In The Dark (Bix Beiderbecke Song)
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In The Dark (Bix Beiderbecke Song)
"In the Dark" is a 1931 jazz composition for solo piano by cornetist Bix Beiderbecke. It was the fourth in a series of four piano works composed by Bix Beiderbecke during his career. Background Bix Beiderbecke never recorded the composition himself but copyrighted it on April 18, 1931 along with "Flashes", a similar work for solo piano, as "A Modern Composition for the Piano". Bill Challis assisted in the transcription of the composition for piano. The score and sheet music for the composition were published by Robbins Music in New York. Jazz trumpeter Bunny Berigan recorded it on December 1, 1938 in New York and released it as a 78 single in an arrangement for trumpet and big band in 1939. In 2010, pianist Bryan Wright recorded the composition on piano and released it on Rivermont along with the three other piano compositions by Bix Beiderbecke: "In a Mist" (1927), "Candlelights" (1930), and "Flashes" (1931). A copy of a 1931 "In the Dark" sheet music cover was dedicated and signed ...
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In The Dark Berigan Victor 26122A
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Bix Beiderbecke
Leon Bismark "Bix" Beiderbecke (March 10, 1903 – August 6, 1931) was an American jazz cornetist, pianist and composer. Beiderbecke was one of the most influential jazz soloists of the 1920s, a cornet player noted for an inventive lyrical approach and purity of tone, with such clarity of sound that one contemporary famously described it like "shooting bullets at a bell. His solos on seminal recordings such as "Singin' the Blues" and " I'm Coming, Virginia" (both 1927) demonstrate a gift for extended improvisation that heralded the jazz ballad style, in which jazz solos are an integral part of the composition. Moreover, his use of extended chords and an ability to improvise freely along harmonic as well as melodic lines are echoed in post-WWII developments in jazz. "In a Mist" (1927) is the best known of Beiderbecke's published piano compositions and the only one that he recorded. His piano style reflects both jazz and classical (mainly impressionist) influences. All five of hi ...
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Bunny Berigan
Roland Bernard "Bunny" Berigan (November 2, 1908 – June 2, 1942) was an American jazz trumpeter and bandleader who rose to fame during the swing era. His career and influence were shortened by alcoholism, and ended with his early demise at the age of 33 from cirrhosis. Although he composed some jazz instrumentals such as "Chicken and Waffles" and "Blues", Berigan was best known for his virtuoso jazz trumpeting. His 1937 classic recording "I Can't Get Started" was inducted into the Grammy Hall of Fame in 1975. Early life and career Berigan was born in Hilbert, Wisconsin, the son of William Patrick Berigan and Mary Catherine (Mayme) Schlitzberg, and raised in Fox Lake. Having learned the violin and trumpet, Berigan started his career playing with local bands as a teenager, including the University of Wisconsin's jazz ensemble (although he never actually went to college). After first trying out for the Hal Kemp Orchestra and being rejected he joined the band in late 1929. His fi ...
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Jack Teagarden
Weldon Leo "Jack" Teagarden (August 20, 1905 – January 15, 1964) was an American jazz trombonist and singer. According to critic Scott Yannow of Allmusic, Teagarden was the preeminent American jazz trombone player before the bebop era of the 1940s and "one of the best jazz singers too". Teagarden's early career was as a sideman with the likes of Paul Whiteman and lifelong friend Louis Armstrong. Early life Teagarden was born in Vernon, Texas, United States. His brothers Charlie and Clois "Cub" and his sister Norma also became professional musicians. His father was an amateur brass band trumpeter and started him on baritone horn; by age seven he had switched to trombone. His first public performances were in movie theaters, where he accompanied his mother, a pianist. "Teagarden, Jack (Weldon Leo)"
, Encyclopedia of Jazz Mu ...
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Kenny Werner
Kenny Werner (born November 19, 1951) is an American jazz pianist, composer, and author. Early life Born in Brooklyn, New York, on November 19, 1951 and then growing up in Oceanside, Long Island, Werner began playing and performing at a young age, first appearing on television at the age of 11. Although he studied classical piano as a child, he enjoyed playing anything he heard on the radio and improvisation was his true calling. In high school and his first years of college he attended the Manhattan School of Music as a classical piano major. His aptitude for improvisation led him to the Berklee College of Music in 1970, where he met and studied with his first piano/spiritual teacher, Madame Chaloff. From Boston, Werner traveled to Brazil with the saxophonist Victor Assis Brasil. There he met Assis's twin brother, Brazilian pianist Joao Assis Brasil. His studies with Joao and Madame Chaloff would lead to the writing of the book '' Effortless Mastery''. Later life and career W ...
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Dick Hyman
Richard Hyman (born March 8, 1927) is an American jazz pianist and composer. Over a 70-year career, he has worked as a pianist, organist, arranger, music director, electronic musician, and composer. He was named a National Endowment for the Arts Jazz Masters fellow in 2017. His grandson is designer and artist Adam Charlap Hyman. As a pianist, Hyman has been praised for his versatility. ''DownBeat'' magazine characterized him as "a pianist of longstanding grace and bountiful talent, with an ability to adapt to nearly any historical style, from stride to bop to modernist sound-painting." Early life Hyman was born in New York City on March 8, 1927 to Joseph C. Hyman and Lee Roven, and grew up in suburban Mount Vernon, New York. His older brother, Arthur, owned a jazz record collection and introduced him to the music of Bix Beiderbecke and Art Tatum. Hyman was trained classically by his mother's brother, the concert pianist Anton Rovinsky, who premiered ''The Celestial Railroa ...
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Instrumentals
A backing track is an audio recording on audiotape, CD or a digital recording medium or a MIDI recording of synthesized instruments, sometimes of purely rhythmic accompaniment, often of a rhythm section or other accompaniment parts that live musicians play along with or sing along to. Backing tracks enable singers and bands to add parts to their music which would be impractical or impossible to perform live, such as string section or choir parts which were recorded in the studio. A backing track can be used by a one person band (e.g., a singer-guitarist) to add any amount of bass, drums and keyboards to their live shows without the cost of hiring extra musicians. A small pop group or rock band (e.g., a power trio) can use backing tracks to add a string section, horn section, drumming or backing vocals to their live shows. Uses Bands or solo musicians may use backing tracks to add extra instrumental or vocal tracks to a live performance, to enhance the sound (as in the employment ...
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