MEZZ MEZZROW – 1947-1951 | The Chronogical Classics – 1302 (2003) FLAC (tracks), lossless

So strong was Mezz Mezzrow's passion for old-style jazz and blues that in 1945 he created his own record label -- King Jazz -- specializing in these traditions. The four tracks that open this volume of the Chronological Mezzrow series were to be the last of the King Jazz recordings. Joined by Sidney Bechet, Sammy Price, Pops Foster, and Kaiser Marshall, Mezz had once again aligned himself with players whose collective experience harked back to the dawn of recorded jazz. These selections roll at relaxed tempi. "Delta Mood" is a slow meditation, "Funky Butt" walks easy, and even "Blues of the Roaring Twenties" strolls peacefully. The discography reads like a diary in that "I'm Going Away from Here" prefaces the clarinetist's Parisian years, a period of overseas activity that would continue until his death in 1972. Mezz toured Europe in 1948. After scuffling to get by in the U.S. for a couple of years he boomeranged back to Paris, where he began recording for the Vogue label. Eight titles from October of 1951 find Mezz surrounded by Claude Luter's jazz band. While Luter's collaborations with Sidney Bechet sometimes highlight the yawning chasm between Bechet's formidable powers and the merely well-schooled proficiency of the Parisian New Orleans revivalists, the combination of Luter and Mezzrow makes sense to the ear, as if they'd been jamming together for years. "Four or Five Times" comes across like a tribute to Jimmie Noone, with the two clarinets harmonizing as they do again on "Blues As We Like 'Em." "Black and Blue" is served up solemnly and "If I Had You" unfolds sad and slow. "Jingle Bells" is full-throttle jolly Dixieland and the three remaining tracks swing steadily. "Old Fashioned Love" is a particularly grand processional. Two blowing sessions from the middle of November 1951 resulted in eight outstanding performances that rate among the best recordings either Mezzrow or old-time trumpeter Lee Collins ever participated in. Here is a golden opportunity to study the artistry of Collins. Pianist André Persiany sets up a fine "Boogie Parisien" and master drummer Zutty Singleton takes an extended solo on "The Sheik." A thoroughly enjoyable album of 20 marvelous exercises in old-fashioned entertainment. arwulf arwulf
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WILLIE "THE LION" SMITH – 1944-1949 | The Chronogical Classics – 1229 (2002) FLAC (tracks+.cue), lossless

Willie "The Lion" Smith had a career that was somewhat sporadically documented in phonograph records. Living almost until the age of 80, he waxed a fair number of piano solos over many decades and sat in from time to time here and there, but only occasionally led his own bands. The solos greatly outnumber his ensemble recordings, and so it is always interesting to hear this pianist operating as part of a group. On September 29, 1944, a sextet calling itself the Lion's Band cut four sides for the small-time Black & White label in New York. Trumpeter Max Kaminsky, clarinetist Rod Cless, and trombonist Frank Orchard made for a strong front line, perfect for Kid Ory's "Muskrat Ramble" and "Bugle Call Rag." Smith sang on his own sentimental composition, "How Could You Put Me Down." Sounding a bit plaintive but not unpleasant, he was already ripening into the old man who would be heard singing and playing for the patrons of Blues Alley on two albums brought out by the Chiaroscuro label many years later. The odd tune here is "Let's Mop It," a somewhat forced bit of hipness based on the famous lick from Dizzy Gillespie's "Salt Peanuts." With the exception of "Woodland Fantasy," a pleasant piano solo left over from a Moses Asch recording project, the rest of the material on this disc was recorded in Paris during December of 1949. There are 14 piano solos covering a good sampling of Smith's catalog of original compositions, along with a few standards and a pair of shouts by his old companion James P. Johnson: "Charleston" and "Carolina Shout." Smith's reflective blue reverie "I'm Gonna Ride the Rest of the Way" is particularly satisfying. As a sort of epilogue, listeners are treated to a session featuring the magnificent trumpet of Buck Clayton in the company of a rather reedy-sounding Claude Luter, who does his best to emulate his hero, Sidney Bechet. This little band's version of "Nagasaki" is especially delightful, as Willie strides up and down the piano while chuckling, grumbling, and shouting with joy. arwulf arwulf  
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SIDNEY BECHET – 1949, Vol. 2 | The Classics Chronological Series – 1186 (2001) FLAC (tracks+.cue), lossless

