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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