Biography:
Along with his fellow New Orleanian, Louis Armstrong, Bechet was one of the first great soloists in jazz. His throaty, powerful clarinet and his throbbing soprano are among the most thrilling sounds in early jazz. He went from being a pioneer of jazz in the 1920s to a national hero in France, where he spent the final decade of his life. In his teens he made his name playing in some of New Orleans's up-and- coming bands, and he played there and in Chicago with King Oliver.
Sidney Bechet was born in New Orleans in May 1897, of Creole ancestry, grew up in a middle class environment. His father, Omar, who was a shoemaker, played the flute as a hobby. Indeed, music had an important role in the Bechet household, as Sidney's four brothers also played instruments. His brother, Leonard, played the clarinet and trombone, and it was to the former instrument that eight- year-old Sidney was attracted. Leonard, whose main interest was the trombone, passed along his clarinet to his younger brother. At first, Sidney played in the family musicales - waltzes, quadrilles, and the polite music of the middle class. But as he grew into adolescence, Sidney was attracted to the syncopated music played in the dance halls and brothels in the Storyville District. As a boy, he would watch the street parades in which jazz bands played and was so attracted to the music, that he often played hooky from school. As he became more proficient on the clarinet, Sidney played in local jazz bands, such as the Young Olympians. His playing so impressed Bunk Johnson, the legendary cornet player, that Sidney was invited to join Johnson's band, the Eagle Band. Sidney gained much experience, playing in dance halls, and for picnics, and parties.
Bechet left New Orleans for the first time when he was 19, traveling to Chicago with pianist, Clarence Williams and his variety show. He recorded a few sides there with Williams in 1923 for the Okeh label, released under the name of Rosetta Crawford accompanied by King Bechet Trio. Bechet plays some very soulful clarinet and saxophone on these sides. He then joined up with King Oliver. Bechet's big break came in 1919 when the composer-conductor Will Marion Cook asked him to join his Southern Syncopated Orchestra for an engagement in London where he came to the attention of the noted Swiss Conductor, Ernst Ansermet, who conducted the music of Stravinsky for the Ballets Russa. Ansermet wrote in a Swiss musical Journal, “The extraordinary clarinet virtuoso Bechet is an artist of genius!”
Though starting out as a clarinetist, Bechet eventually became even better known as a virtuoso of the soprano saxophone. He first tried to play on a beat-up old soprano sax he purchased in a pawn shop. Such was the difficulty of the soprano sax; an instrument extremely difficult to play in tune that he gave up and obtained his money back from the pawnbroker. A year latter in London, he purchased a brand new instrument and tried again. This time he was successful and succeeded in making the soprano saxophone an important voice in jazz.
Much of Bechet's subsequent career was spent abroad. In 1925 he played in Claude Hopkin's band, which was accompanying a revue starring Josephine Baker. Bechet also played in bands led by Noble Sissle in London and Paris, and later, in the United States.
In 1932, Bechet and his friend, trumpet player Tommy Ladnier, formed their own band, the New Orleans Feetwarmers. The New Orleans Feetwarmers 1932 sides are the epitome of Hot Jazz. Bechet’s soprano sax playing is nothing short of amazing on the song “Shag”. Ernest Meyers's scat singing solo on that same song has to be one of the finest examples of Jazz singing ever recorded. Unfortunately the records didn't sell well. When engagements for the Feetwarmers became scarce, Ladnier and Bechet opened a dry cleaning shop in Harlem. In the Forties Bechet worked regularly in New York with Eddie Condon and tried to start a band with Bunk Johnson. Bechet was a popular figure of the Dixieland revival of the late Forties often recording with Mezz Mezzrow.
Bechet returned to France in 1952 and was warmly received there. While in France he recorded hit records that rivaled the sales of pop stars. Bechet was one of the great soloists of early Jazz. He lived a very rich life, always managing to “make the scene” where it was “happening”, whether it be in New Orleans, Chicago, New York, Berlin or Paris.
Much of the latter part of his life, he spent in France. Many of his compositions are inspired by his love for that country. They include “Petite Fleur”, “Rue des Champs Elysees”, and “Si tous vois ma mere”. Other compositions include “Chant in the Night”, “Blues in the Air”, “Bechet's Fantasy”, and his ode to his Brooklyn home, “Quincy Street Stomp”
. It was in Europe that he achieved his greatest success and where eventually made his home, but he never forgot the New Orleans tradition that nurtured and inspired him. Bechet died in Paris, France, on his 62nd birthday, May 14, 1959.
