TRIXIE SMITH — Complete Recorded Works In Chronological Order Volume 2 (1925-1939) DOCD-5333 (1995) FLAC (tracks+.cue), lossless

Trixie Smith was a fine vaudeville-style singer who could also do a powerful job on the blues when called for. The second of two Document CDs that contain all of her recordings starts out with 13 selections from 1925. Smith is joined by her "Down Home Syncopators" (actually the Original Memphis Five) on the first two songs, "Everybody Loves My Baby" and "How Come You Do Me Like You Do." She is heard on two sets in which she is joined by a quintet that includes trombonist Charlie Green, clarinetist Buster Bailey and most notably Louis Armstrong, and is featured later in the year with several top Fletcher Henderson sidemen. On these dates, the more memorable selections include the masochistic "You've Got to Beat Me to Keep Me," "He Likes It Slow" and her classic train song "Railroad Blues." There are also two takes of "Messin' Around" from 1926 in which Trixie is heard as part of Jimmy Blythe's Ragamuffins, a band including clarinetist Johnny Dodds and the legendary cornetist Freddie Keppard. The final eight selections on this 23-cut CD are taken from Smith's May 26, 1938 session, with one number, "No Good Man," dating from the following year and finding her assisted by a band that includes trumpeter Henry "Red" Allen and clarinetist Barney Bigard. The 1938 set matches Trixie with the fiery young trumpeter Charlie Shavers, a restrained Sidney Bechet on soprano, and a four-piece rhythm section. Although she had not recorded in a dozen years, Trixie Smith is in prime form on such numbers as "Freight Train Blues," two versions of "My Daddy Rocks Me" and "He May Be Your Man (But He Comes to See Me Sometime)." Apparently an alcohol problem shortened both Smith's career and life, but one does not hear any decline during these excellent performances. Highly recommended, while the less essential Vol. 1 is worth picking up too. Scott Yanow
Tracklist :
1    Trixie's Down Home Syncopators – Everybody Loves My Baby (Take 6) 2:49
2    Trixie's Down Home Syncopators – How Come You Do Me Like You Do (Take 6) 3:00
3    Trixie Smith, Acc. Her Down Home Syncopators – You've Got To Beat Me To Keep Me    3:02
4    Trixie Smith, Acc. Her Down Home Syncopators –    Mining Camp Blues (Take 1) 3:00
5    Trixie Smith, Acc. Her Down Home Syncopators –    Mining Camp Blues (Take 2) 2:53
6    Trixie Smith, Acc. Her Down Home Syncopators –    The World's Jazz Crazy And So Am I (Take 1)    3:00
7    Trixie Smith, Acc. Her Down Home Syncopators –    The World's Jazz Crazy And So Am I (Take 2)    3:00
8    Trixie Smith, Acc. Her Down Home Syncopators –    Railroad Blues (Take 1)    2:56
9    Trixie Smith, Acc. Her Down Home Syncopators –    Railroad Blues (Take 2)    2:52
10    Trixie Smith–    Everybody's Doing That Charleston Now (Take 1) 3:07
Orchestra – Fletcher Henderson's Orchestra
11    Trixie Smith–    He Likes It Slow (Take 2) 2:51
Orchestra – Fletcher Henderson's Orchestra
12    Trixie Smith–    Black Bottom Hop 2:52
Orchestra – Fletcher Henderson's Orchestra
13    Trixie Smith–    Love Me Like You Used To Do 2:47
Orchestra – Fletcher Henderson's Orchestra
14    Jimmy Blythe And His Ragamuffins–    Messin' Around (Take 1)    2:55
15    Jimmy Blythe And His Ragamuffins–    Messin' Around (Take 2)    2:51
16    Trixie Smith–    Freight Train Blues    3:13
17    Trixie Smith–    Trixie Blues    3:09
18    Trixie Smith–    My Daddy Rocks Me    2:50
19    Trixie Smith–    My Daddy Rocks Me No. 2    2:47
20    Trixie Smith–    He May Be Your Man (But He Comes To See Me Sometime)    2:40
21    Trixie Smith–    Jack I'm Mellow    2:39
22    Trixie Smith–    My Unusual Man    2:43
23    Trixie Smith–    No Good Man    2:46
Credits :
Banjo – Charlie Dixon (tracks: 3 to 13)
Bass – Richard Fullbright (tracks: 16 to 22), Unknown Artist (tracks: 23)
Brass Bass – Ralph Escudero (tracks: 10 to 13)
Clarinet – Barney Bigard (tracks: 23), Buster Bailey (tracks: 3 to 13)
Clarinet [Prob.] – Jimmy Lytell (tracks: 1, 2)
Clarinet, Alto Saxophone – Johnny Dodds (tracks: 14, 15)
Clarinet, Soprano Saxophone – Sidney Bechet (tracks: 16 to 22)
Cornet – Freddie Keppard (tracks: 14, 15), Joe Smith (tracks: 10 to 13), Louis Armstrong (tracks: 3 to 9)
Drums – O'Neill Spencer (tracks: 16 to 22)
Drums [Prob.] – Jack Roth (tracks: 1, 2), Sidney Catlett (tracks: 23)
Guitar – Teddy Bunn (tracks: 16 to 22), Unknown Artist (tracks: 23)
Percussion [Tapping] – Unknown Artist (tracks: 11)
Piano – Fletcher Henderson (tracks: 3 to 13), Jimmy Blythe (tracks: 14, 15), Sammy Price (tracks: 16 to 22), Unknown Artist (tracks: 23)
Piano [Prob.] – Frank Signorelli (tracks: 1, 2)
Trombone – Charlie Green (tracks: 3 to 13), Miff Mole (tracks: 1, 2)
Trombone [Poss.] – Roy Palmer (tracks: 14, 15)
Trumpet – Charlie Shavers (tracks: 16 to 22)
Trumpet [Prob.] – Henry "Red" Allen (tracks: 23), Phil Napoleon (tracks: 1, 2)
Vocals – Trixie Smith
Wood Block – Jasper Taylor (tracks: 14, 15)

