Sidney Bechet - Jazz Classics Vol. 1 & 2

The discography of Sidney Bechet is enormous.  Proper albums issued by labels are in the minority as there are hundreds of compilations which bring confusion and chaos to any chronological sense.  Many, if not most, add no value to his discography and are infact barely listenable.

So where does a person start if they want to listen to this prolific artist??  Well, they start here at the Crypt.  We have given you a few excellent posts which combined, give a wonderful summary to Bechet's storied music.  Basically, we have listened to tens of crappy albums so you don't have to.

Adding to essential Sidney Bechet listening, we are presenting you with two excellent volumes of Blue Note sides recorded in the late 30's through to the early 50's.  Jazz Classics were originally issued as two volumes both on 10 inch vinyl.  They were reissued in the mid 60's and given the full Blue Note treatment, including hip and modern covers designed by Miles Reid.  Thanks to the 12 inch format, we get some additional tracks which weren't on the original sides.  Between both volumes, the music was recorded in eight different sessions with a wide range of musicians.

The music is top shelf trad as only the great Sidney Bechet can deliver.  We are listening to his "comeback" years as he was supposed to be retired.  Trad jazz enjoyed a wave of interest during the 40's and 50's, so of course Bechet was considered a living legend and was drawn back into the business.  It was during this time that he recorded the infamous cut of "Summertime" for Alfred Lion, and jazz was never the same again.

So this music is important on all fronts - historically, technically... but most important it's just great toe tapping jazz by one of the genre's greatest.  If you aren't a fan of Bechet, or are looking for a starting point to enjoying his music, you have found it.  This pair of LPs were issued in 1968 and are super minty.  Any analog noise that you may hear is in the recording itself.  Wonderful fidelity as to be expected from anything with the Blue Note stamp.  It should be noted that both of these albums share the same back cover, therefore I used the same image for both.  In the album notes you will find the complete session info.  The albums have been remastered from mono to stereo.  These were ripped at 24/44.1 wav and dithered to 16/44.1 FLAC.  I hope this adds some warmth to your winter weekend... enjoy!!!

BLP 1201

A1 Muskrat Ramble
A2 Blue Horizon
A3 Weary Blues
A4 Summertime
A5 Blame It On The Blues
B1 Milenberg Joys
B2 Days Beyond Recall
B3 Salty Dog
B4 Dear Old Southland
B5 Weary Way Blues

Bass – John Williams* (tracks: A4), George "Pops" Foster* (tracks: A1, A2, A3, A5, B1, B2, B3, B4, B5)
Clarinet – Albert Nicholas (tracks: A5, B5)
Clarinet, Soprano Saxophone – Sidney Bechet
Drums – Danny Alvin (tracks: A5, B5), Manzie Johnson (tracks: A1, A2, B1, B2, B4), Sidney Catlett(tracks: A4)
Drums, Vocals – Fred Moore* (tracks: A3, B3)
Guitar – Teddy Bunn (tracks: A4, B4)
Piano – Art Hodes (tracks: A1, A2, A3, A5, B3, B5), Cliff Jackson (tracks: B1, B2), Meade "Lux" Lewis(tracks: A4)
Trombone – George Lugg (tracks: A3, B3), Sandy Williams (tracks: B1, B2), Vic Dickenson (tracks: A1, A2)
Trumpet – Bunk Johnson (tracks: B1, B2), Max Kaminsky (tracks: A3, B3), Sidney De Paris (tracks: A1, A2)

BLP 1202

A1 St. Louis Blues
A2 Up In Sidney's Flat
A3 Lord, Let Me In The Lifeboat
A4 Pounding Heart Blues
A5 Changes Made
B1 High Society
B2 Jackass Blues
B3 Jazz Me Blues
B4 Blues For Tommy Ladnier
B5 Old Stack O'Lee Blues

