The following is a list of some of Bix's recordings in alphabetical order. To see the image of any of the corresponding record labels, click on the name of the song. The exact names as given on the labels are provided.
    The images were kindly provided by Dave "Bart" Bartholomew, Enrico Borsetti, Hans Eekhoff, Norman Field, Joe Giordano, Joe Mosbrook and Fredrik Tersmeden . I am grateful to them for taking the time to scan the images or taking photographs of the labels and for their permission to exhibit the very beautiful pictures on the Bixography web site. The scans each sent are identified with their initials after the date. I thank Hans Eekhoff for upgrading my scans. The text associated with the images provided by Hans and by Fredrik were written by them. I am responsible, unless noted otherwise,  for any text associated with the images provided by Bart, Enrico, the two Joes and Norman.
 
 
 
 

A Lane in Spain, Jean Goldkette and His Orchestra, with vocal chorus, Victor 20491, recorded 02/03/27. A.H.

At the Jazz Band Ball, Bix Beiderbecke and His Gang, OKeh 40923, recorded 10/05/27. A.H. American issue on OKeh. The original issue had a red label. This is a later release with a black label. Correction: Paul  Solarski writes on 03/20/05, "There was never a red label pressing. Okehs were all black label by roughly 40850. Trumbauers such as 40879 are always black. The label you show is the first press."

At the Jazz Band Ball, Bix Beiderbecke und seine Gang, German Odeon 0-28098a, recorded 10/05/27. E.B. The German Odeon record was issued after World War II. I use this side as the introduction to the WBIX programs. A dynamic recording that shows Bix at his best in leading his fellow musicians.

At the Jazz Band Ball, Bix Beiderbecke and His Gang, Columbia 45RPM, recorded 10/05/27. I do not know when this 45 was issued, nor do I remember who sent me the scan. I would be grateful to the generous person who sent it to me if he gets in touch with me. I also have images of the the sleeveand of the box. As you can see, this box is the 45 RPM equivalent of the famous series of Bix records issued by Columbia on LP (CL 844, 845 and 846).

At the Jazz Band Ball, Bix Beiderbecke and His Gang, Columbia S 10003, recorded 10/05/27. N.F. On June 11, 2004, Norman wrote, "Attached is a scan of Japanese Columbia S-10003. It is one disc in a relatively short series, as opposed to an album. In response to my enquiry, Julian Vein of the 78-list wrote: "It was issued in January 1950, according to Takao Yamada's "American Popular Music on Japanese 78 rpm Record 1927 to 1958". His work doesn't indicate dubs. The series ran from S-10001 to S-10012, though the release dates aren't in sequence, being issued between October 1949 and January 1950." The reverse is 'Potato Head Blues' by Louis Amstrong's Hot Seven. Both sides are rather fuzzy dubbings, and the material into which this disc is pressed is quite noisy, so for 78 enthusiasts, the item is more in the way of a curio. It is in no way sonically equal to much more common master pressings on U.S. Columbia, Vocalion, British Parlophone etc."

Back in Your Own Backyard, Paul Whiteman and His Orchestra, Victor 21240-B, recorded 01/28/28. A.H.

The Baltimore,  Frankie Trumbauer's Orch. with Bix, Lang, Rollini and Venuti, Parlophone R 3464, recorded 09/28/27. A.H.  This was released simultaneously with the original OKeh. Note the names of some of the musicians specified in this British issue.

Barnacle Bill, The Sailor, Hoagy Carmichael and His Orchestra, Vocal Refrain by Carson Robison and chorus, Victor 38139-A, recorded 05/31/30 H.E. Inspite of his alleged bad condition Bix is quite superb on this record, issued in the Victor 38000 series which ran parallel to the regular 22000 series. For some reason the 38000's didn't sell very well and most of the issues are very hard to find.

Because My Baby Don't Mean Maybe Now!, Fox-Trot Vocal Refrain, Paul Whiteman and His Orchestra, Columbia 1441-D, recorded 06/18/28. A.H.

Big Boy, Bix Beiderbecke and the Wolverines, Hot Record Society HRS 24, recorded 10/08/24. E.B. In the late 1930s, five dedicated jazz fans/historians/entrepeneurs -John Hammond, Charles Edward Smith, George Frazier, Marshall Stearns and Steve Smith opened a record shop in New York City. They published "Th Rag" one of the first jazz magazines in the US and re-issued records  by King Oliver, Louis Armstrong, Bix  Beiderbecke and Earl Hines uner their label "Hot Record Society." The HRS 24 record "Big Boy" by Bix Beiderbecke and the Wolverines is a reisssue of the record of the same name by the Wolverine Orchestra.

Bixology, Bix Beiderbeck [sic], Piano-Solo,  Odeon A 286085a, recorded 09/09/27 H.E. Bixology is the title for In A Mist in foreign labels. This must be one of the strangest Bix records; manufactured and sold in nazi Germany in the late 1930's, the Odeon Swing Series drew from the late 1920's OKeh jazz catalogue (but never actually issued swing music!) usually from original stampers, sometimes dubbed. Although Beiderbecke simply means "by the stream" the German printer still managed to get Bix's name wrong!

Bixology, Bix Beiderbeck [sic], Piano solo, Odeon Swing Music Series A 2334, recorded 09/09/27 E.B.