JELLY-ROLL MORTON – 1930-1939 | The Chronogical Classics – 654 (1992) FLAC (tracks+.cue), lossless

There are a lot of Jelly Roll Morton reissues kicking around, but few of them span the 1930s the way this one does. Mr. Jelly's chronology generally gets lopped off after the last Red Hot Peppers session, often entirely omitting the rest of his remarkable story. This, then, is a valuable bundle of ensemble stomps and slow drags garnished with a few piano solos. The first session is a whopper. Wilton Crawley was a peculiar vaudevillian who played laughing hyena clarinet. During the opening track he removes the mouthpiece from the instrument and cups his hands around it, generating a series of wah-wah-wah whinnies. This makes perfect sense in a twisted sort of way. Bruce Johnson plays the washboard with great precision, adding lots of little "dings" wherever he pleases. Most of the guys in the band knew each other from having worked in the Luis Russell Orchestra. There are fine solos from Red Allen, Charlie Holmes, and that marvelous guitarist Teddy Bunn. Contrary to what the discography says, Crawley does not vocalize on this date, and Pops Foster sternly puffs away at a tuba rather than using the string bass as listed. Jelly's Red Hot Peppers were on their last couple of go-rounds during the second half of 1930, but this was still a hot band, notable for Ward Pinkett's punchy trumpet, Morton's fabulous piano, and the agility of guitarists Howard Hill and Bernard Addison. "Strokin' Away" contains a wonderful tuba solo by the mighty Pete Briggs. "Blue Blood Blues" begins and finishes with glorious tones in both registers from clarinetist Albert Nicholas.
Years passed before Jelly was able to record again. When he sat down to record piano solos in 1938, his overdeveloped showmanship was bottled up and ready to come pouring out. According to Morton, the lightning-quick "Finger Buster" was supposed to be one of the most difficult pieces ever written for the piano. What it amounts to is a flashy display of technical dexterity. "Creepy Feeling" is a beautiful example of the Caribbean influence that Jelly was fond of demonstrating. "Honky Tonk Music" also breathes with a bit of the "Spanish tinge," along with a deliberate walking bassline, soon to be known as boogie-woogie. The first "New Orleans Jazzmen" session bristles with Sidney Bechet, Albert Nicholas, and Sidney DeParis. "High Society" sounds like they're taking it right down the middle of the street, which is where "Oh, Didn't He Ramble?" would also have taken place. Jelly then sings cleaned-up lyrics to a couple of slow drags, giving listeners a chance to savor the tenor saxophone of Happy Caldwell. While "Buddy Bolden" was originally a song about farting, the notorious "Winin' Boy" dates from Morton's tenure as a Storyville cathouse piano player. Jelly's Library of Congress recording of his erstwhile theme song contains some of the most sexually explicit lyrics ever sung into a recording microphone. "Winding Boy" was a term used to describe a "tireless stud." While we're on the subject, James Scott's "Climax Rag" is pleasantly stimulating, as are all eight selections from September of 1939. This wonderful disc ends with two delightful solos including "Original Rags," Scott Joplin's masterpiece of 1899. arwulf arwulf  
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MEZZ MEZZROW – 1944-1945 | The Chronogical Classics – 1074 (1999) FLAC (image+.cue), lossless