Bass – John Williams* (tracks: A4, B4), George "Pops" Foster* (tracks: A1, A2, A3, A5 to B3, B5)
Clarinet – Albert Nicholas (tracks: B5)
Clarinet, Soprano Saxophone – Sidney Bechet
Drums – Danny Alvin (tracks: B5), Manzie Johnson (tracks: A1 to A3, A5, B3), Sidney Catlett (tracks: A4, B4)
Drums, Vocals – Fred Moore* (tracks: B1, B2)
Guitar – Teddy Bunn (tracks: A4, B4)
Piano – Art Hodes (tracks: A1, B1 to B3, B5), Cliff Jackson (tracks: A2, A3), Don Kirkpatrick (2)(tracks: A5), Meade "Lux" Lewis (tracks: A4, B4)
Trombone – George Lugg (tracks: B1, B2), J.C. Higginbotham (tracks: A4, B4), Jimmy Archey (tracks: A5), Sandy Williams (tracks: A2, A3), Vic Dickenson (tracks: A1, B3)
Trumpet – Bunk Johnson (tracks: A2, A3), Frankie Newton* (tracks: A4, B4), Max Kaminsky (tracks: B1, B2), Sidney De Paris (tracks: A1, A5, B3)

Sidney Bechet - King Of The Soprano Saxophone

I have so many incredible sides awaiting transfer, most of which are destined for the Crypt.  Bechet is one cat we all love, and for that reason I have a small stash of great stuff to share.  We gave you guys the chronological Feet Warmers and the impossibly rare Fat Cat sides.

As you may or may not know, Bechet enjoyed a comeback in his career.  The resurgance of Dixieland jazz, combined with Europe's instatiable thirst for the music added up to Bechet being elevated to Olympian heights.  Rightly so!!  It seemed fitting that he was able to enjoy this level of success during his lifetime - he did after all, deserve it.

This album was released in 1956 as a means of getting Bechet's French issued output to his American fans.  This album breaks down into 4 sessions recorded between 1952 and 1955 for the Vogue label.  I wouldn't declare any of it particularily rare since most of Bechet's Vogue catalogue has been reissued one way or another.  I can't say how these tracks were originally released, if at all.

Six of the ten tracks were cut by Bechet's quintet featuring the great Jonah Jones on trumpet.  I would assume these were issued as 10" albums at some point, almost certainly reissued to CD.  Three tracks were cut with Andre Reweliotty and one with Claude Luter.  The album is tracked really nicely and comes out sounding quite cohesive.  Of course, Bechet is the absolute star.  His horn comes flying out of the speakers on just about every track.  Jonah Jones most certainly holds his own and is a really great counter to Bechet's sound.  It's really refreshing to hear Jones in this type of setting unlike his later Capitol dates which ended up becoming quite shmaltzy.

King Of The Soprano Saxophone was ripped from excellent condition vinyl at 24/44.1 wav, and dithered to 16/44.1 FLAC.  The fidelity is quite excellent and makes for a really enjoyable listen.  I have begun using Microsoft ICE for my scans.  Only the good Lord knows why I have waited this long - amazing program.  I hope this sets off your weekend - Crypt style!!  Enjoy!!

Good Time Jazz L-12013
1956

Sidney Bechet w/ Wild Bill Davison - Runnin Wild

This is a long OOP disc which features all of the Blue Note sessions of Bechet and Davison.  Undoubtedly some of his best output from the revival period, with excellent fidelity to boot!  Ripped in FLAC... enjoy!!!

After Blue Note switched to bop in 1947, it was the end of trad jazz on the label, with the exception of a few sessions led by Sidney Bechet and George Lewis. The masterful soprano saxophonist Bechet led no less than nine dates for Blue Note, as well as appearing as a sideman on four others, all of which were included in Mosaic's now out-of-print comprehensive Bechet box set. Three of Bechet's outings for Blue Note co-featured cornetist Wild Bill Davison, and all of that music is on this single 1998 CD. Since Bechet was generally quite dominant in ensembles, he did not usually get along well with trumpeters, and since Davison could be quite fiery, it is surprising that this matchup works so well. Bechet actually enjoyed Wild Bill's playing because the cornetist played fairly simply and left plenty of space. Davison had great respect for Bechet and is slightly more restrained than usual throughout these numbers, although he does let loose with some heated blasts here and there. This excellent Dixieland collection features one quintet and two sextet sessions with Bob Diehl or Jimmy Archey on trombone, Art Hodes or Joe Sullivan on piano, Pops Foster or Walter Page on bass and Freddie Moore or Slick Jones on drums; there are lots of hot moments on the warhorse material from the two principals. A surprise success.

