Bix: The Davenport Album

by

Rich J. Johnson

with

Jim Arpy & Gerri Bowers

ISBN # 9780977401857

Library of Congress No. 2009930592

Release Date: 24 July 2009

Publisher: Mississippi Valley Writers Colony & Razor Edge Press

Price: $35

Review

Nine biographies of Bix Beiderbecke, the jazz genius from Davenport, Iowa, have been published; one in German, one in Italian, one in French (translated into English), and the remaining in English (two in the UK and four in the USA.)

Richard Johnson, in collaboration with Jim Arpy and Gerri Bowers, has written a tenth, Bix: The Davenport Album.

It is, therefore, pertinent to ask if the world really needs another book about Bix. The answer to this question is a resounding yes, because Rich Johnson’s book is not just another Bix biography.

Bix: The Davenport Album is a very unusual book, compendium of photographs, scrapbook, detailed genealogical research, collection of documents pertaining to Bix, thoughtful and perceptive commentaries and analyses by Rich, the book is all that and more.  It is a highly personal account of one of the world’s most faithful and knowledgeable “Bixophiles.” After reading one of the comprehensive Bix biographies, one has a good knowledge of what Bix did during his, alas, short life, where he was, the music he played and composed, the circles he frequented, his fellow musicians, the jazz and dance band scenes in the 1920s, but Bix, the man, remains a bit elusive.

After reading Rich’s book, one has the impression of having met Bix, the individual, knowing about his family, about his early years growing up in Davenport, what were the elements that contributed to making Bix what he was, a most gifted and creative musician; one begins to understand … no, it is not possible to understand genius;  but “Bix: the Davenport Album” gives us a glimpse of  how extraordinary Bix was, and a good view of the environment where he developed and fulfilled his unprecedented gift and his undivided passion in life, music.

My most vivid impression of the book is that is like Bix’s music. When you start listening to a Bix record, in particular to one of his solos, you never know what is going to happen next. The same effect occurs when reading Bix: The Davenport Album. You read a section, and you have no idea of what is going to follow. The process of discovery is magnificent. For example, following the timeline for Davenport, we encounter reprints of articles in books and newspapers for the Beiderbecke-Miller whole sale grocers! Following the 1921 obituary of Louise Beiderbecke, we get to read a newspaper article about the “Million Dollar Fire” that destroyed the Weyerhaeuser and Denkmann Mills, and this is followed by an account whereby Henry Seiffert was found not guilty of a charge of murder. Henry Seiffert was the father of Adele who married Bix’s uncle, Carl Beiderbecke.

Turning to Bix, there are many fascinating documents, several of which are relevant to the question of Bix’s middle name: a church directory that gives Bix’s name as Bismark; Mary Hill’s estate papers where Bix’s mother signs for him (Bix was a minor at that time) as “Leon Bismark Beiderbecke”.

There is a very interesting section with the title “Musical Roots” where not only the musical background of Bix’s relatives and Bix’s musical education are presented, but also witnesses accounts –trumpet player Max Kaminsky and pianist Armand Hug- of Bix’s ability to write music and generosity in helping young musicians.

There is a very important finding, namely, an article in the Davenport Democrat where Bix’s mother states unequivocally that she and her husband listened to the Paul Whiteman Gold Hour radio programs and she demonstrates her deep understanding of Bix’s role in the Whiteman band. And there is a letter from Bismark to his daughter Mary Louise in which he writes about his very warm feelings toward his son Bickie (Bix). Such documents should help dismiss the myth of Bix’s strained relationships with his parents.

There are several fascinating vignettes – “Family Friends Remember Bix,” “Excursion Boats,” “Bix and the Shimmy Queen,” “Bix and Red,” “Bix and Bing,” “Satchmo Toots Bix’s Horn,” “The Guy Who Flunked Bix,” etc., all written in a fluid style and with a helping of Rich’s famous wit.

Rich was a generous host for Bixophiles visiting Davenport in search of Bix’s past and sites. My impression while reading the book is that one is visiting Davenport with Rich as a genial guide: he talks about the Davenport sites associated with Bix, his family and friends, the impressions he made on the people who knew him, his music, his aspirations, and, yes, his problems. Bix: The Davenport Album is the embodiment of the famous phrase repeated across the world: “Bix Lives.”

Albert Haim

June 2009