Bixology, Bix Beiderbeck [sic!] - Piano Solo, Parlophone R 1838, recorded 09/09/27 F.T. This is a British reissue. According to the information in Norman Field's article on "Parlophone in the Bix era" (http://members.netscapeonline.co.uk/normancsax/parlophone.htm) this issue should probaby date from somewhere between 1934 when it was first issued, and the latter part of that decade when the background colour was changed from light blue to white and the picture of a gramophone behind the trade mark £ was abandoned. Note that Bix' last name is misspelled.

Borneo, The Goofus Five and Their Orchestra, Parlophone R 203, recorded 04/10/28. A.H. This is the original Parlophone issue, released simultaneously with the OKeh. Why did they English firm give the orchestra as the Goofus Five when it was well-known that this was Frank Trumbauer's orchestra. ?

Changes, Paul Whiteman and His Orchestra, Victor 21103-B, recorded 11/23/27 H.E. This is take 3. Take 2 was not released until July 30, 1936. It was part of the Victor "Beiderbecke Memorial Album" Victor 25370.  Note there is no mention of vocals. A.H.

Changes, Paul Whiteman et son Orchestre, Gramophone K-5368, recorded 11/23/27 J.G. This was released contemporaneously to the Victor record by La Compagnie Francaise Du  Gramophone (French La Voix De Son Maitre, HMV).

Clarinet Marmalade, Frankie Trumbauer & His Orchestra with Bix, OKeh 40772, recorded 2/4/27 J.G. This number was waxed for posterity in the first recording session of the Frankie Trumbauer Orchestra. A noted under the entry for "Singin' the Blues,"  the flip side of this record,  Bix is credited with the phrase "with Bix" as a participant in the recording. It is curious that Bix is referred to as Bix, not Bix Beiderbecke. One would think that the use of  only Bix meant that the people who bought the record knew who "Bix" was. However, this was not the case. I understand that musicians were quite familiar with Bix, but not the public at large. Could it be that  the credit to Bix on the record label was an attempt to attract musicians as customers?

Clementine, Jean Goldkette and His Orchestra, Victor 20994-B, recorded 09/15/27 H.E. Note (by the small "o" above the HMV logo) that this is a West Coast pressing, but most copies are NY pressings without the "o". To see the image of a New York pressing, click here.

Clorinda, Chicago Loopers, Vocal Chorus, Quintette, Perfect 14910, recorded 10/20/27 H.E.

C.O.N.S.T.A.N.T.I.N.O.P.L.E., Paul Whiteman And His Orchestra, Vocal Qt., Columbia 1402-D, recorded May 17, 1928 A.H. This is the original US release.

C.O.N.S.T.A.N.T.I.N.O.P.L.E., Paul Whiteman and his Orchestra (With Vocal Chorus), Columbia (UK) 4951, recorded May 17, 1928  E.B. This a pressing made for Italy.

C.O.N.S.T.A.N.T.I.N.O.P.L.E, Paul Whiteman and His Orchestra (With Vocal Chorus), English Columbia 4951, recorded 05/17/28 F.T. This is one of the recordings by the Whiteman band on which Bix is known to have been present but is not individually audible. By the way, this tune probably is one of the most common in my 78 rpm collection. In addition to the Whiteman version, I have one by Sam Lanin on Imperial, one by Jack Hylton on HMV, and a German version by Jack Presburg on Audiphon. It must have been a great hit worldwide in 1928!

Copenhagen, The Jazz Harmonizers, Claxtonola 40336, recorded 05/06/24 H.E. This record was mastered at the same time as the original Gennett but is credited to "The Jazz Harmonizers". The name on the original Gennett is Wolverine Orchestra. For an image of the Gennett 5453 click here. For an image of the English Brunswick 02205 click here. Brunswicks (dubs from Gennetts which also included issues by King Oliver, the NORK) were not issued until the second half of the 1930s. At that time  there was increasing demand in England and Europe (to which they were exported) for early jazz. Later the series was even labelled "Classic Jazz Series". To see the label of the United Hot Club of America reissue from April 1938 by Decca Records for the Commodore Music Shop, click here.

Dardanella, Paul Whiteman and his Orchestra, trumpet chorus featuring Bix Beiderbeck [sic], Victor 25238, recorded 02/09/28  A.H Note the "RCA Manufacturing Co., Inc" at the bottom and the "Not Licensed for Radio Broadcast" at Left. This tells us that this is a reissue from 1935-1937. Note also that Bix (with his last name misspelled)  was given credit as playing a "trumpet (!!) chorus".

Davenport Blues, Bix and His Rhythm Jugglers, Gennett 5654-B, recorded 01/26/25 H.E. The Sudhalter and Evans and the Evans and Evans books discographical information refer to the recordings of the Rhythm Jugglers as Bix Beiderbecke and His Rhythm Jugglers. Note that the record label reads Bix, not Bix Beiderbecke.

Deep Down South, Bix Beiderbecke and His Orchestra, Featuring Bix Beiderbecke, Joe Venuti, Benny Goodman and Ed. Lang, Victor 25370-B, recorded 09/08/30. A.H. This is a re-release from the mid to late 30s.

Felix the Cat, Paul Whiteman and His Orchestra, Vocal refrain, Columbia 1478-D, recorded 05/25/28. A.H.

Flock o' Blues, Sioux City Six Featuring Miff Moe Under Direction of Frank Trumbauer, Gennett  5569-B, recorded 10/11/24  J.G. The label provides information about the performers. "Under Direction of Frank Trumbauer." "Featuring Miff Moe." Note that Miff's last name is misspelled.

