In this article, our awesome gang of musos have put together this all-encompassing list of 50+ easy trumpet songs for beginners, including free video lessons as well as free sheet music!
real name: Leon Bix Beiderbecke Born Mar 10, 1903 in Davenport, IA Died Aug 6, 1931 in New York, NY Bix Beiderbecke was one of the greatest jazz musicians of the 1920s. His colorful life, quick rise and fall, and eventual status as a martyr made him a legend even before he died, and he has long stood as proof that not all the innovators in jazz history were black. Possessor of a beautiful, distinctive tone and a strikingly original improvising style, Beiderbecke's only competitor among cornetists in the '20s was Louis Armstrong but (due to their different sounds and styles) one really could not compare them. Beiderbecke was a bit of a child prodigy, picking out tunes on the piano when he was three. While he had conventional training on the piano, he taught himself the cornet. Influenced by the original Dixieland Jazz Band, Beiderbecke craved the freedom of jazz but his straight-laced parents felt he was being frivolous. He was sent to Lake Forest Military Academy in 1921 but, by coincidence, it was located fairly close to Chicago, the center of jazz at the time. Beiderbecke was eventually expelled he missed so many classes. After a brief period at home he became a full-time musician. In 1923, Beiderbecke became the star cornetist of the Wolverines and a year later this spirited group made some classic recordings. In late 1924, Beiderbecke left the Wolverines to join Jean Goldkette's orchestra but his inability to read music resulted in him losing the job. In 1925, he spent time in Chicago and worked on his reading abilities. The following year he spent time with Frankie Trumbauer's orchestra in St. Louis. Although already an alcoholic, 1927 would be Beiderbecke's greatest year. He worked with Jean Goldkette's orchestra (most of their records are unfortunately quite commercial), recorded his piano masterpiece "In a Mist" (one of his four Debussy-inspired originals), cut many classic sides with a small group headed by Trumbauer (including his greatest solos: "Singin' the Blues," "I'm Comin' Virginia," and "Way Down Yonder in New Orleans"), and then signed up with Paul Whiteman's huge and prosperous orchestra. Although revisionist historians would later claim that Whiteman's wide mixture of repertoire (much of it outside of jazz) drove Beiderbecke to drink, he actually enjoyed the prestige of being with the most popular band of the decade. Beiderbecke's favorite personal solo was his written-out part on George Gershwin's "Concerto in F." With Whiteman, Beiderbecke's solos tended to be short moments of magic, sometimes in odd settings; his brilliant chorus on "Sweet Sue" is a perfect example. He was productive throughout 1928, but by the following year his drinking really began to catch up with him. Beiderbecke had a breakdown, made a comeback, and then in September 1929 was reluctantly sent back to Davenport to recover. Unfortunately, Beiderbecke made a few sad records in 1930 before his death at age 28. The bad liquor of the Prohibition era did him in. For the full story, Bix: Man & Legend is a remarkably detailed book. Beiderbecke's recordings (even the obscure ones) are continually in print, for his followers believe that every note he played was special. — Scott Yanow All Music Guide
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Portrait of Roy Eldridge, Spotlite (Club), New York, N.Y., ca. Nov. 1946. Gottlieb, William P. 1917- photographer. David Roy Eldridge. Born Jan 30, 1911 in Pittsburgh, PA. Died Feb 26, 1989 in Valley Stream, NY. Roy Eldridge, trumpet-vocal; b. 1/30/11 Pittsburgh, PA; d. 2/26/89. Also known as “Little Jazz” Roy Eldridge was a fiery, energetic trumpeter who although short in stature was a larger-than-life figure in the jazz trumpet lineage. Stylistically speaking he was the bridge between the towering trumpet stylists Louis Armstrong and Dizzy Gillespie. One of a significant number of jazz greats from the city of Pittsburgh, Roy’s first teacher was his alto saxophonist older brother Joe. Some of the great rhythmic drive of Eldridge’s later trumpet exploits could be traced to his beginnings on the drums, which he began playing at age six. His first professional work came