz band.
Issued in 2006.
- Don Baaska. Piano
solo. In CD "In A Mist." Issued in 2007.
- Wolfgang Kohler. Piano
solo. In Warwick Music "Two-Too" CD 123. Issued in 2007.
- Brent Watkins. Piano
solo. In "The Heroes of Parlortown, Volume 2." Issued in 2007.
- Richard Dowling.
Piano solo. In "Rhapsody in Ragtime" Klavier Records CD 11163. Issued
- Dick Hyman. Piano
solo. In CD "Thinking About Bix," Reference Recordings # 116.
Issued in 2008.
- Ken Mathieson.
Arranged for two brasses, three reeds and three rhythms. On Lake Records LACD 261 entitled Ken Mathieson's
Classic Jazz Orchestra Salutes the Kings of Jazz. Issued
- Bryan Wright. Piano
solo. In Rivermont CD BSW-2212, Bryan Wright - Breakin' Notes: Ragtime
and Novelty Piano Solos. Issued in 2010.
Several of the versions listed above were found in the article
of the Piano Compositions of Bix Beiderbecke" by Ron Sweetman, IAJRC
Vol. 36, No. 1, Winter 2002/2003. I thank Bryan Wright for
calling to my attention several of the versions listed above.
Piano Roll of "In A Mist"
me (e-mail message of 9/16/99) of the existence of a Duo-Art
roll of "In A Mist", played by Constance Mering. According to Brad, "This
roll obviously came out not long after the piece was published by
Her rendition is faithful to the score, although she takes some curious
liberties with the time. The coda, for instance, is stretched to about
three times the length of Bix's OKeh rendering. She rolls many of the
with her tiny feminine fingers, which is not surprising. There are a
of big stretches in "In A Mist." The last "C" chord involves tenths in
each hand. To my knowledge, this item has never been mentioned in any
the reference books. Damn shame they didn't ask Bix to do the roll. I
if he even knew it had been made."
I found a
of the piano roll at
The roll is advertised as, "Here is Bix Beiderbecke's masterful jazz
piece wonderfully interpreted by one of the queens of twenties piano,
recorded several piano duets with Muriel Pollock. A CD published in
"Keyboard Wizards of the Gershwin Era Vol. 6 - Lawnhurst, Pollock,
(Pearl Records Historic Reissue GEMM CD 9206) features duets of Vee
and Muriel Pollock, and of Muriel Pollock and Constance Mering.
to the advertising for the CD, these three women "broke into the
male preserve of popular music by posing formidable triple threats:
arranging and composing.This disc features their extraordinary piano
collaborations." Constance Mering stopped recording in 1931.
Alan Wallace writes on 12/13/00: "I own a player piano and
have just recently obtained
"In A Mist." I agree with Mr. Kay's
take on the roll. I would
like to add that this roll has been reissued by
the Keystone Music Roll Company
in Penn. Their URL is
Arrangement of "In A Mist" for Piano
informed me that MaryLou Williams provides an arrangement
of "In A Mist" in the book "Piano Solos, The Genius of Jazz Giants.
of Boogie-Woogie, Book 3, Compiled by David C. Olsen, CPP Belwin, Inc.,
15800 N.W. 48th Avenue Miami, FL 33014.
Arrangement of "In A Mist" for Accordion
Magnante wrote a number of arrangements of classical jazz pieces. These
were published in 1956 by the Robbins Music Corporation as a 48-page
Among the pieces we find "In A Mist", "Stompin' At The Savoy", "The
Wang Blues", "China Boy", and "Alice Blue".
Charles Magnante (1905-1986) was a
virtuoso accordionist. His radio and recording career started at
He performed Gershwin's Rhapsody in Blue at New York City's Carnegie
on April 18th, 1939. He was president of the American Accordionist's
in 1950-51, 1955-56 and 1969-70.
Arrangement of "In A Mist" for Orchestra
Clinton made several arrangements of songs as "Swing Creations for
One of these is an arrangement of "In A Mist" for drums, Bass,
violins, guitar, 1st Sax Eb Alto, 2nd Sax Bb Tenor, 3rd Sax Eb Alto,
Sax Bb Tenor, 1st & 2nd Trombone, 1st Trumpet in Bb, 2nd Trumpet in
Bb and 3rd Trumpet in Bb.
Elizalde's Public Performance of "In A Mist" in 1929.
