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120741bk Bechet4 11/12/04 11:14 PM Page 8
The Naxos Historical labels aim to make available the greatest recordings of the history of recorded music, in the best and truest sound that contemporary technology can provide. To achieve this aim, Naxos has engaged a number of respected restorers who have the dedication, skill and experience to produce restorations that have set new standards in the field of historical recordings. Also available in the Naxos Jazz Legends series
8.120699* 8.120700* 8.120735*
8.120743* 8.120744* 8.120760
* Not available in the USA
NAXOS RADIO Over 50 Channels of Classical Music • Jazz, Folk/World, Nostalgia www.naxosradio.com Accessible Anywhere, Anytime • Near-CD Quality 120741bk Bechet4 11/12/04 11:13 PM Page 2
SIDNEY BECHET Personnel Vol.4 Tracks 1-2: SIDNEY BECHET AND HIS NEW Tracks 14-16: SIDNEY BECHET with HUMPHREY ‘House Party’ Original Recordings 1943-1952 ORLEANS FEETWARMERS. Sidney Bechet, LYTTLETON & HIS BAND. Sidney Bechet, soprano sax; Vic Dickenson, trombone; Don soprano sax; Humphrey Lyttelton, trumpet; Donaldson, piano; Wilson Myers, bass; Wilbur Keith Christie, trombone; Wally Fawkes, Sidney Bechet had such a direct and passionate appeared on records opposite Louis Armstrong Kirk, drums clarinet; George Webb, piano; Buddy Wallis, tone on the soprano-sax that he was both loved and backing blues singers, in addition to having Tracks 3-4: MEZZROW-BECHET SEPTET. banjo; John Wright, bass; Bernard Seward, and detested by various listeners. Both Duke an unrecorded stint with Duke Ellington’s early Sidney Bechet, soprano sax; Hot Lips Page, drums; Duke Of Iron, vocals on ‘Box Car Shorty’ Ellington and John Coltrane considered him orchestra. trumpet, also vocal on ‘Blood On The Moon’; Track 17: SIDNEY BECHET’S BLUE NOTE JAZZ among their favorite players yet, for some fans, Bechet would have been a bigger influence in Mezz Mezzrow, clarinet; Sammy Price, piano; MEN. Sidney Bechet, soprano sax; Wild Bill Bechet’s wide vibrato and insistence on playing jazz had he not spent 1925-29 back in Europe, Danny Barker, guitar; Pops Foster, bass; Sid Davison, cornet; Ray Diehl, trombone; Art lead (usually the role of trumpeters in New working in Paris, Berlin, Amsterdam, Russia and Catlett, drums Hodes, piano; Walter Page, bass; Slick Jones, Orleans jazz) made him less popular. But if one all throughout the continent. While his style of Track 5: MEZZROW-BECHET SEPTET. Sidney drums comes to Bechet’s music on his own terms, there jazz was considered out of vogue during much of Bechet, soprano sax; Hot Lips Page, trumpet, Track 18: SIDNEY BECHET WITH CLAUDE is a great deal to appreciate and enjoy. the 1930s, Bechet worked with Noble Sissle’s vocals; Mezz Mezzrow, clarinet; Sammy Price, LUTER’S ORCHESTRA. Sidney Bechet, soprano Born 14 May 1897 in New Orleans, Sidney orchestra and in 1932 led his own short-lived piano; Danny Barker, guitar; Pops Foster, bass; sax; Guy Longnon, trumpet; Claude Rabanit, Bechet was a prodigy. He took clarinet lessons New Orleans Feetwarmers with trumpeter Sid Catlett, drums; Pleasant Joe, vocals trumpet; Bernard Zacherias, trombone; Claude from Lorenzo Tio, Big Eye Louis Nelson and Tommy Ladnier. In 1939 things greatly Luter, clarinet; Christian Azzi, piano; Claude George Baquet but soon surpassed each of his improved when he recorded a hit version of Tracks 6-9: MEZZROW-BECHET QUINTET. Sidney Bechet, soprano sax; Mezz Mezzrow, Philippe, banjo; Roland Bianchini, bass; teachers and while still a child was playing with “Summertime” for the new Blue Note label. clarinet; Fritz