at age 16 when he worked with a touring carnival, playing drums, trumpet, and tuba. As a trumpeter Roy had come under the spell of Louis Armstrong’s irrisistable style. Among his earliest band affiliations were Oliver Muldoon, Horace Henderson, Zack Whyte, Speed Webb, and his own band, under the banner of Roy Elliott and his Palais Royal Orchestra. In 1930 he made the move to New York and headed straight to Harlem, where he gained work with a number of dance bands, among which was the Teddy Hill band. He left New York in 1934 to join the Michigan-based McKinney’s Cotton Pickers alongside such significant players as tenor man Chu Berry. Roy returned to New York to rejoin Teddy Hill in 1935, with whom he made his first recordings as a soloist in 1935. Prior to recording with Hill he toured with the Connie’s Hot Chocolates revue. After he left Hill’s band he became the lead trumpeter in Fletcher Henderson’s orchestra where his upper register abilities were highlighted. It didn’t take long for Eldridge to exert himself as a bandleader, forming his own octet in 1936 in Chicago; a band which included his brother Joe. Eldridge recorded with the Three Deuces group, then left music for a short time to pursue radio engineering, an interesting twist considering his Chicago group’s nightly radio broadcasts. By the end of the 1930s after freelancing with such a wide array of bands Eldridge had gained notice as one of the swing bands’ most potent soloists. In 1941 he joined drummer Gene Krupa’s band. Not only did he provide trumpet fireworks for Krupa’s outfit he also sang, recording a memorable duet with the band’s female singer, Anita O’Day (NEA Jazz Master 1997) on the tune “Let Me Off Uptown” in 1941. Later, after Krupa’s band disbanded in 1943, and a period of freelancing, he toured with the Artie Shaw band in 1944. After Shaw it was time for Roy to lead his own big band, though economics forced him back to small swing groups.In 1948 Norman Granz recruited Eldridge for his Jazz at the Philharmonic, an ideal situation for Roy since he was one of the ultimate jam session trumpeters. He toured briefly with Benny Goodman and took up residence in Paris in 1950, where he made some of his most successful recordings. He returned to New York in 1951 and continued freelancing with small bands, including work with Coleman Hawkins, Benny Carter, Ella Fitzgerald, and Johnny Hodges. He made notable albums for Verve Records alongside Hawkins and continued freelancing and leading a house band at Jimmy Ryan’s club in New York. In 1980 he was felled by a stroke but that didn’t cut off his musicality. Disabled from the rigorous demands of playing the trumpet, Eldridge continued to make music as a singer and pianist until his 1989 passing. Back Home Again In Indiana midifile Embraceable You midifile I Can't Get Started With You I'll Always Be In Love With You midifile I Only Have Eyes For You Memories Of You midifile Missisipi Mud Rockin' Chair midifile Shine midifile Somebody Loves Me Stardust midifile Stardust 2 Sweet Sue Just You Talk Of The Town midifile Trumpet Blues midifile Wrap Your Troubles In Dreams midifile
Al Hirt A virtuoso on the trumpet, Al Hirt was often "overqualified" for the Dixieland and pop music that he performed. He studied classical trumpet at the Cincinnati Conservatory (1940-1943) and was influenced by the playing of Harry James. He freelanced in swing bands (including both Tommy and Jimmy Dorsey, and Ray McKinley) before returning to New Orleans in the late '40s and becoming involved in the Dixieland movement. He teamed up with clarinetist Pete Fountain on an occasional basis from 1955 on, and became famous by the end of the decade. An outstanding technician with a wide range, along with a propensity for playing far too many notes, Hirt had some instrumental pop hits in the 1960s. He also recorded swing and country music, but mostly stuck to Dixieland in his live performances. He remained a household name throughout his career, although one often feels that he could have done so much more with his talent. Hirt's early Audiofidelity recordings (1958-1960) and collaborations with Fountain are the most rewarding of his long career; he died at his home in New Orleans on April 27, 1999. Biography by by Scott Yanow. All Music Guide 2ff7e9595c
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