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Presents

The Recordings of Sidney Bechet

by, Mal Collings

 

Index:

  • Introduction

  • Instrumentation

  • The Recordings of Sidney Bechet

  • Early Recordings

  • The 1930's

  • The 1940's

  • The 1950's

    •

  • Index of Musicians

  • Index of Compositions

    •

     

     

     

     

     

     

    Introduction

    This is not a full discography in the accepted sense. It does not itemise every release of the recordings of Sidney Bechet. There are good reasons for this omission: the information is available elsewhere; the information - if present - would be immediately out-of-date with the next new release of Bechet recordings; for Bechet recordings, the copyright has expired on a large proportion of the material (*); to detail the original release is of less and less interest, since many of the original releases are no longer available, except as antiques. In short, to itemize ALL releases, or even to itemize original releases is a thankless task which serves less & less benefit with every year that passes.

    What this document does do is: to collect together all the recordings of Sidney Bechet into one volume; to clear up a number of anomalies and uncertainties (others will always remain); to identify all the occasions on which he plays soprano sax and/or clarinet; to fully index all sessions by title and performer; to give some further information on his compositions.

    In addition, this document contains a brief chronology of his (musical) life, which at this moment is at the draft stage, since clearly much more effort is required to fill out the many gaps and questions.

    (* in the UK for example, the copyright in the recording is vested for 50 years from the date of original publication (release of a record, broadcast of a performance, for example) in the copyright owner - often the record company who made the original recording - regardless of where that recording was made. In other European territories, this time limit may be greater or smaller - in Italy, for example, it is only 25 years. This means that any Bechet recording published for 50 years can be freely used by any record company without having to acknowledge the rights of the original copyright owner; this is not illegal, and has a clear commercial benefit. So many of Bechet's recordings can be used freely and legally; it would be a discographer's worst nightmare to keep pace with all these releases, even for Bechet recordings which have not suffered the same degree of exploitation in this respect as other jazz legends: Armstrong, Parker, Holiday, for example)

    The proliferation of releases of the repertoire detailed below took many forms: 78 rpm black discs (shellac or vinyl) gave way to vinyl LP's, both 10" and 12" (30cm), and nearly every item below was (re-)issued in the latter format, which was the major form of exploitation for some 30 years or so from the 1950's. Some items were originally issued on 45 rpm (7"/18cm) discs and only subsequently on LP. By the 1960's (after Bechet's last recordings), the 78 rpm disc had been discontinued, and later the musicassette arrived, almost entirely as a parallel carrier to the LP (i.e. recordings were rarely issued or packaged only on cassette, which remained an alternative to the [main] LP release). The LP remained the primary carrier until the late 1980's, when it was overtaken by the Compact Disc. In the 1990's the Digital Compact Cassette and the Mini-Disc arrived.

    A true discography should take account of all these issues; especially that of the different configurations (however, very few discographies ever contain details of musicassettes, the parallel carrier to the LP or now the CD).

    What follows is a catalogue of Sidney Bechet's known recordings, without release details for the most part. It is not therefore a discography in the sense accepted by many jazz collectors. Those recordings which have never been released are marked, because this is often important to identify what has been hitherto released or not. Certain release details are however included where they actually determine what exists and what does not.

    The first discography of Sidney Bechet was written by his friend John D. Reid in AJazz Information@ Volume 2, no. 9 (November 1940). Thereafter the mantle of Bechet discographer passed to the late David Mylne in 1948. For the publication of "Treat it Gentle" (1960), David prepared a new discography containing all known recordings up to the date of publication; since this was after Bechet's death, the vast majority of his Vogue recordings (both studio sessions and many of the concert recordings we know to exist) were included, up to his last studio session in 1958 (most of these were actually released during Bechet's lifetime). This discography was not updated by the publishers for new editions of the autobiography. A full discography by Hans J. Mauerer appeared as a separate publication in 1969. This was at the time and has remained an excellent guide, the source document for Bechet collectors since that time. Over the years following Mauerer, many 'unreleased' or dubious items have been cleared up, and of course a number of new (mostly 'live') items have surfaced. When "Treat it Gentle" was belatedly published in French in 1977 (as "La Musique, C'est Ma Vie"), it contained a new discography by Alain Tercinet. Finally, for the publication of his book on Bechet, Fabrice Zammarchi produced a new discography, probably the most complete single work to date in terms of defining extant material, although no matrix numbers were included. Bechet is of course also included in the general and amazing discographies of ALL jazz, by Brian Rust, Erik Raben et al.