Weston, piano; Pops Foster, bass; Moustache Galepides, drums some of the top bands in New Orleans. After The rise of the New Orleans jazz revival Kaiser Marshall, drums Track 19: SIDNEY BECHET WITH CLAUDE working throughout the South with various movement resulted in Bechet working constantly Tracks 10-12: MEZZROW-BECHET QUINTET. LUTER’S ORCHESTRA. Sidney Bechet, soprano groups, in 1917 Bechet moved to Chicago where during the 1940s, recording many classics during sax; Guy Longnon, trumpet; Claude Rabanit, he played with King Oliver and Freddie Keppard. 1939-41, guesting on some of Eddie Condon’s Sidney Bechet, soprano sax, clarinet; Mezz Mezzrow, clarinet; Wesley ‘Sox’ Wilson, piano; trumpet; Bernard Zacherias, trombone; Claude Two years later he joined Will Marion Cook’s Town Hall concerts and in 1945 trying Luter, clarinet; Raymond Fol, piano; Claude Southern Syncopated Orchestra, being featured unsuccessfully to co-lead a New Orleans-style Wellman Braud, bass; Baby Dodds, drums; Coot Grant, vocal on ‘Evil Gal Blues’ Philippe, banjo; Roland Bianchini, bass; as a star soloist with Cook in New York and in band with veteran trumpeter Bunk Johnson who Moustache Galepides, drums Europe. Bechet bought his first soprano-sax in unfortunately had become an unreliable Track 13: SIDNEY BECHET with BOB WILBER & London and created a sensation overseas. alcoholic. HIS JAZZ BAND. Sidney Bechet, soprano sax, Back in New York in 1923, Bechet made his This collection begins in 1943 with a couple clarinet; Henry Goodwin, trumpet; Jimmy recording debut and became the first significant of extended ‘V-Disc’ performances. These special Archey, trombone; Bob Wilber, clarinet; Dick jazz horn soloist on records, playing brilliantly on recordings, which were made for American Wellstood, piano; Pops Foster, bass; Tommy “Wild Cat Blues” and “Kansas City Man Blues” servicemen stationed in Europe, feature Bechet in Benford, drums with Clarence Williams’ Blue Five. He also exuberant form, matching wits with trombonist
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13. The Broken Windmill 3:08 16. When It’s Sleepy Time Down South 2:52 Vic Dickenson (who was a perfect frontline bowed bass of veteran Pops Foster, who was a (Sidney Bechet) (Leon René–Otis René–Clarence Muse) partner) and a rhythm section that includes the contemporary of Bechet from New Orleans. As Sidney Bechet with Bob Wilber & His Jazz Sidney Bechet with Humphrey Lyttelton & underrated bassist Wilson Myers. Bugle Call with many of the Mezzrow sessions, the melody Band His Band Rag with its exciting breaks and Ole Miss have is ambiguous and was largely made up on the Circle J-1061, mx NY-97-F Melodisc 1104, mx O-420 often been played as a medley and this rendition spot while the band dug into playing the blues. Recorded 8 June 1949, New York Recorded 13 November 1949, London is particularly rousing. After You’ve Gone starts Deluxe Stomp is a logical follow-up for it sounds 14. Black And Blue 2:24 17. At The Jazz Band Ball 3:03 out as a ballad and then, after a drum break, it like the same song as Bowin’ The Blues except at (Fats Waller–Andy Razaf–Harry Brooks) (Larry Shields–Nick LaRocca) really cooks. a peppier and happier tempo. Sidney Bechet with Humphrey Lyttelton & Sidney Bechet’s Blue Note Jazz Men Mezz Mezzrow was a well meaning if limited The team of singer Leola ‘Coot’ Grant and His Band Blue Note 561, mx BN 357-2 clarinettist who loved playing ensemble-oriented pianist-singer Wesley ‘Sox’ Wilson were well Melodisc 1103, mx O-418 Recorded 23 March 1949, New York jazz and was at his best on blues. A