 Mezz Mezzrow was a fascinating and driven character, very involved during the mid-'40s with dynamic elements like Integration, Socialism, Sidney Bechet, Afro-American culture in general, and most emphatically his personal religion, The Blues. Mezz always returned to this idiom, this way of thinking and playing, as if it were home. The trio session that opens this disc is composed of four variations on blues changes. "Feather's Lament," a searching sequel to "Really the Blues," trails off suddenly at the three-and-a-half-minute mark. It is obvious that Mezz was absorbed in his reverie, probably playing with his eyes closed, and lost track of the time. This is a precious little segment of the Mezzrow chronology. Intimate communication between three friends resulted in music of incredible honesty and depth, particularly at slow tempos. When they picked up steam, Mezz had a way of hammering out shrill tones with very human but also rather taxing insistence. He wheedles and whittles with his woodwind, keening like a locked-out feline as every ounce of his private emotions sincerely splatter all over the room. It's downright cathartic. Mezz probably should not be compared to other reed players. There's just no point, and it's not fair. Pee Wee Russell had a more advanced musical mind, and better chops. So what? Like Pee Wee and a number of peculiarly gifted jazz musicians, Mezz existed in his own alternative reality. He was a poet who adored his Afro-American inspirations. Mezz believed in a hip, integrated society where everybody is on the level. His musical adventures demonstrate terrific courage. Aligning himself with a formidable musician like Sidney Bechet was more than brash hubris or foolish bravado. Mezz had chutzpah and should be respectfully remembered for it. One thing about Bechet's leonine intensity and gravitational pull -- it allowed Mezz to noodle creatively without having to carry the full weight of an embellished melodic line. "House Party" is a beautiful example of a slow drag played by the Mezzrow/Bechet duo fortified with rhythm and a third horn, in this case Hot Lips Page. "Perdido Street Stomp" takes this energy out into the street. "Revolutionary Blues" follows the established pattern of a relaxed blues that heats up to a stomp for the flip side. "Blood on the Moon" is as scary as its title, with Page threatening and complaining in ways that are inseparable from the blues tradition. A whole stack of blues was concocted the next day by this same band, with vocals by an often unpleasant fellow named Pleasant Joe. There is also one vocal by Douglas Daniels, former member of the Spirits of Rhythm. "Ole Miss" demonstrates the precise discipline that Bechet could bring to any ensemble. The remaining tracks, which include a couple of reinterpretations of tunes that had been waxed earlier in the season, are about as solid as anything that this odd couple ever recorded together. arwulf arwulf  
Tracklist + Credits : 

MEZZ MEZZROW – 1947 | The Chronogical Classics – 1095 (1999) FLAC (tracks+.cue), lossless

