SIDNEY BECHET – 1949 | The Classics Chronological Series – 1140 (2000) FLAC (tracks+.cue), lossless

For some reason, many jazz historians seem to consider Sidney Bechet's collaborations with Wild Bill Davison as somehow flawed. Apparently, they expect the feisty, cornet-toting rascal to lie down and allow Sidney to walk all over him. If Bill were so compliant and non-assertive, he never would have earned his moniker. Sure, the two horns jostle each other during hot numbers, but that's what's supposed to happen. This is, after all, based in the traditions of competitive/cooperative New Orleans polyphony. Maybe a baritone sax would have added some ballast to the overall mix, but it didn't happen that way. Instead, on the session of January 21, 1949, we get bassist Walter Page, who was no slouch, and the magnificent piano of Art Hodes. "Tin Roof Blues" and "Down and Out" are both studies in eloquence, and "I've Found A New Baby" roars like a steam locomotive heading round the southern rim of Lake Michigan for Chicago. Hodes begins "Saints" with a lovely passage from "Nobody Knows the Trouble I've Seen" before drummer Freddie Moore kicks it into high gear. The big treat in this package is a relatively rare blowing session that yielded four tasty selections issued on the Circle Record label. The front line of Bechet, trumpeter Albert Snaer, trombonist Wilbur DeParis and clarinetist Buster Bailey execute thrilling runs with collective precision. The rhythm section of James P. Johnson, Walter Page and George Wettling is richly supportive. Bechet's beautiful "Song of the Medina" is pure wonderment, carrying a fragrance similar to that of his famous "Petite Fleur." Three titles for the Jazz Ltd. label illustrate the expanse of Papa Bechet's stylistic wealth: "Maryland" is traditional New Orleans parade music at its very finest. "Careless Love" is the choicest of blues, and "Egyptian Fantasy" resembles Duke Ellington's "Black and Tan." For their second 1949 Blue Note get-together, Bechet and Wild Bill are back with Hodes and Page, now accompanied by ex-Fats Waller percussionist Wilmore "Slick" Jones. Trombonist Ray Diehl blows solid, sensible lines, his every hoot funkily cohesive as the two lead horns carve a large swath through the middle of half-a-dozen staples of the Dixieland repertoire. Their nice update on "Cake Walking Babies From Home" is more than invigorating, and "Jericho" gets hammered out with rowdy insistence. By May of '49, Bechet had invaded Paris and was leading a team of eager, ambitious Frenchmen in creating a torrent of old-fashioned jazz records. It was the beginning of his career as le Grand Bechet, revered émigré, living with dignity in a city where they eventually had the good sense to name a street after him. arwulf arwulf  
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CLAUDE HOPKINS AND HIS ORCHESTRA – 1932-1934 | The Classics Chronological Series – 699 (1993) FLAC (tracks+.cue), lossless

The first of three Classics CDs that contain all of pianist Claude Hopkins' big band recordings is the most essential of the trio. Although Hopkins was a masterful stride player, his orchestra never really had their own individual sound and therefore did not catch on. However, many of the selections on this set (particularly the Jimmy Mundy-arranged instrumentals) are quite memorable, with the eccentric "Mush Mouth" being a classic. Other highlights include Hopkins' theme "I Would Do Most Anything for You," "Three Little Words," "California Here I Come," and "Honeysuckle Rose." In addition to the leader, the main soloists in the band during the era were trumpeter/vocalist Ovie Alston, trombonist Fernando Arbello, up-and-coming clarinetist Edmond Hall, and underrated tenor Bobby Sands, but the most popular member of the orchestra was high-voiced singer Orlando Roberson. Highly recommended to swing and big band fans, this set of studio recordings also includes 11 numbers only previously out on a collectors' LP. Scott Yanow  
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CLAUDE HOPKINS AND HIS ORCHESTRA – 1934-1935 | The Classics Chronological Series – 716 (1993) FLAC (tracks+.cue), lossless

The second of three CDs documenting the history of the Claude Hopkins Orchestra does not quite reach the heights of the first set (too many Orlando Roberson high-note vocals and some erratic moments by the musicians) but still has many moments of interest. With trumpeter Ovie Alston (who takes four vocals), trombonist Fernando Arbello, clarinetist Edmond Hall (also heard on baritone), and tenorman Bobby Sands sharing the solo space with pianist Hopkins, some of the selections swing quite hard. Best are "Harlem Rhythm Dance," "Everybody Shuffle," "King Porter Stomp," "In the Shade of the Old Apple Tree" and "Zozoi." All of the numbers except for the last three are from 1934. Scott Yanow  
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