hustler who known in black vaudeville in the 1920s. They always fought for the music he loved even if his were making a brief comeback in the mid-1940s Recorded 13 November 1949, London 18. Petite fleur 3:11 own playing was far from virtuosic, during 1945- when Mezz Mezzrow enlisted them for the 15. Box Car Shorty (A Dixieland Calypso) (Sidney Bechet) 47 Mezzrow founded and ran his own King Jazz 18 September 1946 session. Coot Grant is 3:07 Sidney Bechet with Claude Luter’s Orchestra label. The great majority of the selections he featured singing Evil Gal Blues (no relation to (Sidney Bechet) Vogue/Regency R775, mx R775A recorded matched his clarinet with Bechet’s the Dinah Washington hit), urged on by the Sidney Bechet with Bob Wilber & His Jazz Recorded early 1952, Paris soprano and a sampling is included on this playing of Bechet and Mezzrow. Really The Band; Duke of Iron, vocal 19. Les oignons 4:03 collection. Blues was originally recorded by Bechet and Circle J-1061, mx NY-96-E (Sidney Bechet) Trumpeter Hot Lips Page is a strong asset on Mezzrow with Tommy Ladnier in 1938. This Recorded 8 June 1949, New York Sidney Bechet with Claude Luter’s Orchestra the slow blues House Party and he takes an remake is a two-part extended blues that Vogue/Regency R775, mx R775B expressive vocal on Blood On The Moon. Page expands upon the mood of the original version. Recorded 12 March 1952, Salle Pleyel, Paris plays with great feeling and was wise enough to Breathless Blues features Bechet making a rare leave plenty of space for the musical commentary appearance on the clarinet, blending in very well of Bechet and Mezzrow. Pleasant Joe takes a with Mezzrow for a medium-tempo ensemble Transfers & Production: David Lennick • Digital Noise Reduction: Graham Newton guest vocal on Saw Mill Blues, adding a country piece that is full of joy. Original monochrome photo of Sidney Bechet from JazzSign/Lebrecht blues feeling to the music while the three horns With the rise of bebop in the late 1940s and all comment freely. the decline of swing, Bechet found it a bit more Without Page and Joseph on the 30 August difficult to get good jobs. He had dreams of 1945 session, Bechet and Mezzrow romp freely opening up a music school so he hung up a sign on Old School which is based on “Tishomingo that proclaimed that he was teaching music. Blues”. They interact closely on Out Of The Bechet ended up only getting one steady pupil, Gallion, a slow blues on which Mezzrow does his but it was a future great, Bob Wilbur, who best to follow Bechet both in mood and style. became his protégé. Wilbur was initially strongly Bowin’ The Blues received its name due to the influenced by Bechet until he developed his own
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approach to traditional jazz. Bechet was so At The Jazz Band Ball was recorded a few 1. V-Disc Blues: Bugle Call Rag 7. Out Of The Gallion 2:33 impressed by Wilbur’s potential that he recorded months before Bechet’s great success in Paris. It (Jack Pettis–Billy Meyers–Elmer Schoebel); (Mezz Mezzrow–Sidney Bechet) with him on a couple of occasions. The Broken teams him with the usually competitive cornetist Ole Miss 4:50 Mezzrow-Bechet Quintet Windmill, a delightful Bechet original, has Wild Bill Davison. Davison had great respect for (W. C. Handy) King Jazz 142, mx KJ 32-3 Wilbur and the young but already brilliant stride Bechet and his simple but colorful lead proved to Sidney Bechet’s New Orleans Feetwarmers Recorded 30 August 1945, New York pianist Dick Wellstood teaming up with a group be surprisingly compatible with the intense V-Disc 214, mx D4-TC-84, VP 537 8. Bowin’ The Blues 2:47 of veterans. A change of pace is offered on Box soprano-saxophonist, leading to some musical Recorded 8 December 1943, New York (Mezz Mezzrow–Sidney Bechet) Car Shorty, which features the group being fireworks that are always quite musical. 