    All the discographies up to Raben & Zammarchi lacked details of the very extensive Boston (Savoy CafŽ) recordings, which were not fully catalogued until they were released on LP in the USA by Fat Cat Jazz in the 1980's. In other respects they were quite complete, especially at the time of their publication, which is a tribute to their groundwork. There has never been a bad Bechet discography. Tribute should be paid to David Mylne: hardly anything new has really been added to his cataloguing of the Clarence Williams, Victor or Vogue sessions, except for alternate takes.

    Unissued recordings continue to surface. For example, the "Einbrecher" soundtrack from 1930, two versions of "I got Rhythm" with Jabbo Smith, extracts from the film: "Moon Over Harlem", APanama@ (Olympia concert 12/03/52), and the Swiss concert with Braslavsky have all appeared for the first time in the age of the Compact Disc (1992 or thereafter). One or two other items have only appeared in audiovisual form ("St. Louis Blues" & "Premier Bal" from 1958, "Buddy Bolden Stomp"). Alternate takes have also surfaced through the years, adding spice to our appreciation of Bechet, and confusion even to those among us who keep chapter & verse on what we have or want. This document will be out of date when you read it.

     

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    Discographical Milestones

    It is pertinent to note some of the major releases over the years. For many years in the era of the LP, only a selection of his 1920's recordings were generally available in Europe on the Fontana label (same compilation later released on Rhapsody in the 1980's); in retrospect, this was a good compilation, including probably the best of his 1920's output, but also including titles with Buster Bailey (the first Bechet copyist) instead of Bechet. It was not until Fat Cat Jazz filled out the gaps in the 1980's that all his 1920's sides became available on LP. The FCJ albums were then pre-empted by 'chronological' series on CD on a variety of labels in the late 1980's and 1990's. Typically therefore, one can now buy all the Bechet titles from the 1920's and even 1930's in chronological sequence. Best in this category are the Complete CD editions on the French MŽdia 7 label. These are produced by Tomas & Zammarchi.

    The 'Victor' recordings ("New Orleans Feetwarmers") appeared in a variety of albums from various RCA (now BMG) companies in Europe, USA and Japan. These were definitively researched (including extant alternate takes, many issued for the first time) and chronologically compiled by RCA France in their "Jazz Tribune" series, originally issued as double LP's (PM42409, 43282 & 45728), later as CD's (ND 89760, ND 89759 & 74321155192) and as a CD Box (003562903172). Research by the originating company does not necessarily mean that they have found everything, but these French releases are the source for the entries below on the relevant recordings. With the exception of V-Disc material, I have considered their research to be definitive.

     

    The Blue Note recordings of Bechet were issued on LP by Mosaic in the 1980's (MR6-110); pressed on good quality vinyl, with extensive research and sensible/erudite sleeve notes; not only did Mosaic collate together all the BN recordings which Bechet made over a period of nearly 15 years, they also unearthed a number of alternate takes at the same time which had never previously been released anywhere (re-packaging of Blue Note recordings over the years was not common).

    The 'King Jazz' recordings with Mezzrow comprise a number of sessions over a 3-year period, including many alternate takes. A good number of alternates were actually issued on 78 rpm by King Jazz or their licencees, and the Storyville company of Denmark also issued all known takes on a variety of configurations (LP, EP, 7" single even!) during the 1960's. The Storyville version was not chronological, but it did have an added bonus in the inclusion of some spoken passages by Mezzrow, and his personal blessing. Storyville re-released all the product again on vinyl in the 1980's in double albums, again without regard for chronological sequence. Finally they released all the product on CD in the same (dis)order as the double LP's, again with Mezzrow talking. In fact the only chronological issues were made on LP by King Jazz (Italy) during the 1960's (KJIT 1002-1007 duly noted in Mauerer), subsequently re-released in the 1990's on CD (KJ101 FS - KJ104 FS). These may be considered to be the ultimate King Jazz collection. (.....although still to be confirmed everything is AOK....)