Forget-Me-Not, Paul Whiteman and his Orchestra, Victor 27686-A, Recorded April 22, 1928. J.M. This is take 2. It was released as a "Swing Classic" on December 12, 1941. The record label provides the following information. Arranged by Bill Challis. Featuring Bix Beiderbecke, Cornet - Henry Busse, Trumpet.  Vocal refrain by Jack Fulton.

For No Reason At All In C, Frankie Trumbauer, Bix Beiderbeck [sic], Ed Lang and Arthur Schutt (In their Four-Piece Orchestra), Parlophone R-3419, recorded 05/13/27 H.E. This record was issued contemporaneously with the American OKeh 40871. Note the two errors: the inclusion of Arthur Schutt as one of the musicians and the misspelling of Beiderbecke (twice). Note also that this is to be played at 80 rpm. Finally, Hans points out (e-mail of 6/5/00) "that there was every reason to play it in C: it was Bix's favourite piano key (In A Mist is in C and so are his other compositions I believe) and Trumbauer's sax is a C-melody, for him too it was the easiest key !"

For No Reason At All In C, Frankie Trumbauer with Bix Beiderbecke and Ed. Lang, Odeon Swing Music Series A 2338, recorded 05/13/27  E.B

From Monday On,  Paul Whiteman and His Orchestra with vocal chorus, Victor  21274-B, recorded 02/28/28 H.E. Only take 6 of  "From Monday On" was issued in 1928; Victor didn't release the other takes until late in the 1930's at the time of the first Bix revival. Although Bing Crosby is credited as co-composer, he was still too unknown to be mentioned as the vocalist as well !

From Monday On,  Paul Whiteman and His Orchestra with vocal chorus, Victor 27688-B, recorded 02/13/28 J.M. This is take 3. It was released as a "Swing Classic" on December 12, 1941. The record label provides the following information. Arranged by Matty Malneck. Featuring Bix Beiderbecke, Charlie Margolis, Jimmy Dorsey Cornets. Steve Brown, bass. Vocal refrain by Bing Crosby. Note two errors: the misspelling of Margolis (it should be Margulis) and the assignment of a cornet to Margulis; he played trumpet.

Get Out And Get Under The Moon, Paul Whiteman and His Orchestra (With Vocal Chorus) , English Columbia 4951, recorded 05/22/28 F.T. This tune is not listed in the Bixography site's complete Bix discography, but was included in the Italian Joker LP set. Is there any Bix on it? Well, since it was recorded the very same day as "Is It Gonna Be Long?" which has a short solo by Bix, our hero ought at least to have been present in the studio when this piece was recorded. There is also a nice trumpet solo on this very recording, but to my ears it sounds like Harry Goldfield. The "vocal refrain" is by a quartet given by the Joker set as Bing Crosby, Jack Fulton, Charles Gaylord and Austin "Skin" Young.

Get Out And Get Under The Moon, Paul Whiteman and His Orchestra (With Vocal Chorus), English Columbia 4951, recorded 05/22/28 E.B. This is a pressing made for Italy.

Gypsy, Paul Whiteman and His Orchestra Instrumental Vocal Refrain, Columbia 500955-D, recorded 09/18/28. A.H. This includes the very beautiful record sleeve which advertises the new Vivatonal electrical recording process.

Humpty Dumpty, Frankie Trumbauer and His Orchestra, OKeh  40926, recorded 09/28/27. A.H.