2. After You’ve Gone 4:50 Mezzrow-Bechet Quintet joined by the calypso singer The Duke Of Iron. Bechet visited the United States on a few (Henry Creamer–Turner Layton) King Jazz 141, mx KJ 26-2 1949 was the turning point in the career of occasions during 1950-53 but after 1949 his Sidney Bechet’s New Orleans Feetwarmers Recorded 29 August 1945, New York Sidney Bechet. He was invited to the Salle Pleyel home was France. For the next ten years he V-Disc 270, mx D4-TC-83, VP 536 9. De Luxe Stomp 2:31 Jazz Festival in Paris that summer and his played before large and boisterous crowds. Two Recorded 8 December 1943, New York (Mezz Mezzrow–Sidney Bechet) performances, the hit of the festival, were greeted of his most popular showcases were Petite fleur 3. House Party 2:43 Mezzrow-Bechet Quintet by such enthusiastic audiences that he decided to and Les oignons, which are heard here in spirited (Mezz Mezzrow–Sidney Bechet) King Jazz 140, mx KJ 31-1 move permanently to France. Within a couple of versions with clarinettist Claude Luter’s Mezzrow-Bechet Septet Recorded 30 August 1945, New York years he was a national celebrity, becoming much orchestra. King Jazz 143, mx KJ 12-1 more famous in France than he ever was in the Sidney Bechet enjoyed fame and prosperity in 10. Evil Gal Blues 2:56 Recorded 30 July 1945, New York United States. France during his last years, passing away on (Coot Grant–Wesley “Sox” Wilson) Black And Blue and When It’s Sleepy Time 14 May 1959. Although it is a pity that he did 4. Blood On The Moon 2:27 Mezzrow-Bechet Quintet; Coot Grant, vocal Down South feature Bechet in London with not become a household name in the United (Oran Page) King Jazz 147, mx KJ 36-1 trumpeter Humphrey Lyttelton’s band. While States, he is today recognized as one of the true Mezzrow-Bechet Septet; Hot Lips Page, vocal Recorded 18 September 1946, New York Lyttelton, pianist George Webb and, to a lesser giants of jazz. King Jazz 143, mx KJ 16-1 11. Really The Blues 6:04 extent, trombonist Keith Christie and clarinettist Recorded 30 July 1945, New York (Mezz Mezzrow) Wally Fawkes would be major forces in the Scott Yanow – author of eight jazz books including 5. Saw Mill Blues 3:04 Mezzrow-Bechet Quintet British traditional jazz movement of the 1950s, Jazz On Film, Swing, Bebop, Trumpet Kings and Jazz (Wesley “Sox” Wilson–Sammy Price) King Jazz 146, mx KJ 34-1, 35-1 in this setting they were happy to play a On Record 1917-76 Mezzrow-Bechet Septet; Pleasant Joe, vocal Recorded 18 September 1946, New York secondary role behind the great Bechet. King Jazz 144, mx KJ 20-1 12. Breathless Blues 2:59 Recorded 30 July 1945, New York (Sidney Bechet–Mezz Mezzrow) 6. Old School 2:41 Mezzrow-Bechet Quintet (Mezz Mezzrow–Sidney Bechet) King Jazz 147, mx KJ 33-1 Mezzrow-Bechet Quintet Recorded 18 September 1946, New York King Jazz 141, mx KJ 29-3 Recorded 30 August 1945, New York