During the last decade of his life, Sidney Bechet spent ever more of his time in Europe, especially in Paris, where he was revered as a hero and cultural icon. This tenth installment of Bechet's complete recordings in chronological order presents three Parisian sessions and a Circle Records date with Bechet as featured soloist with the Bob Wilber Orchestra in New York. Wilber's band mingled seasoned old-timers like Pops Foster and Jimmy Archey with younger talent like Dick Wellstood. The material dished up by this group is delightfully varied. "I'm Through, Goodbye" is a smoothly bubbling strut, "Waste No Tears" a thoughtful reverie, and "Without a Home" a sanguine study in blue. During the sensuous "Love Me With a Feeling," Bechet talks to his woman about passion and demonstrates precisely what he means with the soprano sax. "The Broken Windmill" is a vigorous, slightly frantic stomp propelled by Pops Foster's booming bass. "Box Car Shorty," billed as "A Dixieland Calypso," has an authentic West Indian vocal by the Duke of Iron. Speaking of which -- "Ce Mossieu Qui Parle," the opening track from Bechet's Parisian session of October 14, 1949, sounds like an extension of his "Original Haitian Music" session with Willie "The Lion" Smith from November of 1939, although here Bechet has more room to improvise over the polyrhythmic changes. "Buddy Bolden Story," the famous melody established by Jelly Roll Morton, contains a humorous anecdote told in French by Bechet in conversation with Claude Luter after a bouncy introduction. "Bechet Creole Blues" is deep and dark, as serious as your life. "Anita's Birthday" is actually "Do the Hucklebuck," the pop song based on licks pilfered from Charlie Parker's "Now's the Time." "Les Oignons" -- very popular among the French -- is a jaunty hop dotted with periodic full stops. Bechet's rendition of Ma Rainey's "Ridin' Easy Blues" is blown in huge gusts of soul. "Blues in Paris" is a slow interlude for soprano sax and rhythm. "Panther Dance" is the old "Tiger Rag," served with roasted peppers. The last six selections presented here are particularly exciting, as listeners get to hear Bechet interacting with percussionist Kenny "Klook" Clarke. They exchange ideas during a paired passage on "Klook's Blues" and commandeer "American Rhythm" in its entirety as a saxophone/drum duet. Clarke generates thunderous textures that presage what Art Blakey would sound like ten years later. arwulf arwulf  
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SIDNEY BECHET – 1949, Vol. 3 | The Classics Chronological Series – 1223 (2002) FLAC (tracks), lossless

The great soprano saxophonist Sidney Bechet is featured on four formerly rare sessions recorded in Paris and London during October and November 1949. At 50 years old, Bechet was at the peak of his powers. He is heard on two occasions with clarinetist Claude Luter's band (which on one of the dates has two trumpets/cornets); jamming with a quartet consisting of pianist Eddie Bernard, bassist Pierre Michelot, and drummer Kenny Clarke; and sitting in with trumpeter Humphrey Lyttelton's group. There is plenty of excitement heard throughout these 24 performances and, although the supporting cast is excellent, Bechet dominates throughout. Highlights include "Maple Leaf Rag," "Panama," "Wrap Your Troubles in Dreams," "After You've Gone," "Some of These Days," and "Everybody Loves My Baby." Scott Yanow
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SIDNEY BECHET – 1950 | The Classics Chronological Series – 1280 (2003) FLAC (tracks), lossless

Volume 12 in Sidney Bechet's segment of the Classics Chronological Series opens with six blustery sides recorded in New York City on April 19, 1950 by Sidney Bechet's Blue Note Jazzmen, with a feisty front line of Bechet, cornetist Wild Bill Davison, and trombonist Jimmy Archey, and a fine rhythm section in Joe Sullivan, Pops Foster, and Wilmore "Slick" Jones. Tracks seven-eleven were recorded for the Commodore label on April 27, 1950, with Davison and Bechet now bolstered by trombonist Wilbur de Paris (who sings "I'll Take That New Orleans Music"), Ralph Sutton, Jack Lesberg, and George Wettling. Listen for Bechet's clarinet on the "Jelly Roll Blues" and the "National Emblem March." The rest of the material packed into this invigorating collection comes from the Vogue catalog, and documents Bechet's adventures in Paris during September and October 1950. Surrounded by members of Claude Luter et Son Orchestre, Bechet hammered out gale force traditional jazz that went over exceptionally well with the French people. Bechet would soon take steps to settle permanently in France, where he was elevated to the status of a national treasure, as indicated by the cover photograph of him peering out from beneath a hefty bejeweled crown. arwulf arwulf
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SIDNEY BECHET – 1950-1951 | The Classics Chronological Series – 1326 (2003) FLAC (tracks+.cue), lossless

