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  
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JOE SULLIVAN – 1945-1953 | The Classics Chronological Series – 1353 (2004) FLAC (tracks+.cue), lossless

In June and September of 1952, Joe Sullivan recorded eight versions of songs composed but never recorded by Thomas "Fats" Waller. Issued on a 10" LP entitled Fats Waller First Editions (Epic LG1003), this music soon drifted into obscurity. It resurfaced years later on Mosaic's The Columbia Jazz Piano Moods Sessions, a limited-edition box set of seven CDs. In January of 2004, the Classics Chronological series quietly released all eight of these magnificent trio renderings as part of the continuing saga of Joe Sullivan. Hardly anybody seems to have noticed this important historical development. Yet Fats Waller devotees everywhere should be notified, as they now have ready access to Waller melodies with titles like "What's Your Name," "Solid Eclipse," "Never Heard of Such Stuff," and "If You Can't Be Good, Be Careful." Classics 1353 also includes a powerful quartet session from December of 1945 with George Wettling, Pops Foster, and the mighty Sidney Bechet. There is a fine, relaxed treatment of King Oliver's "West End Blues," with Clarence Williams' lyrics sung by Stella Brooks. Three studies for trio and nine magnificent piano solos were recorded in San Francisco in 1953. Sullivan sounds relaxed and happy to stretch out. Listeners get something like a concert version of "Little Rock Getaway," a "Honeysuckle Rose" that feels a lot like a Joe Sullivan/Thomas Waller duet, and a whole stack of standards and originals. But the main reason to track this down and carry it with you at all times is the inclusion of those almost forgotten Waller originals, lovingly rendered with immaculate ease by the amazing Joe Sullivan. arwulf arwulf  
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