    By the 1960's we thought we had heard all the best of Bechet. Rumours and scant details were in circulation regarding a series of recordings Bechet had made during a 1945 residency at the Savoy Cafe in Boston, but that was all. During the 1980's, a series of 12 LP's was lovingly put together by Fat Cat Jazz, issuing commercially for the first time all the extant recordings from that short period. Hardly any recordings seem to have been lost (only one broadcast is not accounted for at all, others have only occasional parts missing). This series of releases was not only a tribute to the dedication and abilities of the Fat Cat team, it is also a quite unique document of a (major jazz) artist's regular broadcast gigs over a short period of time (given extra spice by Bechet's use - for a variety of reasons - of three different trumpeters during the residency).

    Vogue Records made many recordings of Sidney Bechet both in the studio and at concerts during the period of his recording contract with them in the 1950's. Over the years since Bechet's death, they released many of the most popular or interesting sides in a wide variety of configurations and packages, including at one point a 10" 16 r.p.m. disc! One of the reasons for the catalogue which follows not to be a discography (in the accepted sense of the word) is that keeping track of these (re-)releases has proved impossible. In the early 1980's, Vogue began a 'complete edition' on LP - to include all the recordings made by Bechet during the period of his contract. It is likely that Vogue had an exclusive contract with Bechet for recordings made in France (although some 'live' or location recordings made in Switzerland were also released by them); USA recordings (e.g. for Blue Note) were therefore not included. This complete edition started well (although a few of the 1949 recordings with Braslavsky at the Paris Jazz Festival and in Geneva - which were known to exist - were not included), but was never completed for commercial reasons. COF-21 to COF-27 inclusive were all released. Subsequently Vogue issued a CD box comprising all Bechet's studio recordings (*), but - in general - the master takes' only. Other material issued by Vogue came from the collection of the late Charles Delaunay, including rare examples of Bechet backed by a full big band. Nevertheless, it is a difficult and thankless task to check every Vogue release to verify whether an unissued take or concert performance has been used.

    * ' The box number is 74321165972, and the individual CD numbers (although I do not think the individual elements have been officially released) are 1169512/522/532/542/552/572/582/592/602.

     

    Few documented studio recordings remain unissued, such as "Pleasure Mad" with Maureen Englin, the Bessie Smith test recording (if only!), 1 Noble Sissle, 1 Haitian Orchestra, alternates of the Louis Armstrong 1940 session. It must surely be questionable whether some of these truly exist or whether - for example in the case of the 1940 Armstrong session for American Decca - alternate takes' are really different performances or dubbed versions of other takes which are known performances. Only one purported release (Jazz Society AA508) has never been traced.

     

    Eventually, in the 1990's, Vogue Records was bought by BMG (who had previously bought RCA/Victor), thus uniting the 'New Orleans Feetwarmers' sides with the vast quantity of material recorded by Bechet for Vogue in the 1950's. Only the few important 1920's recordings and the King Jazz recordings prevent BMG from owning the rights (however limited now, so many years after their original release) to the very best of Bechet.

     

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    Bechet did not make as many recordings in total through his life as his undoubted ability suggests; there are a number of good reasons for this. Below is a count of the studio recordings he made for each year from 1923, excluding alternate takes:

    1923        28

    1924        17

    1925         8

    1931         6

    1932         6

    1934         4

    1936         6

    1937         6

    1938         25

    1939         21

    1940         33

    1941         26

    1942         - (AF of M strike)

    1943         3 (V-disc)

    1944         8

    1945         39

    1946         20

    1947         27

    1948         - (AF of M strike)

    1949         67

    1950         26

    1951         22

    1952         35

    1953         22

    1954         15

    1955         13

    1956         23

    1957         28

    1958         14

                    ---

                    548

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    The following works have been consulted in the preparation of this document:

    1. David Mylne's discography for the original publication of "Treat it Gentle" (USA: Twayne, UK: Cassell, 1960)

    2. "A Discography of Sidney Bechet" by Hans J. Mauerer (Knudsen, Denmark 1969)

    3. "Clarence Williams" by Tom Lord (Storyville Publications 1976)

    4. Alain Tercinet's discography for the French version of "Treat it Gentle" ("La Musique, C'est Ma Vie", Editions de la Table Ronde, Paris 1977)

    5. "Sidney Bechet" by Jean-Roland Hippenmeyer (Tribune Editions, Geneva 1980)