Sidney Bechet played both the clarinet and soprano saxophone with a broad vibrato, a characteristic that gave passion and intensity to his playing. Bechet has left a profound mark on the way the clarinet and the soprano saxophone are played today in jazz. He has influenced countless musicians including Johnny Hodges, John Coltrane, Wayne Shorter, Bob Wilber and Branford Marsalis, among others. Sidney Bechet was a great improviser, with a passion for life as well as music.
In July 1997, The Sidney Bechet Society was formed to perpetuate the name and fame of Sidney Bechet.
https://musicians.allaboutjazz.com/sidneybechet
Along with his fellow New Orleanian, Louis Armstrong, Bechet was one of the first great soloists in jazz. His throaty, powerful clarinet and his throbbing soprano are among the most thrilling sounds in early jazz. He went from being a pioneer of jazz in the 1920s to a national hero in France, where he spent the final decade of his life. In his teens he made his name playing in some of New Orleans's up-and- coming bands, and he played there and in Chicago with King Oliver.
Sidney Bechet was born in New Orleans in May 1897, of Creole ancestry, grew up in a middle class environment. His father, Omar, who was a shoemaker, played the flute as a hobby. Indeed, music had an important role in the Bechet household, as Sidney's four brothers also played instruments. His brother, Leonard, played the clarinet and trombone, and it was to the former instrument that eight- year-old Sidney was attracted. Leonard, whose main interest was the trombone, passed along his clarinet to his younger brother. At first, Sidney played in the family musicales - waltzes, quadrilles, and the polite music of the middle class. But as he grew into adolescence, Sidney was attracted to the syncopated music played in the dance halls and brothels in the Storyville District. As a boy, he would watch the street parades in which jazz bands played and was so attracted to the music, that he often played hooky from school. As he became more proficient on the clarinet, Sidney played in local jazz bands, such as the Young Olympians. His playing so impressed Bunk Johnson, the legendary cornet player, that Sidney was invited to join Johnson's band, the Eagle Band. Sidney gained much experience, playing in dance halls, and for picnics, and parties.
Bechet left New Orleans for the first time when he was 19, traveling to Chicago with pianist, Clarence Williams and his variety show. He recorded a few sides there with Williams in 1923 for the Okeh label, released under the name of Rosetta Crawford accompanied by King Bechet Trio. Bechet plays some very soulful clarinet and saxophone on these sides. He then joined up with King Oliver. Bechet's big break came in 1919 when the composer-conductor Will Marion Cook asked him to join his Southern Syncopated Orchestra for an engagement in London where he came to the attention of the noted Swiss Conductor, Ernst Ansermet, who conducted the music of Stravinsky for the Ballets Russa. Ansermet wrote in a Swiss musical Journal, “The extraordinary clarinet virtuoso Bechet is an artist of genius!”
Though starting out as a clarinetist, Bechet eventually became even better known as a virtuoso of the soprano saxophone. He first tried to play on a beat-up old soprano sax he purchased in a pawn shop. Such was the difficulty of the soprano sax; an instrument extremely difficult to play in tune that he gave up and obtained his money back from the pawnbroker. A year latter in London, he purchased a brand new instrument and tried again. This time he was successful and succeeded in making the soprano saxophone an important voice in jazz.
Much of Bechet's subsequent career was spent abroad. In 1925 he played in Claude Hopkin's band, which was accompanying a revue starring Josephine Baker. Bechet also played in bands led by Noble Sissle in London and Paris, and later, in the United States.
In 1932, Bechet and his friend, trumpet player Tommy Ladnier, formed their own band, the New Orleans Feetwarmers. The New Orleans Feetwarmers 1932 sides are the epitome of Hot Jazz. Bechet’s soprano sax playing is nothing short of amazing on the song “Shag”. Ernest Meyers's scat singing solo on that same song has to be one of the finest examples of Jazz singing ever recorded. Unfortunately the records didn't sell well. When engagements for the Feetwarmers became scarce, Ladnier and Bechet opened a dry cleaning shop in Harlem. In the Forties Bechet worked regularly in New York with Eddie Condon and tried to start a band with Bunk Johnson. Bechet was a popular figure of the Dixieland revival of the late Forties often recording with Mezz Mezzrow.