Here are the contents of a
programme of "The Melody Maker for the Invitation Concert for
at the Shepherd's Bush Pavilion, Sunday June 23rd. 1929. The concert
Fred Elizalde and his Savoy Music and also Al Bowlly
1. "Singapore Sorrows"
2. "She's One Sweet Show Girl"
3. (a) "A Precious Little Thing
Called Love" (b) "Let's Do It" (c) "The Broadway Melody"
4. "Viljah" Valse
5. The Jazz Band(a) "Savoy
(b) "Nobody's Sweetheart"
6. "Lover Come Back To Me"
Interval of 10 Minutes
7. "At The Turn Of The Tide"
8. "Sweetheart Of All My Dreams"
9. Fred Elizalde Will Play Some
Piano Solos: Also "In A Mist"
10. "Bataclan" In Three
This Is The First Performance Of "Bataclan" Which Was Composed By Fred
Elizalde For This Concert
God Save The King
Announcer: Mr Edgar Jackson
The Melody Maker)
Jack Hill...First Bass Guitar
Tiny Stock...First String Bass
Bill Busby...Second String Bass
Nobby Knight..Third Trumpet
Chelsea Quealey..First Solo
Norman Payne...Second Trumpet
George Hurley...First Violin
Ben Frankel...Second Violin
Len Lee...Third Violin
Bobby Davis..First Alto
Max Farley...Second Alto
Fud Livingston.. First Tenor
Arthur Rollini...Second Tenor
Adrian Rollini...Bass Saxophone
Al Bowlly...Vocalist &
Phil Cardew...Arranger &
Fred Elizalde And His Savoy
By Kind Permission Of The Directors Of The Savoy Hotel London, At The
Bush Pavilion, Sunday June 23rd.1929!
Note all the Bix
addition to "In A Mist." Chelsea Quealey and Norman Payne, great
and emulators of Bix; Bobby Davis and Adrian Rollini, who were with Bix
in the New Yorkers band in 1927 and recorded several sides with Bix;
Livingston, a Goldkette side man in 1925 and composer and arranger of
Dumpty" recorded by Frank Trumbauer with Bix, Bobby Davis, and Adrian
on Sep 28. 1927. No wonder Elizalde played Bix's "In A Mist" at the
Cover of the Program. Courtesy of
Nick Dellow. Uploaded Jun 24, 2009
Review of he Concert. Gramophone Magazine, Jul 1929. Courtesy of Nick Dellow. Uploaded Jun
WEST END AT SHEPHERD'S BUSH
the invitation of our excellent
contemporary, The Melody Maker, some three thousand five hundred
dance musicians and their friends assembled at the Shepherd's Bush
Sunday, June 23rd, to hear a concert by Mr. Fred Elizalde's famous
The applications of another thousand had to be reluctantly refused.
orchestra, which is the most advanced
dance band in Europe, is perhaps not so good an ensemble as that of
or Bert Ambrose, but is more interesting to listen to. While it
very bright stars, it also has its weak places, notably the strings
was obvious when anything more ambitious than ordinary dance music was
attempted. The brass, with the exception of the first trumpet, was not
satisfactory, and the "slapping" of the double basses and the strumming
of the banjo and guitar to emphasise the rhythm were sometimes
especially when one of the wind instruments was taking a solo. But
defects were greatly outweighed by some clever piano playing by
himself, the strength of the saxophones and other reed instruments and
first trumpet of Mr. Norman Payne, who took the lead at the last moment
to the absence of Mr. Chelsea Quealey, who has been recalled suddenly
America. But where the band scores is in the brilliant arrangements and
orchestration of Mr. Fud Livingstone and Mr. Phil Cardew, who make even
dullest dance tune something worth hearing.
must pass over the performance of
contemporary dance music, good as it was, to the event of the
was a suite, Bataclan, composed specially for the occasion by Mr.
must confess that I awaited this with a certain amount of scepticism. I
heard many of these ambitious suites for dance orchestras and, without
exception, I have never been able to get rid of the idea that their
has been to show off the tricks of the performers. Bataclan was
would be foolish to judge it at a first hearing, but it was good enough
one forget the performers and listen to the music for its own sake. I
like to hear it performed by a really large orchestra where due
could be given to the strings. Mr. Elizalde, at the age of twenty-one,
undoubtedly quite exceptional in the dance world. Here is an
the recording companies. We get far too few records from Brunswick.
must conclude with a word of praise for a
composition by Bix Beiderbecke (Whiteman's first trumpet) entitled In A
and for the final encore, which was that splendid piece of ragtime
Tiger Rag. Finally,
all credit is due to Mr. Edgar Jackson, editor of The Melody Maker, who
only responsible for the organisation but proved himself a born
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BRIEF TABLE OF CONTENTS
of Some Recordings: Is It Bix or Not ?
Compilations of Bix's Recordings
Recordings Related to Bix