Sidney Bechet was one of the great pioneers of jazz, a New Orleans clarinetist of unmatched improvisational creativity who developed a highly personal voice on the difficult soprano saxophone. He could soar above an ensemble or develop lead lines with a power that rivaled trumpeters. Although he was the first great jazz soloist to record–on 1923's "Wild Cat Blues" with Clarence Williams's Blue Five–until the late 1930s, Bechet's recordings cast him invariably as a sideman. He wouldn't achieve the kind of fame that was his due until he settled in France in the 1950s. This is an excellent introduction to his work, ranging from that first extant recording to 1947. Along the way, there are early meetings with Louis Armstrong and recordings like "Shag," a spirited performance in the New Orleans ensemble style with trumpeter Tommy Ladnier and the New Orleans Foot Warmers. Some of Bechet's best work of the '30s appeared under the name of singer Noble Sissle, even when Sissle wasn't present, as on "Viper Mad," but it's Bechet's distinctive work that gives these period pieces their enduring significance. While he spent much of his career cast in the New Orleans style, Bechet was an innovator, using electric guitar in the band for his own 1938 classics "Chant in the Night" and "Jungle Blues." He finally had something like a hit when he recorded Gershwin's "Summertime" in 1939, the rich wail of his soprano both plaintive and commanding. The same distinctive way with a popular song is evident on "Love for Sale" with just a rhythm section, while there are other 1940s recordings with a host of distinguished collaborators, such as trumpeter Muggsy Spanier and trombonist Vic Dickenson. –Stuart Broomer
Sidney Bechet, the first great jazz horn soloist to be featured on records, was a remarkable soprano saxophonist and clarinetist. He dominated ensembles, often taking over the role of a trumpet or cornet, and was such a dazzling soloist that he ended up being the favorite musician of both Duke Ellington and John Coltrane. On this three-CD set, Mosaic Select has included some of the highlights of Bechet's recording career, although not delving into his later Paris years or his much-reissued association with the Victor label.
This two-CD set is an unusually successful sampler. Although there are a few hits among the 40 selections, many obscurities are also included, and not all of the big bands represented are major names, such as Tiny Bradshaw, Noble Sissle, Spud Murphy, Teddy Powell and Jan Savitt. The emphasis is very much on jazz, and this worthy reissue is overflowing with forgotten classics. The music is programmed in chronological order, so one can experience the evolution of big bands from Duke Ellington, Fletcher Henderson and Luis Russell to postwar recordings from Artie Shaw, Tommy Dorsey and Benny Goodman.
Singer/actress Lena Horne's primary occupation was nightclub entertaining, a profession she pursued successfully around the world for more than 60 years, from the 1930s to the 1990s. In conjunction with her club work, she also maintained a recording career that stretched from 1936 to 2000 and brought her three Grammys, including a Lifetime Achievement Award in 1989; she appeared in 16 feature films and several shorts between 1938 and 1978; she performed occasionally on Broadway, including in her own Tony-winning one-woman show, Lena Horne: The Lady and Her Music, in 1981-1982; and she sang and acted on radio and television.
The first in a series of Classics CDs focusing on the recordings of Sidney Bechet, this disc features the clarinetist/soprano-saxophonist on two early titles with blues singer Rosetta Crawford, his torrid 1932 session with The New Orleans Feetwarmers (which also features trumpeter Tommy Ladnier and is highlighted by "Shag" and "Maple Leaf Rag") and sides from Noble Sissle's somewhat commercial orchestra. Fortunately Sissle was wise enough to give Bechet plenty of solo space on some of his selections, most notably "Polka Dot Rag." Even with a few indifferent vocals, this CD is recommended to those not already owning this music.