Bechet returned to France in 1952 and was warmly received there. While in France he recorded hit records that rivaled the sales of pop stars. Bechet was one of the great soloists of early Jazz. He lived a very rich life, always managing to “make the scene” where it was “happening”, whether it be in New Orleans, Chicago, New York, Berlin or Paris.
Much of the latter part of his life, he spent in France. Many of his compositions are inspired by his love for that country. They include “Petite Fleur”, “Rue des Champs Elysees”, and “Si tous vois ma mere”. Other compositions include “Chant in the Night”, “Blues in the Air”, “Bechet's Fantasy”, and his ode to his Brooklyn home, “Quincy Street Stomp”
. It was in Europe that he achieved his greatest success and where eventually made his home, but he never forgot the New Orleans tradition that nurtured and inspired him. Bechet died in Paris, France, on his 62nd birthday, May 14, 1959.
Sidney Bechet played both the clarinet and soprano saxophone with a broad vibrato, a characteristic that gave passion and intensity to his playing. Bechet has left a profound mark on the way the clarinet and the soprano saxophone are played today in jazz. He has influenced countless musicians including Johnny Hodges, John Coltrane, Wayne Shorter, Bob Wilber and Branford Marsalis, among others. Sidney Bechet was a great improviser, with a passion for life as well as music.
In July 1997, The Sidney Bechet Society was formed to perpetuate the name and fame of Sidney Bechet.
https://musicians.allaboutjazz.com/sidneybechet
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Biografía:
Junto con su compañero de Nueva Orleans, Louis Armstrong, Bechet fue uno de los primeros grandes solistas de jazz. Su clarinete gutural y poderoso y su vibrante soprano están entre los sonidos más emocionantes del jazz temprano. Pasó de ser un pionero del jazz en el decenio de 1920 a un héroe nacional en Francia, donde pasó la última década de su vida. En su adolescencia se hizo un nombre tocando en algunas de las bandas emergentes de Nueva Orleans, y tocó allí y en Chicago con King Oliver.
Sidney Bechet nació en Nueva Orleans en mayo de 1897, de ascendencia criolla, creció en un ambiente de clase media. Su padre, Omar, que era zapatero, tocaba la flauta como hobby. De hecho, la música tuvo un papel importante en el hogar de los Bechet, ya que los cuatro hermanos de Sidney también tocaban instrumentos. Su hermano, Leonard, tocaba el clarinete y el trombón, y fue hacia este último instrumento que Sidney, de ocho años, se sintió atraído. Leonard, cuyo principal interés era el trombón, pasó su clarinete a su hermano menor. Al principio, Sidney tocaba en los musicales de la familia - valses, cuadrillas, y la música educada de la clase media. Pero a medida que crecía en la adolescencia, Sidney se sentía atraído por la música sincopada que se tocaba en los salones de baile y burdeles del distrito de Storyville. De niño, veía los desfiles callejeros en los que tocaban bandas de jazz y se sentía tan atraído por la música, que a menudo hacía novillos en la escuela. A medida que se hizo más hábil con el clarinete, Sidney tocó en bandas de jazz locales, como los Young Olympians. Su forma de tocar impresionó tanto a Bunk Johnson, el legendario cornetista, que Sidney fue invitado a unirse a la banda de Johnson, la Eagle Band. Sidney adquirió mucha experiencia, tocando en salones de baile, y para picnics y fiestas.
Bechet dejó Nueva Orleans por primera vez cuando tenía 19 años, viajando a Chicago con el pianista Clarence Williams y su espectáculo de variedades. Allí grabó algunos lados con Williams en 1923 para el sello Okeh, publicado bajo el nombre de Rosetta Crawford acompañado por el King Bechet Trio. Bechet toca un clarinete y un saxofón muy conmovedor en estos lados. Luego se unió al Rey Oliver. La gran oportunidad de Bechet llegó en 1919 cuando el compositor y director Will Marion Cook le pidió que se uniera a su Southern Syncopated Orchestra para un compromiso en Londres, donde llamó la atención del famoso director suizo, Ernst Ansermet, que dirigió la música de Stravinsky para los Ballets Rusos. Ansermet escribió en una revista musical suiza, "El extraordinario virtuoso del clarinete Bechet es un artista genial".