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approach to traditional jazz. Bechet was so At The Jazz Band Ball was recorded a few 1. V-Disc Blues: Bugle Call Rag 7. Out Of The Gallion 2:33 impressed by Wilbur’s potential that he recorded months before Bechet’s great success in Paris. It (Jack Pettis–Billy Meyers–Elmer Schoebel); (Mezz Mezzrow–Sidney Bechet) with him on a couple of occasions. The Broken teams him with the usually competitive cornetist Ole Miss 4:50 Mezzrow-Bechet Quintet Windmill, a delightful Bechet original, has Wild Bill Davison. Davison had great respect for (W. C. Handy) King Jazz 142, mx KJ 32-3 Wilbur and the young but already brilliant stride Bechet and his simple but colorful lead proved to Sidney Bechet’s New Orleans Feetwarmers Recorded 30 August 1945, New York pianist Dick Wellstood teaming up with a group be surprisingly compatible with the intense V-Disc 214, mx D4-TC-84, VP 537 8. Bowin’ The Blues 2:47 of veterans. A change of pace is offered on Box soprano-saxophonist, leading to some musical Recorded 8 December 1943, New York (Mezz Mezzrow–Sidney Bechet) Car Shorty, which features the group being fireworks that are always quite musical. 2. After You’ve Gone 4:50 Mezzrow-Bechet Quintet joined by the calypso singer The Duke Of Iron. Bechet visited the United States on a few (Henry Creamer–Turner Layton) King Jazz 141, mx KJ 26-2 1949 was the turning point in the career of occasions during 1950-53 but after 1949 his Sidney Bechet’s New Orleans Feetwarmers Recorded 29 August 1945, New York Sidney Bechet. He was invited to the Salle Pleyel home was France. For the next ten years he V-Disc 270, mx D4-TC-83, VP 536 9. De Luxe Stomp 2:31 Jazz Festival in Paris that summer and his played before large and boisterous crowds. Two Recorded 8 December 1943, New York (Mezz Mezzrow–Sidney Bechet) performances, the hit of the festival, were greeted of his most popular showcases were Petite fleur 3. House Party 2:43 Mezzrow-Bechet Quintet by such enthusiastic audiences that he decided to and Les oignons, which are heard here in spirited (Mezz Mezzrow–Sidney Bechet) King Jazz 140, mx KJ 31-1 move permanently to France. Within a couple of versions with clarinettist Claude Luter’s Mezzrow-Bechet Septet Recorded 30 August 1945, New York years he was a national celebrity, becoming much orchestra. King Jazz 143, mx KJ 12-1 more famous in France than he ever was in the Sidney Bechet enjoyed fame and prosperity in 10. Evil Gal Blues 2:56 Recorded 30 July 1945, New York United States. France during his last years, passing away on (Coot Grant–Wesley “Sox” Wilson) Black And Blue and When It’s Sleepy Time 14 May 1959. Although it is a pity that he did 4. Blood On The Moon 2:27 Mezzrow-Bechet Quintet; Coot Grant, vocal Down South feature Bechet in London with not become a household name in the United (Oran Page) King Jazz 147, mx KJ 36-1 trumpeter Humphrey Lyttelton’s band. While States, he is today recognized as one of the true Mezzrow-Bechet Septet; Hot Lips Page, vocal Recorded 18 September 1946, New York Lyttelton, pianist George Webb and, to a lesser giants of jazz. King Jazz 143, mx KJ 16-1 11. Really The Blues 6:04 extent, trombonist Keith Christie and clarinettist Recorded 30 July 1945, New York (Mezz Mezzrow) Wally Fawkes would be major forces in the Scott Yanow – author of eight jazz books including 5. Saw Mill Blues 3:04 Mezzrow-Bechet Quintet British traditional jazz movement of the 1950s, Jazz On Film, Swing, Bebop, Trumpet Kings and Jazz (Wesley “Sox” Wilson–Sammy Price) King Jazz 146, mx KJ 34-1, 35-1 in this setting they were happy to play a On Record 1917-76 Mezzrow-Bechet Septet; Pleasant Joe, vocal Recorded 18 September 1946, New York secondary role behind the great Bechet. King Jazz 144, mx KJ 20-1 12. Breathless Blues 2:59 Recorded 30 July 1945, New York (Sidney Bechet–Mezz Mezzrow) 6. Old School 2:41 Mezzrow-Bechet Quintet (Mezz Mezzrow–Sidney Bechet) King Jazz 147, mx KJ 33-1 Mezzrow-Bechet Quintet Recorded 18 September 1946, New York King Jazz 141, mx KJ 29-3 Recorded 30 August 1945, New York