I Didn't Know, Jean Goldkette and His Orchestra, Test Pressing, recorded 11/24/24 for Victor. J.G. This is one of two recordings Bix made during his ill-fated tenure with Jean Goldkette in 1924. The record (take 2) was not issued as a 78. It was first issued on 33 1/3 in Victor LPM 2323 "The Bix Beiderbecke Legend.". Joe won this record on an Nauck's auction in the early 1990s. Joe personally went to Texas to pick up the record he had won. According to the notes on the sleeve of the record, this the only 78 in existence. According to the notes written on the sleeve by the auctioneer, the record was discovered by Charles Waring [misspelled, should be Wareing], Charles Edward Smith and Brad McCuen . Be patient when downloading the image as the file is rather large.  The RCA Victor LP   "The Bix Beiderbecke Legend" comes with extensive liners written by Charles Smith. I copy here the portions relevant to the recording of "I Didn't Know." This was written in 1961. "...information from pianist Paul Mertz confirmed that at the time he left the Wolverines in 1924, Bix had gone on to Detroit to record with Goldkette. The fantastic possibility of the existence of an early cornet chorus by Bix, one never heard before, spurred an immediate search. In October 1960, fact was brought into focus when that rarest of all collector's items in jazz, an unplayed, unlisted master- a Goldkette performance of "I Didn't Know"- was found in the Camden vault." "... Bix was with with the Jean Goldkette Orchestra for a few happy days -then the roof fell in. The cause of the calamity was a recording session held at the Detroit Athletic Club on November 24, 1924 and a spot by Bix on "I Didn't Know." In the midst of his solos -in tone and style, a beautiful example of his early work- there was a split second in which he faltered, making this the most poignant Bix chorus of them all. Eddie King, recroding supervisor for Victor, shook his head, assuring that that particular master would not be pressed for release. (And in fact it wasn't -no one heard it until a test pressing was made in 1960!) As Paul Mertz put it (in a letter to the writer), 'He' (referring to Eddie King) 'had no sympathy for that kind of jazz.' King indicated that one of the more 'legitimate' men should take the solo spot on the next master. 'All of us in the band were crestfallen,' wrote Paul, '-we thought Bix was just the greatest. Bix was stunned and heartbroken.'"  "The situation with regard to the Goldkette 'I Didnt Know', on which a master in poor condition was turned over to Engineer Ed Begley (to do with what he could) left little room for choice. This performance deserved to be heard -or the respect given recorded jazz is meaningless." "Brad McCuen, RCA Victor A&R Director, reconstructed the scene as it probably looked at the end of that session on a Monday in November, 1924, at the Detroit Athletic Club:        Master B-31206-1 Destroyed        Master B-31206-2 Held for mastering        Master B-31206-3 Destroyed        Master B-31206-4 Hold conditional        Master B-31206-5 Hold 30 days By an irony of circumstance -no doubt- the let-down felt by the musicans affected their playing- the only performance really suitable for mastering (metal mould, stampers) was the one on which Bix lost his job! And this one was to suffer some not-completely-redeemable damage before 1960, when interest was again drawn to it, thanks to the pertinacity of Charles H. Wareing through the book on Bix of which he was co-author was already in print!0 and to the friendly help of Paul Mertz, whose impressions and memory for detail -like those of Pee-Wee Russell in other aspects of the Goldkette story-have conributed to making this album a fresh presentation of Bix." "'I Didn't Know' waited thirty-six years before its re-discovery. Its inclusion here marks the first time a collector's item of such rarity has been a feature of a long-play set." "It need hardly be stressed that this is possibly the only time -or at least one of the few times- when RCA Victor has permitted the use of an ectched (defective) master. Since the offensuive click is toward the outer edge, thought was given to omitting the first ensemble chorus. Two considerations ruled this out. One was the interest, to the jazz listener of the 1960s, in hearing the tune in its orchestral setting of 1924 anad thus appreciating the impact the improvised solo must have had on the musicians working with Bix that day. The second was that in the chorus preceding Bix's the trombone judging more from tone than from style, apears to be that of Tommy Dorsey." Quite a story!!! Joe's test pressing may be in fact the only 78 of "I Didn't Know" in existence. Addition/Correction, 3/31/03. Hans Eekhoff writes, "a number of master pressings exist made within the last 15 years or so. I have one myself, John R.T. Davies has one, and so have Ate van Delden and Brad Kay. I'm sure there are more copies."

Idolizing, Jean Goldkette and His Orchestra, Vocal refrain by Frank Bessinger, Victor 20270-B, recorded 10/12/26. A.H. This is the first recording Bix made with the Jean Goldkette Orchestra when he joined the group for the second time.

I'll Be A Friend "With Pleasure", Bix Beiderbecke and His Orchestra, Ray Lodwig Directing, with Vocal Refrain, Victor 23008-B, Take 2, recorded 09/08/30 H.E. This is the sleeve in which the record was stored in the shop; it was put in another sleeve when sold. Victor printed these texts to give the salesmen an idea what they were selling.  It remains doubtful if the customers were much enlightened. H.E. NOTE: This file may take up to a minute to download.

I'll Be A Friend "With Pleasure",  Bix Beiderbecke and His Orchestra, HMV B-4889, Take 3, recorded 09/08/30 H.E. This is the contemporary issue with the Victor although this HMV (unlike the Victor) is extremely rare, only a few copies are known. The reverse is "Ya Got Love" by Bennie Moten's Kansas City Orchestra, which IS difficult to find on Victor. Pressed on very smooth shellac, this plays much better than the Victor issue. H.E.

I'm Coming Virginia,  Frankie Trumbauer and His Orchestra, OKeh 40843, recorded 05/13/27 H.E.

I'm Coming Virginia,  Frankie Trumbauer and His Orchestra, Brunswick 7703, recorded 05/13/27 J.M. A later re-issue. Flipside has "Singin' the Blues."

I'm Coming Virginia,  Frankie Trumbauer's Orch., Odeon-Swing-Music-Series A 2354 , recorded 05/13/27 E.B.

I'm Glad, Sioux City Six, Featuring Bix, Under Direction of Frank Trumbauer, Gennett 5569-B, recorded 10/11/24  H.E. The label provides information about the performers. "Under Direction of Frank Trumbauer." "Featuring Bix." Note that, in contrast with the flip side -Flock o' Blues- where the first and last names of the featured musician (e.g., Miff Mole) are provided, only Bix's first name is given on this side. Does this mean that Bix was so well known among jazz enthusiasts and musicians that only  his first name was needed to ensure sales to that clientele?

I'm Gonna Meet My Sweetie Now, Jean Goldkette and His Orchestra, Victor 20675, Take 2, recorded 01/31/27. A.H.

I'm More Than Satisfied, Willard Robison and His Orchestra (Vocal Chorus, Deep River Quintet), Perfect 14905,  recorded 10/20/27. H.E. Hans writes, "Here's another nice one for the gallery; these Perfects, as you well know, have a wonderful atmosphere - much like the Red Heads. Is that because this band was purposely trying to get that Red Heads sound (as someone suggested recently) or has it more to do with the Pathe/Perfect recording acoustics? (I personally think the latter). What puzzles me most about this particular record is that it is so  rare; "I'm More Than Satisfied" was quite a popular tune, issued under the name of an equally popular composer/bandleader, while the reverse is "For My Baby" by the Golden Gate Orchestra (California Ramblers) -their Perfects usually sold like hot cakes!" Two versions of this record were issued. Take number 1 is unique. Takes 2 and 5 are the same. On the pictured copy the take number is not visible.