One great thing about the Classics Chronological Series is that for the first time Sidney Bechet's European recordings are completely available in context. Longtime collectors and devotees of Bechet are at last able to hear his Vogue sessions in their entirety, exactly as they occurred between periodic U.S. Blue Note blowouts. This allows for an unprecedented understanding of the man's creative activity during the last ten years of his life. By the autumn of 1950, Bechet was established as the king of traditional jazz in Paris. Backed by the Claude Luter Orchestra, he casually grew into the role of presiding patriarch. First and foremost, there was a traditional jazz repertoire to be addressed, as in "Bill Bailey" and "Royal Garden Blues." During the slow-paced "Society Blues," Bechet nonchalantly quotes a pastoral lick from Rossini's William Tell Overture, then shifts into "I've Been Working on the Railroad"! Six selections recorded on May 4, 1951, are among the best examples of French jazz in the swing tradition. "En Attendant le Jour" is remarkably handsome. Valve trombonist Guy Longnon brings to mind the pleasantries of Jack Teagarden. "Egyptian Fantasy" is as dramatic as the original version recorded for Victor in 1941. But the real gem is "Blues in the Cave," wherein Bechet sets up the tune with a seemingly informal but very theatrical spoken introduction. "Now boys, I want you all to gather 'round me. I wanna show you how easy it is to play a blues, a different blues. But in the meantime, you'll stay right with the blues melody." He then gives verbal instructions to each player, assigning parts and adding "Christian, you take over while I get my soprano." The timing is impeccable and Bechet's solo is one of his very best on record. Four days later, Bechet cut a couple of sides with the Orchestra of the Dutch Swing College in Hilversum, Holland. In a rare instance of discographic confusion, Classics has swapped titles on "King Porter Stomp" and "Dutch Swing College Blues." Eight titles from the Parisian session of September 7, 1951, include a fine rendering of Jimmie Noone's "Apex Blues" and the amiable melodies "Sleepy Time Gal" and "Together." Both "Kansas City Man Blues" and "Of All the Wrongs You've Done to Me" date back to Bechet's first days in New York during the early '20s, while "Darling Nellie Gray" and "Put on Your Old Gray Bonnet" practically predate jazz itself. This excellent session closes with a theme borrowed from the Bechet/Mezzrow book, here titled "Sidney's Wedding Day" in commemoration of his festive marriage to a very lucky French woman. Back in New York for a bit of work at the Blue Note studios, Bechet led five of his seasoned peers in the production of several outstanding traditional jazz records, taking full advantage of advanced recording technology. "Avalon" is nearly five minutes long and a relaxed, ambling "Blues My Naughty Sweetie Gives to Me" clocks in at nearly twice the length of the old standard 10" 78-rpm record. Two remaining tracks from this session may be found at the beginning of the next volume in Bechet's Classics chronology. arwulf arwulf  
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SIDNEY BECHET – 1951-1952 | The Classics Chronological Series – 1358 (2004) FLAC (tracks+.cue), lossless

This 14th installment in the chronological recordings of Sidney Bechet begins with two remaining tracks from a vigorous Blue Note blowing session starring world-class trumpeter Sidney DeParis. This would be the very last American studio recording session for Sidney Bechet. The rest of the material on this disc dates from January of 1952, and finds Le Grand Bechet once again surrounded by adoring and respectful Parisian musicians. "Ghost of the Blues" is an upbeat trot, "Strike Up the Band" is smartly swung, and "Si Tu Vois Ma Mere" is one of Bechet's florid, aromatic reflections. "Wabash Blues" is splendidly languid and "Mouche à Miel" sounds like a cousin to "Polka Dot Stomp." There are a couple of sunny parade-style numbers and a version of "As-Tu le Cafard?" that is noticeably hastier than a more moving live version from a few years later. "Old Black Magic" has Bechet shouting gruffly in French during the opening and again during the out chorus. It was at this point in his life that Bechet increased the scope of his repertoire to include popular melodies that would not have previously been associated with him, for example Cole Porter's "I Get a Kick Out of You." He also composed a number of marvelously lush melodies, most famously "Petite Fleur" and the lesser-known but very interesting paean to feminine strength and beauty simply entitled "Girls Dance." The disc closes with five tunes recorded live with spoken introductions at the Pleyel Jazz Concert in Paris on January 31, 1952. After ripping through the popular "Les Oignons," Bechet serves up a brusquely brisk version of "St. Louis Blues," a comfortably swaying rendition of Bennie Moten's "South," and a pair of slow love songs -- powerful, delectable pungent, and sweet. arwulf arwulf
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SIDNEY BECHET – 1952 | The Classics Chronological Series – 1384 (2005) FLAC (tracks), lossless

