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Although not an expert on Bechet's remarkable carreer, I have heard quite a few of his recordings over the years and I think these are among the best; avoiding his French phase in favor of his American roots.And he really diggs into the tunes; his company is mostly fine or more than fine, varying widely (it includes Louis Armstrong, Clarence Williams, Tommy Ladnier, Ernie Caceres, Muggsy Spanier, Zutty Singleton, Henry "Red" Allen, Sidney De Paris, "Pops" Foster) and I must admit I had no idea Noble Sissle's band was this good).Well, even if the selection could have been better, this is a great intro to Bechet's soprano-sax and clarinet opus from 1923-1947; the earliest recording being Waller-Williams' "Wild Cat Blues" performed by Clarence Williams Blue Five (Bechet, Thomas Morris on cornet, John Mayfield on trombone, Williams on piano and Buddy Christian on banjo) and the latest being Porter's "Love for Sale" performed by Bechet's Quartet (with Lloyd Philips on piano, "Pops" Foster on bass and Arthur Herbert on drums).
I normally love most things Ken Burns, but this was rather disappointing.the selections here are unremarkable and even dull often, just don't have the effortless joyful schwing of Bechet's best work but rather seem too analytical and academic.I'd much more recommend "The Legendary Sidney Bechet" and "The Best of Sidney Bechet" for those looking for an intro to Bechet's special genius.
Yes, yes, Satchmo was the most famous improviser of the 20's scene, but it most likely was the child prodigy Bechet to be the first with his wild New Orleans clarinet and soprano sax. I hate you Kenny G. I CURSE YOU, KENNY G TO HAVE CORNS THE SIZE OF GUAVAMELONS (WHICH LOOK LIKE RHUBARBS) ON YOUR FEET THAT HURT WORSE THAN THE CORNS WHICH PLAGUE AND TORMENT CHARLES. I think that this is a wonderful compilation of the great man and it is some of the best solos out of New Orleans which made Satch take notes from his good friend Sidney. You ruined a once great instrument played by such titans of jazz as John Coltrane, Wayne Shorter,AND SIDNEY BECHET. Sidney Bechet was the first great improviser in jazz.
Pity the trumpet players who had to play with him, he could, and did, drown them out. If it wasn't for Sidney, we wouldn't have Hodges, Wilber and many others. One is grateful to Ken Burns calling attention to Jazz with his series and, there it ends. I saw and heard him in person in the late 50s and I have never forgotten that evening. I have an awful lot of Bechet on recordings and I never tire of him. Sidney Bechet is without a doubt the greatest soprano player ever. His power was absolutely amazing.
But, this album opened up a whole new world of music to me. There is such depth and emotion in his playing. I never thought that I could love the sound of the soprano sax this much.
Sidney Bechet is (or was) a true genius, the way he made the horn almost operatic in sound, with the wonderful throbbing vibratos. I highly recommend this album to all jazz fans. No wonder he was sometimes billed as "The Talking Saxophone".
This was another great jazz artist that I didn't know much about prior to this Ken Burn's release. It is beautiful. The booklet includes photos and an interesting essay.
Up until this album, whenever I thought of soprano sax, Kenny G and his mind numbing music would come to mind, and I would cringe. now THIS is how a soprano sax should sound.
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