  - Scott Yanow/AMG

Recorded at WOR Studios, New York, New York on January 21 & March 23, 1949 and April 19, 1950

Sidney Bechet (soprano saxophone);  Wild Bill Davidson (cornet); Bob Diehl, Jimmy Archey (trombone); Art Hodes, Joe Sullivan (piano); Walter Page, Pops Foster (bass); Fred Moore, Slick Jones (drums)           

Sidney Bechet & His New Orleans Feetwarmers - Chronological Masters

I know what you're thinking...  "great, another Bechet collection...next!!"

Frankly I don't blame you.  I mean, how many collections have been issued with Bechet's name attached?!?!  If I had to guess, I would say hundreds. 

The reality of most, is that the fidelity sucks and the tracks which have been promised as classic, are infact not fit for release.  This is why you are left feeling nothing when you spin it - no joy, no involvement and certainly no love.  It takes a serious minded company to find the choicest tracks and then remaster them for modern listening. 

What I have for you here is exactly that.  The Italian label Saar Milano issued these volumes in 1973.  They knew, as you will soon know, that the Feetwarmers represented some of the best output Bechet had ever done...period.  I am pretty sure I will never top the Rhythm Kings sides in terms of importance, but when it comes to fidelity and musical enjoyment - these sides are it!!   There was infact a Vol.3 also issued but I was unable to snag it.  The good thing is that these two albums were purchased still sealed from the original buyer!!

The New Orleans Feetwarmers was Bechet's attempt in 1932 to start up a "hot jazz" group, using the small New Orleans format.  Many people think this was poor instincts on his part, but I like to think he was ahead of his time.  The 1932 group was quickly stonewalled by public tastes which had moved to big band.  Of course, by 1940 the revivalist movement had begun and the Feetwarmers were reformed once again.

The group had many members and size variations, but this is what lends to the excellence of this collection.  Firstly, unlike the Rhythm Kings, we are treated to vocals in roughly 1/3rd of all the tracks.  Greats like Herb Jeffries and even Bechet himself add that personal statement of lyrics.  Stylistically, the band dabble in rearranged big band, ballads, standards and originals.  The pallet is ultra varied and keeps things really interesting.  Even the standards are fresh and full of life.

The Feetwarmers were instrumental in popularizing the small group format, and essentially were keepers of the flame.  It was groups like this which caught the interests of men like Alfred Lion and Orin Keepnews - men who were to be inspired enough to put their money where their mouths were - and became tastemakers for modern jazz fans everywhere. 

There's no doubt that Bechet's playing on these tracks is amongst his greatest.  Inspired, his bandmates all turn in incredible performances as well.  I'm absolutely convinced that you'll be floored by what you hear on these two LPs.  This is some of the most important jazz ever laid down, and you'll understand why after listening.  Tracks are typically short, so despite having 30 tracks overall, it's a relatively quick listen.

Ripped from minty vinyl at 24/44.1 wav and dithered to 16/44.1 FLAC... Enjoy!!!

Saar Milano

sm 3571 / 3572

1973



Sidney Bechet and his New Orleans Rhythm Kings - Jazz Nocturne

I am more than excited about this post. Frankly, it's this type of share that makes me love doin this blog thang. I will unroll as much of the story around these sessions, and the albums, as I can - hopefully without boring you to death. Lately I have been getting my albums from a local jazz radio DJ, and I had to work hard to convince him to let these babies go.