In A Mist, Bix Beiderbecke, OKeh 40916, recorded 09/08/1927. N.F. This has a blue label. Issued in the 1930s.

In A Mist-Bixology. Solo Piano by Bix Beiderbecke. This is the most famous of all of  Bix's compositions. Most discographies give September 9, 1927 as the date Bix recorded the tune for OKeh. However, the date  is given as September 8, 1927 in the liners for the Mosaic set MD7-211.  This is the correct date taken from the OKeh file card.  Joe Giordano kindly sent me color copies of the labels of all of his recordings of  "In A Mist" by Bix. I scanned them as best as I could. OKeh  40916. Black label. Signed by Bill Challis. OKeh  40916. Red label.  OKeh 3150. Purple label with original sleeve. Joe writes, "Once upon a time, a person could go to one's neighborhood record dealer and buy a copy of "In A Mist'", pressed from the original matrix, for 35 cents. Hans Eekhoff remarks that this is a reissue from 1947 with the same catalogue number as the pre-war Vocalion. Hot Jazz Club of America 601A. Probably issued in the 1940s. Odeon 250.531. France. Bixology, Bix Beiderbeck [sic]. Odeon Swing Music Series B-35 633. Switzerland. Bixology, Bix Beiderbeck [sic]. Parlophone R 3504. England. Bixology (In A Mist), Bix Beiderbeck [sic]. Parlophone A6236. Australia. Bixology, Bix Beiderbeck [sic]. Parlophone R 1838. Second New Rhythm Style Series. With original sleeve. Temple 553. Vocalion 3150. Blue. Probably issued in the late 1930s. Vocalion 3150. Black.

I Need Some Pettin', Wolverine Orchestra, Gennett 20062, recorded 06/20/24. D.B.

I Need Some Pettin', Bix Beiderbecke Orch., Reediciones Hot 1001-A, recorded 06/20/24.  A.H. This is an Argentinian private recording.

In My Merry Oldsmobile, Waltz,  Jean Goldkette and His Orchestra, Special Record, (for private use only) recorded 05/16/27.  J.G. Note there is no number on this record. It was a sales promotion record commissioned by General Motors for the 1927 Detroit Sales Convention.

It Was the Dawn of Love, Paul Whiteman and His Orchestra, with vocal refrain, Victor 21453-A, recorded April 22, 1928. A.H. This is take 2. Takes 1 and 3 were issued on LP only, not on 78 rpm records. A lovely tune arranged by Tom Satterfield with a vocal by Bing Crosby, Charles Gaylord, AustingYoung and Al Rinker.

The Japanese Sandman, Frankie Trumbauer's Orch. (with vocal refrain), Parlophone R 2176, recorded October 18, 1928.  A.H. This is a reissue from the 1930s under the "Second New Rhythm Style Series, No. 113."

Jazz Me Blues,  Bix Beiderbecke und seine Gang, German Odeon O-28098b, Recorded October 5, 1927  E.B.

Just An Hour of Love, Benny Meroff and His Orchestra (pseudonym for Frank Trumbauer and His Orchestra), OKeh 40912, recorded 09/30/27 H.E. This is another very rare Bix item, only sold as "Benny Meroff" because Tram didn't find it good enough.

Lonely Melody, Paul Whiteman and His orchestra, Victor 21214-B, Recorded 01/04/28. A.H.

Lousiana [sic],  Bix Beiderbecke and His Gang, Italian Parlophone B 77142, Recorded 09/21/28  E.B.

Louisiana, Paul Whiteman & His Orchestra, Featuring Bix Beiderbecke & Bing Crosby, HMVIn N. 4475, take 3, recorded 04/23/28 J.G. Released in Dum Dum, India contemporaneously (error! see below) with  the Victor recording. Note the statement "Featuring:- Bix Beiderbecke & Bing Crosby". A.H. Victor 21438 carries the statement "with vocal chorus." (Thanks to Hans Eekhoff for the information). CORRECTION: Norman Field writes on 7/3/00: "I believe that the description of one of the labels in the '78 rpm issues' area of the site might not be quite right. There's a scan of an Indian HMV of the Whiteman LOUSIANA, which is supposed to be contemporaneous with Victor 21438. I don't think this is actually the case: I believe HMVIn N4475 to be a 'sister' issue of HMV B8913, issued in the later 1930s, and bearing take -3. Both being 'parallel to' the issue Victor 25369." Norman is absolutely right. The information I used to assert that HMVIn N4475 was released contemporaneously with Victor 21438 was taken from Sudhalter and Evans' discography in "Bix: Man and Legend." Apparently, Sudhalter and Evans got it wrong. According to Brian Rust's "Jazz Records, 1897-1942", take 1 was released as Vic 21438, HMV B-5522, and other labels. Take 3 was released as Vic 25369, HMV B-8913, JK-2809 and HMVin N-4475. According to Evans and Evans "Bix: The Leon Bix Beiderbecke Story", take 1 was released as Vic 21438 on 7/6/28. Take 3 was released as Vic 25369 on 7/30/36 and was included in  the Victor "Bix Beiderbecke Memorial Album" of 1936. An image of the label of HMV B.8913 is in the following entry. I am grateful to Norman Field for correcting my error.