 Mezz Mezzrow was a jazz musician better known for writing his exaggerated autobiography Really the Blues in 1946 than for his clarinet playing. This Classics disc highlights the year 1947 when Mezzrow was recording for his own King Jazz label. Even on up-tempo hot numbers, a hazy laid back approach was consistently maintained, which may have had something to do with Mezzrow's fondness for marijuana. However, these are highly enjoyable recordings that feature vocalist Coot Grant on six of the discs 20 tracks along with top New Orleans jazzmen including Sidney Bechet, Pops Foster, and Baby Dodds. Al Campbell
Tracklist + Credits :

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
Tracklist + Credits :

SIDNEY BECHET – 1923-1936 | The Classics Chronological Series – 583 (1991) FLAC (tracks+.cue), lossless

The first in a series of Classics CDs focusing on the recordings of Sidney Bechet, this disc features the clarinetist/soprano-saxophonist on two early titles with blues singer Rosetta SissCrawford, his torrid 1932 session with The New Orleans Feetwarmers (which also features trumpeter Tommy Ladnier and is highlighted by "Shag" and "Maple Leaf Rag") and sides from Noble Sissle's somewhat commercial orchestra. Fortunately Sissle was wise enough to give Bechet plenty of solo space on some of his selections, most notably "Polka Dot Rag." Even with a few indifferent vocals, this CD is recommended to those not already owning this music. Scott Yanow
Tracklist :

SIDNEY BECHET – 1937-1938 | The Classics Chronological Series – 593 (1991) FLAC (tracks+.cue), lossless

The second in a series of CD reissues featuring Sidney Bechet has quite a bit of variety. The unique soprano-saxophonist is heard with Noble Sissle's showband, dominating a small group sponsored by Sissle, backing blues singer Trixie Smith and the team of Grant & Wilson, and leading his own session with a sextet that includes baritonist Ernie Caceres, and on "Hold Tight," a vocal by "The Two Fish Mongers." Enjoyable if not quite essential music. Scott Yanow
Tracklist + Credits :

SIDNEY BECHET – 1938-1940 | The Classics Chronological Series – 608 (1991) FLAC (tracks), lossless

This entry in Classics' chronological reissue of the master takes of Bechet's early recordings finds the soprano great playing with trumpeter Tommy Ladnier and Mezz Mezzrow on the famous "Really the Blues" session, performing a hit version of "Summertime," overshadowing the other members of the all-star Port of Harlem Seven and recording "Indian Summer" and a hot version of "One O'Clock Jump" in a 1940 session for Victor. However, half of this CD is taken up by an odd and surprisingly restrained marathon date with pianist Willie The Lion Smith in which they perform Haitian folk songs. Scott Yanow
Tracklist + Credits :

SIDNEY BECHET – 1940 | The Classics Chronological Series – 619 (1991) FLAC (tracks+.cue), lossless

Classics' chronological reissue of Bechet's recordings (at least the regular takes) continues with a pair of songs made with blues singer Josh White, eight very enjoyable performances cut with a quartet consisting of cornetist Muggsy Spanier, guitarist Carmen Mastren and bassist Wellman Braud, and a pair of Bechet's Victor sessions. This is one of the strongest entries in this valuable series. Scott Yanow
Tracklist + Credits :

SIDNEY BECHET – 1940-1941 | The Classics Chronological Series – 638 (1992) FLAC (tracks+.cue), lossless

Classics' Sidney Bechet series continues with this CD, a generous set full of the soprano's prime Victor recordings, including appearances by cornetist Rex Stewart and pianist Earl Hines, Bechet's guest shot with The Chamber Music Society of Lower Basin Street, and his innovative "one-man-band" recordings of "The Sheik of Araby" and "Blues of Bechet." Scott Yanow
Tracklist :

SIDNEY BECHET – 1941-1944 | The Classics Chronological Series – 860 (1996) FLAC (tracks), lossless

