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Definitive two CD set of the legendary cornetist who came to symbolize 'The Roaring Twenties'. 46 tracks. EMI Gold. 2004.

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Four CD Box Set. Features the Now Legendary Three Original Bix and Tram CD Releases, which have Long Been Deleted, with a Bonus Disc of Rare Tracks.

The complete recordings and alternates, Vol. 1, Feb. 1924 through Sept. 1927, compiled in a 3 CD box set. First of five releases.

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In jazz's childhood, Bix Beiderbecke was the only cornet player to rival Satchmo in terms of influence on other musicians and on the development of the genre. Armstrong's syncopated delivery, his blues shadings, his unique phrasing--in short, his swing--became, rightly so, the benchmark, the standard by which jazz improvisation was not only judged, but actually defined. In a way, Bix represented both a practical and symbolic alternative to Armstrong. Though he was completely self-taught and couldn't read music, Bix's tone was incredibly pure, full, and lush, and his style was cooler, more restrained (but not reserved), and more plaintive than Louis's hot, ebullient playing--even though his actual tone remained bright and his note choices forceful. All of these 20 cuts come from 1927, and many of them rank among the finest performances of that classic era nudged between Dixieland and swing. A key component of these successes is Frankie Trumbauer, a remarkably fluent and lyrical C-melody sax player who was Beiderbecke's close friend and musical kindred spirit. The septet cuts from February and May are uniformly excellent, but "Singin' the Blues" (featuring Eddie Lang's prominent single-string guitar support), "Riverboat Shuffle," "I'm Comin' Virginia," and "Way Down Yonder in New Orleans" are astonishing landmarks in jazz history. Also worth noting are two trio cuts featuring Beiderbecke on piano supporting Trumbauer and Lang, and "In a Mist (Bixology)," a Bix piano solo full of bold, unorthodox melodies, harmonies, and rhythms. --Marc Greilsamer

The great Bix Beiderbecke is arguably the only cornet player whose brilliance could be compared in any way to the genius of Louis Armstrong in the 1920s, despite the obvious differences in their styles. Louis’ powerful tone and explorations in the upper register contrasted with Bix’s cool sound and his improvisations in the middle register. The two musicians did share, however, an abundance of creativity and a complete commitment to music. From 1924 on, Bix would record hundreds of wonderful sides backed by some of the finest musicians of his era (all white, of course, for interracial recordings were still rare at the time of Bix’s death), including the likes of Benny Goodman, Pee Wee Russell, Frankie Trumbauer, Joe Venuti, Eddie Lang and Eddie Condon. He was also a prominent soloist in the celebrated Paul Whiteman orchestra. His own insecurity, however, led him to alcoholism and in his last years he became an unreliable musician, who at times simply couldn’t play a note. This CD concentrates on the very best of his recorded output, including most of the small group sides he recorded under his own name or in formations fronted by Frankie Trumbauer. These are the recordings that gained him a place in Jazz history as the brilliant Jazz improviser that he was. Definitive. 2007.