The O'Zone | In a Mist — A Song Before its Time
My first exposure to Leon Bismark (Bix) Beiderbecke was from a 1972 Freddie Hubbard album called Sky Dive. It was a song called “In a Mist”. Now, I didn't buy the album for a tune from 1927, I bought it for the title cut, and for the personnel on the record: George Benson, Hubert Laws, Billy Cobham, Ron Carter, and Keith Jarrett. I was surprised and stunned by the moody, reflective yet innovative piece by a guy named “Bix” who was a traditional jazz cornetist. As I listened to the haunting impressionistic song performed by Freddie in his prime,
his approach to the nearly fifty-year-old piece was remarkable, poignant, and very modern. Later liner notes (not included on the original CTI album) remark how the piece was way ahead of its time, considering the fact that what else was popular in 1927 seemed archaic in comparison.
Keith Jarrett’s piano is a revelation (like it always is), especially when you listen to the original recording, as Beiderbecke recorded it as a solo piano piece. Along with stellar performances by Hubbard and by Jarrett, Don Sebesky’s charts are imaginative and also in keeping with Beiderbecke’s neo-impressionism.
Beiderbecke originally recorded “In a Mist” on September 9th, 1927, in New York City. During this era Babe Ruth was ruling baseball, Lindberg was flying the first non-stop Transatlantic flight from New York to Paris in the Spirit of St. Louis, The Jazz Singer featuring Al Jolson premiered, beginning the era of “talkies” in the movies, and Louis Armstrong recorded “West End Blues” showcasing his mastery and innovative trumpet skills.
Bix Beiderbecke was a pianist before he taught himself cornet, and the playing is filled with confidence.
“In a Mist” combines features of late impressionism with early jazz and blends melancholic, rich chords with a jaunty swing tempo while avoiding the tonic bass notes of stride to increase musical tension…pure genius!
There are nearly 100 covers of this classic tune spanning every decade since its initial composition. We will concentrate on a handful of renditions that I have found distinctively compelling. In particular, the version that has become my favorite and that I find is closest to the way Bix may have performed it on trumpet had he lived long enough to do more recording was the version by Freddie Hubbard.
By a happy accident, I also found a recording by the incredible Clark Terry called The Happy Horns of Clark Terry (1964). I was thrilled to see the time honored tune on the splendid recording. It’s worth mentioning that of the many takes of “In a Mist,” only a couple of them feature the instrument Bix became synonymous with…trumpet! This version is by a marvelous all-star sextet. Clark maintains his joyous style and personality while touching on Beiderbecke's melancholy sound and personality. The arrangement utilizes the brilliant musicians to call forth Bix. Phil Woods on alto and Ben Webster on tenor sax lend brilliantly understated support, and the engine room is manned by Roger Kellaway, who knew Bix’s piano solo quite well. “The Judge” Milt Hinton on bass, along with Walter “Baby Sweets” Perkins, who softly drives the song with unmatched subtle swing.
It feels like “THE VERSION”. I invite you to listen to it repeatedly, as I did when I first heard it, and you’ll see what I mean.
The late Andy Bey recorded an outstanding wordless, emotive vocal of “In a Mist” that is beautiful and holds true to the musical and emotional qualities of the song. But it has a very different closing section that more resembles the section where Keith Jarrett solos on Freddie Hubbard’s rendition. It works well and then wraps up with Andy’s acapella. Bey’s beautiful voice makes it a standout version, which is found on his 2006 recording Tuesdays in Chinatown.
Bix was born in Davenport, Iowa on March 10th, 1903 and is forever linked to the city which reveres his memory. It has preserved his childhood home as a historic site and holds the yearly Bix Beiderbecke Jazz Festival. He is buried in his family plot in Davenport.
Louis Armstrong considered Beiderbecke to be his equal as a cornet player and composer, and although there are no recordings, the two frequently jammed and shared ideas after hours when the doors were shut and just musicians were around. In an interview, Louis was asked why he thought Bix died so young, according to the Bix Beiderbecke Museum and Archive, Armstrong replied, “He didn’t know how to say no! He didn’t know how to say goodnight!”
He went on to say “Poor Bix had them around; they loved him so much they killed him instead of helping him. Bix was a beautiful soloist.”
There is a story that he sent all of his recordings and press articles and clippings home to his Father who disapproved of his musician’s lifestyle and was concerned about his well being. Upon his father’s passing, Bix visited the family home and found all of the mail he sent home to show his family he was well off and acclaimed by peers, critics, and fans, unopened in a closet.
A heartbroken Bix was damaged by and became known for his melancholy. “In a Mist” was probably not the result of that incident, yet rumors persist that he never recovered and remained “In a Mist”.
Despite that heartbreak, and in defiance of his death at the young age of 28, his immense talent lives on, rendering him immortal.
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