This collection covers Sidney Bechet's recordings during most of the World War II years. Music from his final two Victor dates begins the CD, highlighted by memorable versions of "The Mooche" and "What Is This Thing Called Love?" Three extended V-Disc performances (all between four and five minutes long) match Bechet's soprano with trombonist Vic Dickenson in exciting fashion. Also included is a Blue Note date that has the classic "Blue Horizon" and four numbers on which Bechet is a sideman with pianist Cliff Jackson's Village Cats. While Bechet is the main star, there are also hot solos from Dickenson, trumpeters Charlie Shavers and Sidney DeParis, and pianists Willie "The Lion" Smith and Cliff Jackson. Sidney Bechet always sounds enthusiastic, and listeners not already owning a complete collection of his Victor dates will find this collection quite enjoyable. Scott Yanow
Tracklist + Credits :

SIDNEY BECHET – 1945-1946 | The Classics Chronological Series – 954 (1997) FLAC (tracks+.cue), lossless

Many uptight critics and jazz historians who analyze Sidney Bechet's Blue Note recordings seem unable to avoid the annoying habit of informed nitpicking. The music deserves a more humble assessment, whereby the ego of the beholder withdraws, allowing breathing space for the true nature of jazz and collective creativity. The recordings made on January 29, 1945, for example, are exceptionally satisfying for anyone who is able to absorb the sound of informal New Orleans polyphony. Max Kaminsky, George Lugg, and Bechet form a strong front line, roundly supported by Art Hodes, Pops Foster, and Freddie Moore, who sings Papa Charlie Jackson's gruff opus "Salty Dog." Kaminsky growls into a mute during Mel Stitzel's definitive slow drag "Jackass Blues," and Artie Matthews' "Weary Blues" rolls at a brisk trot. "High Society" is a wonderful celebration for those who are able to relax and enjoy a good old-fashioned street parade. The next date, involving Bunk Johnson, has attracted quite a bit of contentious commentary. Yet Johnson of all people should not be evaluated using standards usually applied to musicians of other generations or social backgrounds. Here Bechet used only the clarinet, deferring to Johnson, who frankly disliked the soprano saxophone. Jelly Roll Morton's "Milenberg Joys" is a handsome opener, and "Days Beyond Recall" a thoughtful blues. Trombonist Sandy Williams occupies the spotlight during the other slow drag, "Up in Sidney's Flat." In keeping with the diversity of this variegated tradition, the band also delivered up an old-time spiritual and "Porto Rico," a rhumba/stomp that languished in obscurity for 40 years, probably because it didn't fit into someone's preconceived notion of what a traditional jazz band was supposed to sound like. Bechet's next pairing was with clarinet wizard Albert Nicholas. "Quincy Street Stomp" is a spirited strut, and "Old Stack O'Lee" a venerable blues fresh up from the marinade. "Bechet's Fantasy" is full of reflections exquisitely expressed, as if strolling through the Garden District naming each flower and shrub. "Weary Way Blues" was composed and recorded by Lovie Austin and Ida Cox in 1923. Bechet and Nicholas handle the relic gently, almost affectionately. This segment of the Sidney Bechet chronology closes with six sides recorded for the Disc label in May of 1946. Here Bechet is part of a six-piece band, accompanying vocalist Stella Brooks, who at her best sounded as good as Lee Wiley. "St. Louis Blues" is nice and tough, while the sexy "I'm a Little Piece of Leather" feels almost like a backroom burlesque. arwulf arwulf  
Tracklist :

SIDNEY BECHET – 1947-1949 | The Classics Chronological Series – 1112 (2000) FLAC (tracks+.cue), lossless

The Classics label has treated the Sidney Bechet canon with trademark thoroughness, with superb chronological sets chronicling his entire career. For many fans, however, it's Bechet's immediate postwar output that ranks above all else, and 1947-1949 compiles what is arguably the greatest period in Bechet's recording career. Masterpieces abound, from the devastating "Royal Garden Blues" to the wonderful "Buddy Bolden Stomp." Classics has done a fine job at improving the sonic fidelity, and the liner notes are very informative. A truly wonderful disc that should appeal to longtime fans of Bechet and neophytes alike. Thomas Ward
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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  
Tracklist + Credits :

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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