Sidney Bechet mp3

musicology #288

twolegendsclash #11

(Sidney Bechet & His New Orleans Feetwarmers – Preachin’ Blues)

“What  a weeping and a waling, when the two legends clash….”

Final cut from Sidney Bechet and what a treat…Recorded in New York during January or Febuary 1940. A precursor to the Rhythm & Blues that was to follow and in turn be reclassified as Rock & Roll. All the hallmarks are there, small line-up, Electric Guitar, Boogie Woogie Piano, honking Sax…

Before signing Bechet off, according to a piece of information on Wikipedia;

“In the 1940s, (Louis), Jordan released dozens of hit songs, including the swinging ‘Saturday Night Fish Fry’ (one of the earliest and most powerful contenders for the title of First rock and roll record),”

I’m a BIG fan of Louis Jordan and his music certainly deserves all the accolades and he was certainly at the forefront in the development of Rhythm & Blues but  the above mentioned cut was released in 1949. Whereas this one from Bechet is almost a decade earlier !!…which, as far as I can hear is as close to ‘Rock & Roll’ as it gets, Especially Brother Bechet’s playing.

As it’s the end of the Bechet road it just leaves me to thank the inspirational Cat for leaving us a recorded legacy of the HIGHEST quality…I’m sure he’s up there standing at the gate cutting the angel Gabriel to ribbons.

Blow Bechet…Blow.

musicology #286

twolegendsclash #9

(Sidney Bechet & His New Orleans Feetwarmers – What Is This Thing Called Love)

Today’s 1941 cut, (recorded in New York), is dedicated to themusicologist junior#2 who is now eleven years of age. Happy birthday kid..I love you more than words can say and thank my lucky stars every day that you, (and your sister), are part of my life. Bechet, (and Shavers). come in and blow one for the yoots them..

musicology #284

twolegendsclash #7

(The Haitian Orchestra – Meringue D’Amour)

Day seven of the twolegends…two more uptempo cuts and then it’s downtempo until Saturday. Today’s cut features Sidney Bechet blowing Soprano, (the instrument he single handedly introduced to modern music), as well as piano legend Willie ‘ The Lion ‘ Smith keeping time, Olin Alderhold plucking bass, Leo Warney on the drums and Kenneth Roane on the trumpet. Recorded in New York on November 22nd 1939. Maybe not as technical or improvisational as many of the other Bechet recordings but, for me, one of the most infectious…I can’t get enough of this one. BIG tune down themusicologist way.

musicology #282

twolegendsclash #5

(Bechet-Spannier Big4 – Sweet Sue Just You)

Yet another top ranking slice featuring original Hell raiser Sidney Bechet this time in tandem with cornet player Muggsy Spanier, (who always sounds to me like he should have run with Al Capone !!), bassman Wellman Braud and guitarist Carmen Mastren. Recorded in New York in April 1940.

musicology #280

twolegendsclash #3

(Sidney Bechet -Jungle Drums)

Majestic 1938? cut from Brother Bechet whose life experience was about as ‘rich’ as it gets.  A true restless spirit who never stayed in one place too long. Left New Orleans in 1915 to tour with Clarence Williams, then headed for Chicago in 1917 with Joe ‘King’ Oliver and Freddie Keppard. First left America for London in 1919 where he became the first modernist to master the Soprano Sax which he plays on this cut that also features drum legend Zutty Singleton, Ernie Cacares on Baritone, Dave Bowman tinkling the Ivories, Leonard Ware on ELECTRIC guitar and Henry Turner on Bass…

“Bechet to me was the very epitome of jazz… everything he played in his whole life was completely original. I honestly think he was the most unique man to ever be in this music” – Duke Ellington

’nuff said.

musicology #278

twolegendsclash #1

(Noble Sissle Orchestra (feat Sidney Bechet) – Dear Old Southland)

As promised a new theme starts today, a ‘Soundclash’ between two of the greatest soloists, innovators, and players of instrument ever recorded. I say recorded because there were others who didn’t record, (Buddy Bolden for instance), or who like Louis Armstrong’s mentor Joe ‘King’ Oliver had health problems that affected the quality of their recorded legacy. Others like Frank Dusen refused to record on the basis that others would be able to hear and imitate their ‘licks’ claiming them as their own. Imitation and competition was fierce as ragtime evolved into ‘Jazz’ and many of the original cats were left behind as the age of recording began to take shape. Not only that but, (as hard as it is for us to imagine today), recording was nothing, (financially), compared to live performance and maybe those players thought that this new fangled technology would never account to much. Youngbloods like Armstrong and Bechet on the other hand were in the right place at the right time and were ‘modernists’ to the core.

First up is Clarinet and Saxophone virtuoso Sidney Bechet, who along with Armstrong took improvisation to a new level. That’s not to say that there weren’t others who were as innovative and talented, Johnny Dodds or ‘Big Eye’ Louis Nelson for example, (who Bechet had lessons with).

Born in 1897 Bechet grew up in New Orlean’s Seventh Ward graduating as a fourteen year old from his brother Leonard’s Silver Leaf band into Bunk Johnson/ Frankie Dusen’s famed rough house ‘Eagle band’ which had previously featured the Legendary Buddy Bolden and later Joe ‘King’ Oliver. This is where the young Bechet’s talent really began to shine and take shape. Obviously no recordings exist from them days so I can’t lay one on you so this 1937 cut featuring brother Bechet on Soprano Sax, (recorded with the Noble Sissle Orchestra in New York), will have to do.