Lionized and showered with honors, Sidney Bechet settled down in Paris during the early 1950s, performing regularly in the company of traditional-minded French musicians before enthusiastic, jazz-loving audiences. Volume 15 in the Classics Sidney Bechet chronology presents two live concert performances recorded at Salle Pleyel, Paris on January 31 and March 12, 1952. Nominally co-led with clarinetist Claude Luter, Bechet's bands churn out spirited renditions of classic jazz standards with a hale and hearty emphasis upon the historical New Orleans and Dixieland revival repertoire. Thanks to the then-newly introduced long-playing record format, some of these preserved jams extend into the eight and nine-minute range, well beyond the formerly imposed 78 rpm, three-and-a-half minute mark. A brilliant improviser and always a commanding presence, Sidney Bechet on this album is mature perfection personified. This wonderfully exciting music is greatly enhanced by the cheering crowds who go wild with joy nearly every time a title is announced. arwulf arwulf
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SIDNEY BECHET – 1952, Vol. 2 | The Classics Chronological Series – 1431 (2005) FLAC (tracks), lossless

Volume 16 in the complete recordings of Sidney Bechet as reissued in the Classics Chronological Series opens with two live concert recordings of Bechet in performance with Claude Luter's Orchestra at the Salle Pleyel in Paris on March 12, 1952. The balance of that evening's entertainment may be heard on the previous volume in the series. Luter, a capable clarinetist, accompanied Bechet with a band of traditional minded Frenchmen consisting of trumpeter Guy Lognon, trombonist Bernard Zacharias, pianist Raymond Fol, bassist Roland Bianchini, and drummer François "Moustache" Galépides. The seven-piece unit's renditions of "Casey Jones" and "Dippermouth Blues" typify the old-fashioned repertoire preferred by this branch of the European jazz community during the early 1950s. The Bechet/Luter band (with the addition of cornetist Claude Rabanit) is heard again, this time in a studio setting, on tracks 13-20. Although the Bechet/Luter collaborations are enjoyable, the artistic heart of this album lies within tracks three-twelve in the form of ten master takes from a trio session involving Bechet, pianist Lil Armstrong, and drummer Zutty Singleton, three jazz pioneers who were born only months apart near the close of the 19th century. An opportunity to hear them working together in an intimate studio environment is a major treat for anyone who truly loves this kind of music. Everything on this compilation was originally issued by the Vogue label. The folks at Classics should be proud to have unearthed this fine music and brought it out in this handsome edition for all to enjoy. arwulf arwulf
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SIDNEY BECHET - Sidney Bechet Et Claude Luter (2000) Jazz In Paris 22 / RM / FLAC (tracks+.cue), lossless