Aunque comenzó como clarinetista, Bechet se hizo aún más conocido como virtuoso del saxofón soprano. Primero intentó tocar un viejo saxo soprano destartalado que compró en una casa de empeños. Tal fue la dificultad del saxo soprano; un instrumento extremadamente difícil de tocar en afinación que abandonó y obtuvo su dinero de la casa de empeños. Un año más tarde en Londres, compró un instrumento nuevo y lo intentó de nuevo. Esta vez tuvo éxito y logró hacer del saxo soprano una importante voz en el jazz.
Gran parte de la carrera posterior de Bechet fue pasada en el extranjero. En 1925 tocó en la banda de Claude Hopkin, que acompañaba una revista protagonizada por Josephine Baker. Bechet también tocó en bandas dirigidas por Noble Sissle en Londres y París, y más tarde, en los Estados Unidos.
En 1932, Bechet y su amigo, el trompetista Tommy Ladnier, formaron su propia banda, los New Orleans Feetwarmers. Los New Orleans Feetwarmers 1932 son el epítome del Hot Jazz.
El saxo soprano de Bechet es nada menos que asombroso en la canción "Shag". El scat de Ernest Meyers cantando en solitario en esa misma canción tiene que ser uno de los mejores ejemplos de canto de Jazz jamás grabado. Desafortunadamente los discos no se vendieron bien. Cuando los compromisos para los Calientapiés se hicieron escasos, Ladnier y Bechet abrieron una tintorería en Harlem. En los años cuarenta, Bechet trabajó regularmente en Nueva York con Eddie Condon e intentó formar una banda con Bunk Johnson. Bechet fue una figura popular del resurgimiento del Dixieland de finales de los cuarenta, a menudo grabando con Mezz Mezzrow.
Bechet regresó a Francia en 1952 y fue muy bien recibido allí. Mientras estaba en Francia grabó discos de éxito que rivalizaban con las ventas de las estrellas del pop. Bechet fue uno de los grandes solistas del jazz temprano. Vivió una vida muy rica, siempre logrando "hacer la escena" donde "sucedía", ya sea en Nueva Orleans, Chicago, Nueva York, Berlín o París.
Gran parte de la última parte de su vida, la pasó en Francia. Muchas de sus composiciones están inspiradas en su amor por ese país. Entre ellas se encuentran "Petite Fleur", "Rue des Champs Elysees" y "Si tous vois ma mere". Otras composiciones incluyen "Chant in the Night", "Blues in the Air", "Bechet's Fantasy", y su oda a su casa de Brooklyn, "Quincy Street Stomp"
. Fue en Europa donde alcanzó su mayor éxito y donde finalmente se estableció, pero nunca olvidó la tradición de Nueva Orleans que lo nutrió e inspiró. Bechet murió en París, Francia, en su 62º cumpleaños, el 14 de mayo de 1959.
Sidney Bechet tocaba tanto el clarinete como el saxofón soprano con un amplio vibrato, una característica que daba pasión e intensidad a su forma de tocar. Bechet ha dejado una profunda huella en la forma en que el clarinete y el saxofón soprano se tocan hoy en día en el jazz. Ha influido en innumerables músicos como Johnny Hodges, John Coltrane, Wayne Shorter, Bob Wilber y Branford Marsalis, entre otros. Sidney Bechet fue un gran improvisador, con pasión por la vida y la música.
En julio de 1997, se formó la Sociedad Sidney Bechet para perpetuar el nombre y la fama de Sidney Bechet.
https://musicians.allaboutjazz.com/sidneybechet
Track Listing
1. Petite Fleur
2. Basin Street Blues
3. Buddy Bolden Stomp
4. South
5. Frankie and Johnny
6. Soprano Blues
7. Mon Homme
8. J'Ai Deux Amuors
9. Jumpin' Jack
10. When You Wore a Tulip
11. Temperamental
12. Dans Les Rues d' Antibes
13. Girl's Dance
14. Passport to Paradise
15. Swanee River
16. Les Oignons
Feb-2000, Bmg/Vogue
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