Louisiana, Paul Whiteman and His Orchestra, Featuring Bix Beiderbecke & Bing Crosby, HMV B. 8193, take 3, recorded 04/23/28N.F. This is the image of the British HMV recording of Louisiana (take 3) that is the sister of the Indian HMV in the preceding entry. Norman Field writes on 7/11/00: "Incidentally, the other side is CHANGES, which is "No.2" in the series. Nos. 3 & 4 are DARDANELLA and SUGAR on HMV B8931, while Nos. 5 & 6 are OL' MAN RIVER and THERE AIN'T NO SWEET MAN WORTH THE SALT OF MY TEARS. I have to admit I don't know if there are any more in the series!" The series hat Norman is discussing is, as seen on the label, "His Master's Voice" Series of Jazz Classics.

Lovable, Paul Whiteman & His Orchestra, HMV B-5509, recorded 03/15/28 J.G. Lovable was not released in the U.S.A until 1941.This is the British contemporaneous release. Note the added writing above the horn "Importe d' Angleterre" (imported from England). There was no French release of Lovable in 1928. The record was released by HMV in Australia and in Italy.

Loved One, Jack Winn and his Dallas Dandies, pseudonym for Irving Mills and His Hotsy Totsy Gang, Brunswick X-15860, take A, recorded 06/06/30 H.E. This recording  was originally only issued in the US on the extremely rare Vocalion 15860. This Brunswick, with the same catalogue number, was pressed for distribution in South America and today is equally hard to find. With its backing, St Louis Blues by another Mills group without Bix, it was later also issued on Melotone but using the -B take. For unknown reasons all issues were labelled as by "Jack Winn and his Dallas Dandies". Both Bix's and Teagarden's solos differ significantly from the other take. Also note the usual misspellings.

Love Nest, Paul Whiteman and His Orchestra, Vocal refrain by male trio, Victor 24105-A, recorded 02/10/28 H.E. Although "Love Nest" and its reverse, an uninteresting waltz "Wonderful One", were recorded in February 1928, Victor didn't release them until the autumn of 1932 on their newly designed (rather unattractive) label in the 24000 series. Not only was this the depth of the depression but by this time the tunes were quite old hat, nobody was interested in Bix and therefore the record sold very poorly and must be considered as one of the rarest Bix records today.

Love Nest,  The,  Frankie Trumbauer's Orchestra, With Vocal refrain, Parlophone R 2645, recorded 10/05/28 H.E. Of all the Trumbauer/Bix Okeh recordings that were not released in the USA this is the rarest. Issued in Britain in the late 1930's, only a handful copies are known to still exist.

Margie, Bix Beiderbecke and His Gang, Italian Parlophon B 71142, recorded September 21, 1928 E.B.

Mississippi Mud, Paul Whiteman and his Orchestra, featuring Bix Beiderbecke, the Original Rhythm Boys, Izzy Friedman, Victor 25366, recorded February 18, 1928. A.H. This is take 2 and was not released until July 30, 1936.

Mississippi Mud, Bix Beiderbecke with Frankie Trumbauer & His Orch., Biltmore 1029, recorded January 20, 1928. A.H. Biltmore records issued about 120 records between November 1949 and August 1951. The catalogue numbers ran from 1001 to 1120. This one is number 1029.

My Melancholy Baby, Paul Whiteman and His Orchestra, Vocal Chorus, Columbia 50068-D, recorded 05/15/28 H.E. In 1928 Paul Whiteman signed a new recording contract with Columbia, leaving Victor after 10 years. Issued on the new specially designed Paul Whiteman "potato head" label, this was the first title on which Bix was featured.

My Pet, Frankie Trumbauer and His Orchestra, OKeh 41039, recorded April 10, 1928. A.H.

My Pretty Girl, Jean Goldkette and His Orchestra, HMV Collector Series-No. 4 B.9237, recorded February 1, 1927 E.B. The record is signed by Spiegle Willcox. This is a dub of take 1.

My Pretty Girl, Jean Goldkette et son Orchestre, La Voix de Son Maitre K-5212, recorded February 1, 1927. H.E.  1927 issue of "My Pretty Girl" on a rare laminated pressing French HMV. (courtesy of Laurens Hertzdahl)

No One Can Take Your Place, Frankie Trumbauer's Orchestra, With Vocal Refrain, Odeon A 189259h, recorded April 30, 1929 H.E. This is another Bix rarity. In 1929 only issued in Europe; on Parlophone in Great Britain and on this Odeon on the continent. In spite of the English on the label this was made in Germany and exported to Holland, France and Belgium. Why OKeh decided to export these masters and not issue them in the USA remains a mystery.( They did it earlier in the 1920's with some very exciting territory jazz).This particular issue is extremely rare; "Japanese Sandman" is slightly more common but "Love Nest" is virtually impossible to find.

Ol' Man River,  Orchestra Paul Whiteman (con ritornello vocale), Italian Gramofono R4697, recorded January 11, 1928 E.B.  Master pressing. A great vocal by Bing Crosby showing the wide range of his voice.