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13. The Broken Windmill 3:08 16. When It’s Sleepy Time Down South 2:52 Vic Dickenson (who was a perfect frontline bowed bass of veteran Pops Foster, who was a (Sidney Bechet) (Leon René–Otis René–Clarence Muse) partner) and a rhythm section that includes the contemporary of Bechet from New Orleans. As Sidney Bechet with Bob Wilber & His Jazz Sidney Bechet with Humphrey Lyttelton & underrated bassist Wilson Myers. Bugle Call with many of the Mezzrow sessions, the melody Band His Band Rag with its exciting breaks and Ole Miss have is ambiguous and was largely made up on the Circle J-1061, mx NY-97-F Melodisc 1104, mx O-420 often been played as a medley and this rendition spot while the band dug into playing the blues. Recorded 8 June 1949, New York Recorded 13 November 1949, London is particularly rousing. After You’ve Gone starts Deluxe Stomp is a logical follow-up for it sounds 14. Black And Blue 2:24 17. At The Jazz Band Ball 3:03 out as a ballad and then, after a drum break, it like the same song as Bowin’ The Blues except at (Fats Waller–Andy Razaf–Harry Brooks) (Larry Shields–Nick LaRocca) really cooks. a peppier and happier tempo. Sidney Bechet with Humphrey Lyttelton & Sidney Bechet’s Blue Note Jazz Men Mezz Mezzrow was a well meaning if limited The team of singer Leola ‘Coot’ Grant and His Band Blue Note 561, mx BN 357-2 clarinettist who loved playing ensemble-oriented pianist-singer Wesley ‘Sox’ Wilson were well Melodisc 1103, mx O-418 Recorded 23 March 1949, New York jazz and was at his best on blues. A hustler who known in black vaudeville in the 1920s. They always fought for the music he loved even if his were making a brief comeback in the mid-1940s Recorded 13 November 1949, London 18. Petite fleur 3:11 own playing was far from virtuosic, during 1945- when Mezz Mezzrow enlisted them for the 15. Box Car Shorty (A Dixieland Calypso) (Sidney Bechet) 47 Mezzrow founded and ran his own King Jazz 18 September 1946 session. Coot Grant is 3:07 Sidney Bechet with Claude Luter’s Orchestra label. The great majority of the selections he featured singing Evil Gal Blues (no relation to (Sidney Bechet) Vogue/Regency R775, mx R775A recorded matched his clarinet with Bechet’s the Dinah Washington hit), urged on by the Sidney Bechet with Bob Wilber & His Jazz Recorded early 1952, Paris soprano and a sampling is included on this playing of Bechet and Mezzrow. Really The Band; Duke of Iron, vocal 19. Les oignons 4:03 collection. Blues was originally recorded by Bechet and Circle J-1061, mx NY-96-E (Sidney Bechet) Trumpeter Hot Lips Page is a strong asset on Mezzrow with Tommy Ladnier in 1938. This Recorded 8 June 1949, New York Sidney Bechet with Claude Luter’s Orchestra the slow blues House Party and he takes an remake is a two-part extended blues that Vogue/Regency R775, mx R775B expressive vocal on Blood On The Moon. Page expands upon the mood of the original version. Recorded 12 March 1952, Salle Pleyel, Paris plays with great feeling and was wise enough to Breathless Blues features Bechet making a rare leave plenty of space for the musical commentary appearance on the clarinet, blending in very well of Bechet and Mezzrow. Pleasant Joe takes a with Mezzrow for a medium-tempo ensemble Transfers & Production: David Lennick • Digital Noise Reduction: Graham Newton guest vocal on Saw Mill Blues, adding a country piece that is full of joy. Original monochrome photo of Sidney Bechet from JazzSign/Lebrecht blues feeling to the music while the three horns With the rise of bebop in the