{"id":7970,"date":"2016-11-16T13:25:04","date_gmt":"2016-11-16T21:25:04","guid":{"rendered":"http:\/\/www.artsjournal.com\/rifftides\/?p=7970"},"modified":"2016-11-17T11:17:18","modified_gmt":"2016-11-17T19:17:18","slug":"faddis-and-beiderbecke","status":"publish","type":"post","link":"https:\/\/www.artsjournal.com\/rifftides\/2016\/11\/faddis-and-beiderbecke\/","title":{"rendered":"Faddis and Beiderbecke"},"content":{"rendered":"<p><img loading=\"lazy\" decoding=\"async\" class=\"alignleft size-full wp-image-7972\" src=\"https:\/\/www.artsjournal.com\/rifftides\/wp\/wp-content\/uploads\/2016\/11\/Jon-Faddis-.jpg\" alt=\"jon-faddis\" width=\"200\" height=\"183\" \/>Thanks to<img loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-7973\" src=\"https:\/\/www.artsjournal.com\/rifftides\/wp\/wp-content\/uploads\/2016\/11\/Bix-B..jpg\" alt=\"bix-b\" width=\"200\" height=\"249\" \/> Seattle bassist Bren Plummer for calling our attention to a short video of trumpeter Jon Faddis getting acquainted with Bix Beiderbecke\u00e2\u20ac\u2122s horn. Beiderbecke (1903-1931) was second only to his friend Louis Armstrong as an influence on the development of jazz trumpet style in the 1920s and 1930s. Three years ago, Faddis was a guest artist of Quad City Arts in Rock Island, Illinois. The staff removed Bix\u00e2\u20ac\u2122s horn from a display and handed it to Faddis.<\/p>\n<p>&nbsp;<\/p>\n<p align=\"center\"><iframe loading=\"lazy\" src=\"https:\/\/www.youtube.com\/embed\/mxgaa2qjI5s\" width=\"560\" height=\"315\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><\/iframe><\/p>\n<p>Let\u00e2\u20ac\u2122s listen to Beiderbecke on cornet in \u00e2\u20ac\u0153I\u00e2\u20ac\u2122m Coming Virginia\u00e2\u20ac\u009d from 1927. Following his glorious solo, Bix\u00e2\u20ac\u2122s tag ending is one of the most quoted phrases in jazz.<\/p>\n<p align=\"center\"><iframe loading=\"lazy\" src=\"https:\/\/www.youtube.com\/embed\/oW7YYt0F-K4\" width=\"560\" height=\"315\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><\/iframe><\/p>\n<p>Give the sidemen some. They were Bill Rank, trombone; Don Murray, tenor saxophone and arranger; Frankie Trumbauer, C-melody saxophone; Irving \u00e2\u20ac\u0153Itzy\u00e2\u20ac\u009d Riskin, piano; Howdy Quicksell, banjo; Chauncey Morehouse, drums. The performance is included in <a href=\"http:\/\/amzn.to\/2f1pSqK\" target=\"_blank\">this album<\/a>.<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Thanks to Seattle bassist Bren Plummer for calling our attention to a short video of trumpeter Jon Faddis getting acquainted with Bix Beiderbecke\u00e2\u20ac\u2122s horn. Beiderbecke (1903-1931) was second only to his friend Louis Armstrong as an influence on the development of jazz trumpet style in the 1920s and 1930s. Three years ago, Faddis was a [&hellip;]<\/p>\n","protected":false},"author":2,"featured_media":7973,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_genesis_hide_title":false,"_genesis_hide_breadcrumbs":false,"_genesis_hide_singular_image":false,"_genesis_hide_footer_widgets":false,"_genesis_custom_body_class":"","_genesis_custom_post_class":"","_genesis_layout":"","footnotes":""},"categories":[4],"tags":[],"class_list":{"0":"post-7970","1":"post","2":"type-post","3":"status-publish","4":"format-standard","5":"has-post-thumbnail","7":"category-main","8":"entry"},"_links":{"self":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/posts\/7970","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/comments?post=7970"}],"version-history":[{"count":0,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/posts\/7970\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/media\/7973"}],"wp:attachment":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/media?parent=7970"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/categories?post=7970"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/tags?post=7970"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}