Proud of A Baby Like You, Jean Goldkette and His Orchestra, Vocal refrain by Keller Sisters and Lynch, Victor 20469-B, recorded 01/28/27 H.E. "Proud Of A Baby Like You" is the rarest Goldkette Victor in a regular series. Although Evans & Evans say that it was sold east of the Rocky Mountains, it was in fact pressed in Oakland, Cal. (as indicated by the small "o" above the "Nipper" logo) and subject to limited distribution west of the Rockies. Again, Victor's policy remains mysterious. Hans writes on 4/30/01, "I just received a better condition copy of Vic 20469 but the label does NOT have the little "o" above the HMV logo (unlike all other copies I've seen), indicating that this is a regular East Coast pressing. The old story that the record was subject to limited distribution East of the rockies (Evans), or West of the rockies (me), therefore does not hold water. It's quite an interesting discovery, but making it rather more inexplicable why it only sold 9353 copies!!"

Ramona, Paul Whiteman and his Orchestra,  (with Vical Refrain), His Master's Voice B 5476, recorded 01/04/28  F.T. This is yet another one of the recordings by the Whiteman band on which Bix is known to have been present but is not individually audible. The reverse of this British issue is a  non-Bix recording: "The Sunrise" by Johnny Hamp's Kentucky Serenaders, recorded almost two months earlier in Chicago.

Riverboat Shuffle, Wolverine Orchestra, Gennett 5454-A, recorded 05/06/24 H.E. A proud Hoagy Carmichael was in the Gennett studio when the Wolverines recorded his tune "Free Wheeling". It was Bix's idea to rename it "Riverboat Shuffle".

Royal Gardens Blues, New Orleans Lucky Seven (a pseudonym for Bix Beiderbecke and His Gang), OKeh 8544, recorded 10/05/27 H.E. Note: Bix's only Gang recording issued in the so-called "Race Series" and therefore under the pseudonym "New Orleans Lucky Seven". This is the rarest of the Gang OKeh's.

San, Paul Whiteman and His Orchestra, His Master's Voice B5581, recorded 01/12/28 H.E. Only English HMV issued "San" in 1928. It wasn't released by Victor until some 10 years later at the time of the first "Bix revival".

Showboat, Selecciones vocales, por la orquesta P. Whiteman y coro mixto,  Spanish Gramofono S2886, recorded March 1, 1928 E.B.

Since My Best Gal Turned Me Down, Bix Beiderbecke and His Gang, OKeh 41001, recorded October 25, 1927. A.H.

Since My Best Gal Turned Me Down, Bix Beiderbecke and His Gang, German Odeon O-281816, recorded October 25, 1927. E.B.  This is a master pressing.

Singin' The Blues, Frankie Trumbauer's Orcestra [sic] or Frankie Trumbauer and His Orchestra, OKeh 40772, recorded 02/04/27 J.G. The seminal recording of "Singin' the Blues" was originally issued in the US on the OKeh label. Scans of two copies of the record are provided. Copy # 1. The name of the band is given as Frankie Trumbauer's Orcestra [sic]. Note the misspelled orchestra and the name of the band. The band was known in other OKeh issues as Frankie Trumbauer and His Orchestra. In European issues, the band's name was given as Frankie Trumbauer's Orchestra. Copy # 2. Gives the proper name for the band and has the typographical error corrected. Joe speculates that the record was issued first with the errors on the label, and a second release was done with the errors corrected. What is surprising to me is that Bix and Lang are given credit. I believe that there are only five or six Bix and Tram OKeh records where the original, contemporaneous issue in the US have Bix's name  given on the label. (of course, not counting the records where Bix is the leader, and the two recordings by Tram, Bix and Lang).

Singin' The Blues,  Frankie Trumbauer & His Orch., with Bix and Lang, OKeh 40772, recorded 02/04/27. H.E. This is a reissue from the 1930s. The label is red, but smaller than the red label in the original issue.

Singin' The Blues,  Frankie Trumbauer and His Orch., with Bix and Lang, Brunswick 7703, recorded 02/04/27. J.M. A later reissue. Flipside has "I'm Coming Virginia."

Singin' The Blues, Frankie Trumbauer's Orchestra, with Bix Beiderbeck [sic] and E. Lang, Parlophone R 1838, recorded 02/04/27 F.T. This is a British reissue. According to the information in Norman Field's article on "Parlophone in the Bix era" (http://members.netscapeonline.co.uk/normancsax/parlophone.htm) this issue should probaby date from somewhere between 1934 when it was first issued, and the latter part of that decade when the background colour was changed from light blue to white and the picture of a gramophone behind the trade mark £ was abandoned. Note that Bix' last name is misspelled.

Sorry, Bix Beiderbecke and His Gang, OKeh 41001, recorded October 25, 1927. A.H.

Sorry, Bix Beiderbecke and His Gang, German Odeon O-28181a, recorded October 25, 1927.  E.B. Sudhalter and Evans do not provide information about pressings for this recording.

Sorry, Bix Beiderbecke and His Gang, Vocalion 3149, recorded October 25, 1927. J.M.

Strut Miss Lizzie, Irving Mills and His Hotsy Totsy Gang, Brunswick 4983, recorded 06/06/29 H.E.

Sweet Sue-Just You, Paul Whiteman and His Orchestra, Instrumental Vocal Refrain, Columbia 50103-D, recorded 09/18/28 J.G. This is one of the 12-inch Columbia "Potato Head" records. Note Bill Challis' signature over the names of Young and Harris. There is a great 32-bar solo by Bix set up by an excellent arrangement by Challis. According to Sudhalter and Evans, "Bix: Man and Legend", "On "Sweet Sue', made the same day, Bix playing his full-chorus solo, caught one of his fingers between valves and wound up playing nearly four bars with the first valve depressed, Jack Fulton said. This passage, toward the end of the solo, sounds characteristically unruffled . weith no hint of anything amiss save in Bix's selection of notes playable with the cornet's first valve."