late 1940s and all comment freely. the decline of swing, Bechet found it a bit more Without Page and Joseph on the 30 August difficult to get good jobs. He had dreams of 1945 session, Bechet and Mezzrow romp freely opening up a music school so he hung up a sign on Old School which is based on “Tishomingo that proclaimed that he was teaching music. Blues”. They interact closely on Out Of The Bechet ended up only getting one steady pupil, Gallion, a slow blues on which Mezzrow does his but it was a future great, Bob Wilbur, who best to follow Bechet both in mood and style. became his protégé. Wilbur was initially strongly Bowin’ The Blues received its name due to the influenced by Bechet until he developed his own
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SIDNEY BECHET Personnel Vol.4 Tracks 1-2: SIDNEY BECHET AND HIS NEW Tracks 14-16: SIDNEY BECHET with HUMPHREY ‘House Party’ Original Recordings 1943-1952 ORLEANS FEETWARMERS. Sidney Bechet, LYTTLETON & HIS BAND. Sidney Bechet, soprano sax; Vic Dickenson, trombone; Don soprano sax; Humphrey Lyttelton, trumpet; Donaldson, piano; Wilson Myers, bass; Wilbur Keith Christie, trombone; Wally Fawkes, Sidney Bechet had such a direct and passionate appeared on records opposite Louis Armstrong Kirk, drums clarinet; George Webb, piano; Buddy Wallis, tone on the soprano-sax that he was both loved and backing blues singers, in addition to having Tracks 3-4: MEZZROW-BECHET SEPTET. banjo; John Wright, bass; Bernard Seward, and detested by various listeners. Both Duke an unrecorded stint with Duke Ellington’s early Sidney Bechet, soprano sax; Hot Lips Page, drums; Duke Of Iron, vocals on ‘Box Car Shorty’ Ellington and John Coltrane considered him orchestra. trumpet, also vocal on ‘Blood On The Moon’; Track 17: SIDNEY BECHET’S BLUE NOTE JAZZ among their favorite players yet, for some fans, Bechet would have been a bigger influence in Mezz Mezzrow, clarinet; Sammy Price, piano; MEN. Sidney Bechet, soprano sax; Wild Bill Bechet’s wide vibrato and insistence on playing jazz had he not spent 1925-29 back in Europe, Danny Barker, guitar; Pops Foster, bass; Sid Davison, cornet; Ray Diehl, trombone; Art lead (usually the role of trumpeters in New working in Paris, Berlin, Amsterdam, Russia and Catlett, drums Hodes, piano; Walter Page, bass; Slick Jones, Orleans jazz) made him less popular. But if one all throughout the continent. While his style of Track 5: MEZZROW-BECHET SEPTET. Sidney drums comes to Bechet’s music on his own terms, there jazz was considered out of vogue during much of Bechet, soprano sax; Hot Lips Page, trumpet, Track 18: SIDNEY BECHET WITH CLAUDE is a great deal to appreciate and enjoy. the 1930s, Bechet worked with Noble Sissle’s vocals; Mezz Mezzrow, clarinet; Sammy Price, LUTER’S ORCHESTRA. Sidney Bechet, soprano Born 14 May 1897 in New Orleans, Sidney orchestra and in 1932 led his own short-lived piano; Danny Barker, guitar; Pops Foster, bass; sax; Guy Longnon, trumpet; Claude Rabanit, Bechet was a prodigy. He took clarinet lessons New Orleans Feetwarmers with trumpeter Sid Catlett, drums; Pleasant Joe, vocals trumpet; Bernard Zacherias, trombone; Claude from Lorenzo Tio, Big Eye Louis Nelson and Tommy Ladnier. In 1939 things greatly Luter, clarinet; Christian Azzi, piano; Claude George Baquet but soon surpassed each of his improved when he recorded a hit version of Tracks 6-9: MEZZROW-BECHET QUINTET. Sidney Bechet, soprano sax; Mezz Mezzrow, Philippe, banjo; Roland Bianchini, bass; teachers and while still a child was playing with “Summertime” for the new Blue Note label. clarinet; Fritz Weston, piano; Pops Foster, bass; Moustache Galepides, drums some of the top bands in New Orleans. After The rise of the New Orleans jazz revival Kaiser Marshall, drums Track 19: SIDNEY BECHET WITH CLAUDE working throughout the South with various movement resulted in Bechet working constantly Tracks 10-12: MEZZROW-BECHET QUINTET. LUTER’S ORCHESTRA. Sidney Bechet, soprano groups, in 1917 Bechet moved to Chicago where during the 1940s, recording many classics during sax; Guy Longnon, trumpet; Claude Rabanit, he played with King Oliver and Freddie Keppard. 