Bix Beiderbecke Museum & Archive organizers (from left) Howard Braren, Geri Bowers, and Carol Schaefer in front of a re-creation of the Hudson Lake stage.

(Author’s note: After this article was published, the opening date of the museum was changed to Thursday, August 3.)

When the Bix Beiderbecke Museum & Archive opens to the public on July 24 in the River Music Experience basement, a major draw will be seeing and being in the presence of artifacts from the legendary jazz cornetist’s life – clothes he wore, instruments he played, reproductions of letters he wrote.

As museum developer Joe Hines said: “An exhibit like this doesn’t offer explanations; it [gives] impressions.”

While that might be typical of a biographical museum, the process of collecting those impressions and putting them under one roof has required extraordinary effort over decades.

Beau Sample, the bassist and bandleader of the Fat Babies, has said he doesn't want his Chicago-based septet to present the jazz of the 1920s as either a caricature or museum piece.

By all accounts, Sample and his bandmates have succeeded wildly - almost certainly a result of the Fat Babies balancing its performance schedule between bars and festivals.

The group has regular gigs at the Windy City's Green Mill lounge and Honky Tonk BBQ - places where the nuances are less important than the swing. "The people who come to see us are really there to dance and drink and have fun," Sample said in a phone interview last week. "A lot of the bands playing this stuff [early jazz] don't have the opportunity to play for those crowds. ... The dancers are a big influence on what we do."

The Fat Babies, he noted, are "trying to put it [old-time jazz] back in the taverns, where it came from. ... Basically, we're doing what people have always done - which is just playing in bars for people drinking and having a good time."