'Tain't So, Honey, 'Tain't So, Paul Whiteman and His Orchestra, (With Vocal Refrain), English Columbia 4981, recorded June 10, 1928 E.B.

That's My Weakness Now, Paul Whiteman and His Orchestra, (With Vocal Chorus by the Rhythm Boys), English Columbia 5006, recorded June 17, 1928 E.B.

There Ain't No Land Like Dixieland To Me, Broadway Bell-Hops, Harmony 504-H, recorded 09/29/27 H.E.

There Ain't No Sweet Man That's Worth The Salt of My Tears, Paul Whiteman and his Orchestra, featuring Bix Beiderbecke, Bing Crosby and the Rhythm Boys, HMVSs JK-2822, Take 2, recorded 02/08/28 J.G. This is a Swiss His Master's Voice record and was not released until 09/22/37. Note that the label states "Featuring Bix Beiderbecke, Bing Crosby and the Rhythm Boys."

Tiger Rag, Wolverine Orchestra, Brunswick 02205-B, recorded 06/20/24 J.G. This was a private recording made at Gennett studios in Richmond, Inidana (# 11932) paid by  the members of the Wolverine Orchestra. I t was released commercially for the first time by English Brunswick in 1936. The test pressing used belonged to Edwin "Squirrel" Ashcraft. It was cracked in the studio but was used anyway because of the extreme rarity of the record. Joe writes, "I bought the original issue of Tiger Rag on English Brusnwick for $1.50 at the Commodore Music Shop on E. 42nd. St. around 1943."

Wa-Da-Da, Bix Beiderbecke y su orquesta, Odeon 193337, recorded 07/07/28 J.G. The record itself was released in Argentina contemporaneously. However, the sleeve must be from the 1940's. In addition to jazz, I am a collector of French popular songs and Argentinina tangos. My favorite Argentinian Tango orchestra is that of Miguel Calo who started recording for Argentina Odeon in the early 1940s. Note the name Miguel Calo on the right-hand side of the label among "Argentinians Artists who record exclusively on Odeon records". Note the phrase "Fox-Trot Eccentrico" under the title.

Waiting At The End Of The Road, Paul Whiteman and His Concert Orchestra, with vocal refrain, Columbia 1974-D, recorded 09/13/29 H.E.

Washboard Blues, Paul Whiteman and His Orchestra, Victor 35877, recorded 11/18/27 J.G. The tune was written by Hoagy Carmichael, who also plays piano and takes the vocal. The arrangement is by Bill Challis. His signature can be seen on the white tape just below Nipper. This is Bix's first recording with the Paul Whiteman orchestra and was a 12-inch record. According to Evans and Evans, Bix: The Leon Bix Beiderbecke Story, " The up-tempo passages, sparked by Bix's brilliant cornet lead, contrast dramatically with the forlorn plaints of the vocalist." Two interesting points must be made about the recording of Wahsboard Blues. First, Bill Challis used a small group that did not include Henry Busse. Henry Busse got very angry because, according to his contract,  he was supposed to be playing in every Whiteman recording. On the other hand, Bill Challis' contract stipulated that he was free to make arrangements as he pleased. Whiteman sided with Challis. This resulted in a sense of bitterness on the part of Busse, who, a few months later, quit the Whiteman organization. The second interesting and somewhat puzzling point has to do with the presence of Bing Crosby at the recording session. If Hoagy was taking the vocal, why was Bing present? As Hoagy explains, "Bing Crosby kept hanging around listening to me rehearse the number and I wondered why? Paul later explained that he wanted Bing to be my substitute in case I broke down on the vocal job."

Way Down Yonder In New Orleans, Frankie Trumbauer's Orchestra Featuring Bix Beiderbecke And Arthur Schutt,, Odeon-Swing-Music-Series  A 2354, recorded May 13, 1927  E.B.

Where Is the Song of Songs For Me, Paul Whiteman and His Orchestra, Vocal Refrain, Columbia 1630-D, Recorded October 6, 1928 A.H. This is take 8, the only issued take out of 8. Bothe Sudhalter and Evans' "Man and Legend" and Evans and Evans' "The Bix Beiderbecke Story" list "Eddie Pinder or Bix" on cornet.

Wringin' and Twistin', Tram-Bix and Lang, OKeh 40916, recorded 09/17/27  N.F. Norman writes: I don't know how common blue OKehs are; I certainly never saw one before, but it presumably dates from the early 30s when Columbia, of which OKeh was part, had blue wax and blue labels. Also, I know you get black-wax Columbias with blue labels. This OKeh has black wax. So I suppose the only question is: are there blue wax Okehs?

Wringin' and Twistin', Frankie Trumbauer with Bix Beiderbecke and Ed. Lang, Odeon Swing Music Series A 2338, recorded 09/17/27  E.B.

Return to homepage                   Brief Table of Contents
 
 

Recordings
The Original 78's
Analysis of Some Recordings: Is It Bix or Not ?
Complete Compilations of Bix's Recordings
Tributes to Bix
Miscellaneous Recordings Related to Bix
In A Mist