Here we go...

Sidney Bechet. Grandfather of modern sax, he practically created the concept of what we all know as jazz. The beauty of players like Bechet, is that they innovated and created with little foundation. There was no Coltrane or Rollins... his genius was that of pure creativity. For anyone who is unfamiliar with his playing, or his life - Sidney Bechet was a wild man. He was erratic, ecclectic and this poured into his music. There wasn't alot of musicians who could share a stage with him, and many others didn't want to. You see, Sidney had a bad rep for "killing at will". He was so competetive, he would sometimes cut his bandmates during a gig!

These sessions were performed in 1945. Up to that point, Bechet's career had seen a decline. Partly due to changing tastes, and partly due to his negative views of the scene. The late 30's/early 40's began the revivalist movement, which brought back the appeal of small group "hot" jazz. Bechet was viewed as a living legend (and rightly so!) to this scene, and he was perfectly positioned for a comeback. He decided he would put together the most smokin' N'awlins styled group, and use this rejuvenated celebrity status to his benefit. Quite literally, world domination was on his mind - but first, he would have to put the group together and work out the kinks.

FCJ010: Royal Garden Blues

And so, Sidney Bechet and his New Orleans Rhythm Kings was founded. The rhythm section would remain the same from start to finish; Ray Parker on keys, Pops Foster on bass and George Thompson on the skins. Bunk Johnson was brought in as the other half of the front line, on trumpet. Bechet picked the Savoy Cafe in Boston, MA for an extended engagement, essentially a warm up before storming the world.

The entire jazz world was buzzing from the news, and as a result, the local radio station WCOP secured broadcasting rights. They would feature the gigs on their nightly show - Jazz Nocturne. It was being hailed as the biggest jazz event of the decade, and they probably weren't too far off from the truth. Of course, fate had other ideas for the Rhythm Kings...

Firstly, Bunk Johnson didn't work out. He was a raging alcoholic, and was butting heads with Bechet on stage. So they called down south for Peter Bocage to replace him. During the week of waiting for his arrival, local 18 year old Johnny Windhurst managed to get the gig. Bocage finally arrived, but after only a few nights it became evident that Bocage and Bechet were stylistically not working. So with Bocage's departure, Bechet called back Windhurst, and with the young trumpeter the band was finally complete. This quintet played night after night until the engagement was finished.



FCJ011: Struttin' With Some Barbecue



So now... skip ahead to 1981. A small group of afficianados start the Fat Cat's Jazz imprint, for the sole purpose of releasing the WCOP archives. 12 volumes were pressed, in small quantity, featuring rehearsals, live performances and interviews from the Savoy engagement. The albums were tracked chronologically, with Volume 1 featuring the group with Bunk Johnson, and Volume 12 ending with Windhurst.

 Moving into the late 90's, a small label called Jazz Crusade decided to transfer the Jazz Nocturne albums to CD. Curiously, they only released everything up to Volume 5 and then stopped. While these 5 albums are historically important, the best performances in terms of music are on the latter half of the albums, once the group had solidified it's line up.

And that's where the Crypt steps in folks. Here for you are volumes 10, 11 and 12. Each LP is in mint condition. Of course, the fidelity from the source can be sketchy. The music however is wildly rewarding, and worth a listen. The liner notes are fantastic, and are of course included. Since I think this is a blogland first, I also scanned the LP labels...for completion sake I suppose. These were ripped at 24/44.1 wav and dithered to 16/44.1 FLAC. Cryptheads get ready!!! Enjoy!!

FCJ012: Blues In The Air

Fat Cat's Jazz - Jazz Nocturne

FCJ010, FCJ011 and FCJ012

Recorded off the air, by WCOP Boston, MA 1945

Released 1981

Sidney Bechet - soprano sax; Johnny Windhurst - cornet; Ray Parker - piano; Pops Foster - bass; George Thompson - drums

Bob Brenner - announcer/host
Wynne Paris - interviewer