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Sidney Bechet (1897-1959) is a legendary jazz figure whose range of instruments included soprano, tenor and bass saxophones, piano, bass, drums and, most famously, the clarinet. A true jazz star, Bechet's graceful playing and structural skill made him into the first significant jazz soloist, even before his fellow New Orleans native, Louis Armstrong.
This collection is a mix of sides from sessions made for King Jazz in New York (1945) and Chicago (1947) with varying blues-oriented bands. Short-lived as the King Jazz label proved to be, this music gives us some flavor of Bechet's magic on both the clarinet and the soprano sax. His co-leader Milt "Mezz Mezzrow was also a clarinetist and composer and while simpatico in spirit, in truth he was not remotely in the same league as Bechet as a musician.
Among the tunes are the two separate and distinct parts of Mezzrow's "Revolutionary Blues. Part 1 begins with a slow and insinuating wah-wah sound while Part 2 is a breezier fun piece made to set toes a-tappin'. Trumpeter Hot Lips Page and Mezzrow are each prominent, but it's the high, burning, full-bodied sweetness of Bechet's saxophone that grabs listeners. Along with other gems like "Minor Swoon, "Bowin' the Blues and an especially down and dirty blues, "Funky Butt, played by guys who know how, we're talkin' post-WWII classic Dixieland sugar.
Track Listing: House Party; Revolutionary Blues Part 1; Revolutionary Blues Part 2; Minor Swoon; Bowin' The Blues; Jelly Roll; Perdido Street Stomp; Out Of the Gallion; Gone Away Blues; Groovin' the Minor; Really the Blues 1; Really the Blues 2; Whoop Miss Wolf Away From the Door; Tommy's Blues; Chicago Function 1; Chicago Function 2; Where Am I?; I'm Speaking My Mind; I Want Some; Kaiser's Last Break; Funky Butt; Blues Of the Roaring Twenties.
Personnel: Sidney Bechet: soprano saxophone and clarinet.
I grew up listening to mainstream '70s rock then ended up on the staff at the college paper at San Diego State, and volunteered to review heavy metal LPs. My second semester, the music editor dropped a Fenton Robinson LP on my desk, Night Flight. You like metal; they play guitar--he plays guitar, the editor told me
I grew up listening to mainstream '70s rock then ended up on the staff at the college paper at San Diego State, and volunteered to review heavy metal LPs. My second semester, the music editor dropped a Fenton Robinson LP on my desk, Night Flight. You like metal; they play guitar--he plays guitar, the editor told me. If we don't run a review, Alligator Records is going to stop servicing us.
Night Flight opened up a whole new world for me--the blues led me, inevitably, to Basie, who led to Duke, who led to Mingus, who led to Miles, who led to ...