1939-41, guesting on some of Eddie Condon’s Sidney Bechet, soprano sax, clarinet; Mezz Mezzrow, clarinet; Wesley ‘Sox’ Wilson, piano; trumpet; Bernard Zacherias, trombone; Claude Two years later he joined Will Marion Cook’s Town Hall concerts and in 1945 trying Luter, clarinet; Raymond Fol, piano; Claude Southern Syncopated Orchestra, being featured unsuccessfully to co-lead a New Orleans-style Wellman Braud, bass; Baby Dodds, drums; Coot Grant, vocal on ‘Evil Gal Blues’ Philippe, banjo; Roland Bianchini, bass; as a star soloist with Cook in New York and in band with veteran trumpeter Bunk Johnson who Moustache Galepides, drums Europe. Bechet bought his first soprano-sax in unfortunately had become an unreliable Track 13: SIDNEY BECHET with BOB WILBER & London and created a sensation overseas. alcoholic. HIS JAZZ BAND. Sidney Bechet, soprano sax, Back in New York in 1923, Bechet made his This collection begins in 1943 with a couple clarinet; Henry Goodwin, trumpet; Jimmy recording debut and became the first significant of extended ‘V-Disc’ performances. These special Archey, trombone; Bob Wilber, clarinet; Dick jazz horn soloist on records, playing brilliantly on recordings, which were made for American Wellstood, piano; Pops Foster, bass; Tommy “Wild Cat Blues” and “Kansas City Man Blues” servicemen stationed in Europe, feature Bechet in Benford, drums with Clarence Williams’ Blue Five. He also exuberant form, matching wits with trombonist
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The Naxos Historical labels aim to make available the greatest recordings of the history of recorded music, in the best and truest sound that contemporary technology can provide. To achieve this aim, Naxos has engaged a number of respected restorers who have the dedication, skill and experience to produce restorations that have set new standards in the field of historical recordings. Also available in the Naxos Jazz Legends series
8.120699* 8.120700* 8.120735*
8.120743* 8.120744* 8.120760
* Not available in the USA
NAXOS RADIO Over 50 Channels of Classical Music • Jazz, Folk/World, Nostalgia www.naxosradio.com Accessible Anywhere, Anytime • Near-CD Quality SIDNEY BECHET House Party 8.120741 “HOUSE PARTY” BECHET SIDNEY www. NOTES ANDFULLRECORDING DETAILS INCLUDED Newton byGraham Restoration Digital Transfers andProductionbyDavid Lennick h 9 Lesoignons 19. Petite fleur 18. AtTheJazzBandBall 17. DownSouth When It’s SleepyTime 16. Box Car Shorty 15. BlackAndBlue 14. TheBroken Windmill 13. BreathlessBlues 12. EvilGalBlues 10. 1 ReallyTheBlues 11. .DeLuxeStomp 9. Bowin’The Blues 8. OutOfTheGallion 7. OldSchool 6. Saw MillBlues 5. BloodOnTheMoon 4. HouseParty 3. You’ve After Gone 2. .VDs le:BgeCl a OleMiss / V-Disc Blues:BugleCallRag 1. & g 05NxsRgt nentoa t Design:RonHoares 2005 NaxosRightsInternationalLtd naxos.com 3:11 2:41 4:03 2:43 2:56 3:04 2:24 3:07 2:31 2:59 6:04 2:47 4:50 2:33 2:27 3:08 3:03 Original 1943-1952Original Recordings Made inCanada 2:52 4:50 Vol.4 62:12 ADD Total Time
8.120741
SIDNEY BECHET House Party House BECHET SIDNEY 8.120741