1945 - January 29

Sidney Bechet Blue Note Jazzmen – January 29 1945

 

Max Harrison - The Complete Blue Note Recordings of Sidney Bechet - Mosaic Records MR6-110 

The aims of the January 1945 session would seem to have been ordinary yet the results were anything but; this was partly due to Bechet, of course, yet partly also to the choice of a more interesting trumpeter. Notice how on HIGH SOCIETY—again contrary to the legend—he dances round Kaminsky's propulsive trumpet lead with grace and non-stop invention. A masterly reading is given of the traditional clarinet solo, and this takes on an intensity it has rarely had elsewhere; it flows out of and back into his tireless ensemble part. Kaminsky has some beautiful ensemble phrases on SALTY DOG and adds a fine plunger-muted solo. Moore's singing is justified by the leader's obbligato, in which he is more active than behind White. WEARY BLUES includes a magnificent soprano saxophone solo, as do both versions of JACKASS BLUES. This latter, by Mel Stitzel, was an unexpected selection, and the hitherto unissued take is a discovery, with-Kaminsky again getting his plunger out to dramatic effect. Kaminsky and Lugg are, one supposes, less highly regarded than De Paris and Dickenson, yet the ensembles here are more impressive than on the 1944 date. The second account of JACKASS BLUES is a good example, with each part fitting excellently. Bechet recaptures all the fire of his improvisation on the first take, and so does Kaminsky. 

Down Beat 21 April 1948 – Volume 15 Issue 8 

For that coterie of Dixie cats who love their two-beat pure and their Bechet throaty, this is just a couple of spits this side of the end. The veteran Bechet and a personnel which includes Max Kaminsky, trumpet; George Lugg. trombone; Art Hodes, piano. and Pops Foster, bass, have produced four authentic sides with plenty of meat and little gristle. Generally speaking the ensembles are the most enjoyable sections of these platters and, fortunately, take up most of the available grooves. The solos, particularly Sidney's, are interesting, but on the whole not as palatable as the full band routines which are occasionally inspiring. occasionally rough, and usually enthusiastic. Bechet solos on every side. while other spots are distributed sparingly to piano, trombone and trumpet. Both records, by the way, are 12-inchers. (Blue Note 49. 50) 

Saturday Review 31 July 1948 Volume 31 Issue 31 

In a rather arid month it is more than gratifying to discover four excellent twelve-inch sides by the venerable New Orleans artist Sidney Bechet. The group of six, including Maxie Kaminsky and Art Hodes, sounds as if all were immensely happy about the whole proceedings, an attitude readily communicated to the listener. Bechet is that rarity, a fine jazz musician who has been playing for forty years or so and has yet to demean himself by dispensing commercial pap. He can only play one way—with a vibrato as broad as the Mississippi and a tone as rough as a ball-bearing. Nevertheless, the statements of this gentleman remain one of the precious few things in music you can depend on these days. 

 

Dan Morgenstern Hot Jazz on Blue Note CD Liner Notes 

High Society is so closely identified with the New Orleans jazz tradition that the listener may be surprised to learn that this march, and its famous clarinet solo part, originated far from the Cresent City and the milieu of jazz. The piece was composed in 1901 by a member of Yale University’s mandolin club, Porter Steele, who later became a successful lawyer. It was adopted by a professional banjo duo and was soon published in an orchestration for brass band by Robert Ricker, a well-known arranger and theater conductor in New York. Ricker created the piccolo countermelody to the, trio strain, and this written variation was subsequently adapted to the clarinet in New Orleans, probably by Alphonse Picou. (New Orleans bandleaders kept up with new stock arrangements.) The clarinet part soon became a test piece, and Bechet does it justice here, with George Lugg's trombone stating the trio theme behind him. Before that main event, we hear, for the first of many times to come, the solid trumpet lead of Max Kaminsky. Bechet's warm lower register is in evidence on the trio strain's first appearance, and after the famous solo, Sidney wails in his upper range, with Maxie punching out hot notes. Of the many recorded versions of "'High Society," this ranks near the top. It is also a good example of the brash New Orleans—in—New York style of traditional jazz that is the focus of this collection. 

Down Beat 20 April 1951 Volume 18 Issue 8 Pat: [Harris] Originally issued on 12-inch singles, this LP album is a really fine collection. Bechet’s tendency to dominate and override everyone in sight is well controlled, benefiting other soloists and the ensemble. Muskrat is an exciting effort, showing trombonist Vic Dickenson and trumpeter Sid DeParis in top form. Weary Blues is another ensemble work, though not as cohesive. Sidney’s soprano sax growls, wails, moans, and generates almost oppressive heat on Summertime, with Teddy Bunn’s guitar giving chain-gang touches to the background. Personnels vary from band to band, including such men as Art Hodes, Meade Lux Lewis, Sid Catlett, Manzie Johnson, Fred Moore, Pops Foster, George Lugg, and Max Kaminsky. (Blue Note LP 7002.)

Leonard Feather BLP 1201 Liner Notes 

Weary Blues and Salty Dog (the latter has a Freddy Moore vocal) are products of a session with Max Kaminsky's trumpet and George Lugg's trombone sharing the front line. The first title is a 16-bar tune reminiscent of Farewell Blues; the second, a Ballin' The Jack type number, is familiar to collectors who own Keppard's 1926 version. 

Session Information 

Max Kaminsky, trumpet; George Lugg, trombone; Sidney Bechet, soprano sax, clarinet; Art Hodes, piano; George "Pops" Foster, bass; Fred Moore, drums. 

WOR Studios, NYC, January 29, 1945 

BN215-1, High Society, Blue Note 50, BLP 7003, BLP 1202 

BN216-2, Salty Dog, Blue Note 49, BLP 7002, BLP 1201 

BN217-1, Weary Blues, Blue Note 49, BLP 7002, BLP 1201 

BN218-1, Jackass Blues (alternate take) 

BN218-2, Jackass Blues, Blue Note 50, BLP 7003, BLP 1202