This CD compilation includes two separate sessions by the legendary soprano saxophonist Sidney Bechet and a third date by clarinetist Claude Luter. Bechet's hearty vibrato dominates the four octet tracks, though his French band provides more than adequate support for him. Trumpeter Gerard Bayol and trombonist Benny Vasseur get in their licks in the laid back "On the Sunny Side of the Street." The quartet session is more interesting, just for the opportunity to hear drummer Kenny Clarke and bassist Pierre Michelot outside their normal bop recordings; the pianist is Eddie Bernard (who was also present on the octet recordings). Again, all eight songs are brief (under three and a-half minutes each) with the primary focus on the leader. The slightly more modern underlying rhythm comes through especially in "It Had to be You," which also includes a brief solo by Bernard and a short series of drum breaks to showcase Clarke's brushwork. Aside from the standard fare, Bechet's one original is the mournful blues "Ooh! Boogie!" The six song set by Claude Luter sounds as if it is in a bit of a time warp, like it was recorded in 1930 instead of 1948. It is unfair to expect Luter and his band to be playing at the level of an esteemed veteran like Bechet, but it is difficult to resist the comparison when the two musicians are placed side by side on a compilation. The musicians clearly gave their all on this set, though none of the six tracks come close to comparing with recordings by American jazz musicians. It's doubtful that anyone will purchase this CD in Verve's Jazz in Paris reissue series other than to hear the Bechet material. by Ken Dryden  
Tracklist :
1    Sidney Bechet And His Orchestra– Honeysuckle Rose 2:58
Written-By – Andy Razaf, Fats Waller
2    Sidney Bechet And His Orchestra–    High Society 3:17
Written-By – Porter Steele, Walter Melrose
3    Sidney Bechet And His Orchestra–    On The Sunny Side Of The Street 2:41
Written-By – Dorothy Fields / Jimmy McHugh
4    Sidney Bechet And His Orchestra–    I Can't Believe That You're In Love With Me 2:39
Written-By – Clarence Gaskill, Jimmy McHugh
5    Sidney Bechet And His Feetwarmers–    Wrap Your Troubles In Dreams 3:08
Written-By – Billy Moll, Harry Barris, Ted Koehler
6    Sidney Bechet And His Feetwarmers–    It Had To Be You 2:41
Written-By – Gus Kahn, Isham Jones
7    Sidney Bechet And His Feetwarmers–    Baby Won't You Please Come Home 2:29
Written-By – Charles Warfield, Clarence Williams
8    Sidney Bechet And His Feetwarmers–    Please Don't Talk About Me When I'm Gone 2:36
Written-By – Sam H. Stept, Sidney Clare
9    Sidney Bechet And His Feetwarmers–    Ooh! Boogie! 2:54
Written-By – Sidney Bechet
10    Sidney Bechet And His Feetwarmers–    After You've Gone 2:29
Written-By – Henry Creamer, Turner Layton
11    Sidney Bechet And His Feetwarmers–    I'm Going Way Down Home 2:24
Traditional
12    Sidney Bechet And His Feetwarmers–    Margie 2:25
Written-By – Benny Davis, Con Conrad, J. Russel Robinson
13    Claude Luter Et Ses Lorientais–    Gate Mouth 2:45
Written-By – Louis Armstrong
14    Claude Luter Et Ses Lorientais–    South African Blues 2:54
Traditional
15    Claude Luter Et Ses Lorientais–    Snake Rag 2:53
Written-By – King Oliver
16    Claude Luter Et Ses Lorientais–    Weary Way Blues 2:39
Written-By – Ida Cox, Lovie Austin
17    Claude Luter Et Ses Lorientais–    Sweet Lovin' Man 2:48
Written-By – Lilian Hardin Armstrong, Walter Melrose
18    Claude Luter Et Ses Lorientais–    Panama 2:48
Written-By – Carl Sigman, William Tyers
Credits :
Banjo – Claude Philippe (faixas: 13 to 18)
Clarinet – Claude Luter (faixas: 13 to 18)
Double Bass – Guy De Fatto (faixas: 1 to 4), Pierre Michelot (faixas: 5 to 12), Roland Bianchini (faixas: 13 to 18)
Drums – André Jourdan (faixas: 1 to 4), Kenny Clarke (faixas: 5 to 12), Michel Pacout (faixas: 13 to 18)
Guitar – Jean-Pierre Sasson (faixas: 1 to 4)
Piano – Christian Azzi (faixas: 13 to 18), Eddie Bernard (faixas: 1 to 12)
Saxophone [Soprano] – Sidney Bechet (faixas: 1 to 12)
Trombone – Benny Vasseur (faixas: 1 to 4), Mowgli Jospin (faixas: 13 to 18)
Trumpet – Claude Rabanit (faixas: 13 to 18), Gérard Bayol (faixas: 1 to 4), Pierre Merlin (faixas: 13 to 18)
Nota :
Recorded in Paris on June 23, 1948 at the Pathé-Pelouze studio (13-18), May 16, 1949 at the Technisonor studio (1-4) and November 3, 1949 at the Pathé-Pelouze studio (5-12).
Reissue of the Blue Star 78rpm discs 93, 101, 107 (Claude Luter), 128, 129, 140, 142, 148 and 152 (Sidney Bechet).