    6. "The Eddie Condon Town Hall Broadcasts' 1944-45" by Bozy White (Shoestring Records c.1980)

    7. "Jazz Records 1897-1942" by Brian Rust (Storyville Publications, 5th edition, 1982/3)

    8. "This is Jazz Broadcasts" by Jack Litchfield (Litchfield, 1985)

    9. "Jazz Records 1942-1980" edited by Erik Raben (Stainless/Wintermoon Publications, undated) - note that although this pre-dates Ruppli (see below) in terms of publication date, its information is in some respects more up-to-date

    10. "Eddie Condon on Record 1927-1971" by Giorgio Lombardi (The Black Saint, 1987)

    11. "Sidney Bechet" by Fabrice Zammarchi (Editions Filipacchi, 1989)

    12. "Discographie Vogue Productions tome 1" by Michel Ruppli (avec le concours de Charles Delaunay) AFAS, 1992)

    13. "Sidney Bechet - his musical activities from 1907 to 1959" by Guy Demole (Demole 1996, revised 1998)

    ... also correspondence with the late David Mylne, and of course innumerable record sleeves & inserts, some less misleading than others.

     

    The above are acknowledged in the text with the following codes:

    D    ' Guy Demole

    H    ' Jean-Roland Hippenmeyer

    L    ' Tom Lord

    Lf    ' Jack Litchfield

    Li    ' Giorgio Lombardi

    M    ' Hans J. Mauerer

    My    ' David Mylne

    R    ' Brian Rust

    Rn    ' Erik Raben

    Ri    ' Michel Ruppli

    T    ' Alain Tercinet

    W    ' Bozy White

    Z    ' Fabrice Zammarchi

     

    ----------------------------

     

     

    important note: unreleased titles are marked '*'

     

    Instrumentation

    The following codes are used to identify instruments in the text:

    arr ' arranger                                               alt ' alto sax

    bar ' baritone sax                                         bbs ' brass bass

    bjo ' banjo                                                     bs ' string bass

    cnt ' cornet                                                     cel ' celeste

    clt ' clarinet                                                     dms ' drums

    gtr ' guitar                                                       dr ' leader

    pno ' piano                                                     sop ' soprano sax

    tbn ' trombone                                             ten ' tenor sax

    tpt ' trumpet                                                     vcl ' vocal

    vln ' violin                                                     v-tbn ' valve trombone

     

    The Recordings of Sidney Bechet

    Early Recordings

    BENNY PEYTON'S JAZZ KINGS 210100

    Sidney Bechet (clt), Fred Coxito (Manfred Coxcito)(alt), George Smith (vln), Pierre de Caillaux (pno), Henry Sapiro (bjo), Benny Peyton (dms). London, c.Jan/Feb 1921

    *High Society

    *Tiger Rag

    *6 other titles

    No trumpet on Bechet's first ever recording (not the last time either!). These recordings (made for English Columbia) were never issued, since - per "Treat it Gentle" - there was some technical mishap. R. gives a date of Jan/Feb 1920, and only the two named titles, but all the other discographers go for the later date and more unissued material. By the time of the later date, the group was operating under the name of 'Mitchell's Jazz Kings', and Bechet could well have played soprano as well (he began sometime during 1920). However, given the difficulties of recordings him on soprano even a few years later in New York, I opt for clarinet only here. M., Z. & D. also give 3 tracks on a session from February 1920 under the name of the Savoy Dance Orchestra (personnel probably similar to the above); this is based on research by Brian Rust published in the magazine Storyville (Issue 21); however, in later editions of his "Jazz Records 1897-1942", Mr. Rust identifies the SDO as a white unit, names only 2 tracks and a catalogue number, so these may now be discounted from a Bechet discography. Similarly, The Mitchell's Jazz Kings session from September 1922 in Paris (for French PathŽ) can now be rejected: audible evidence suggests no Bechet, and that - without him - the MJK connection with jazz was tenuous indeed.

     

     

     

    GREENLEE & DRAYTON 230000

    Eddie Greenlee and Thaddeus Drayton (vcl duet) accompanied by Johnny Dunn (cnt), Sidney Bechet (sop/clt), Clarence Williams (pno). New York, c.1923

    *Original Charleston Strut

    Originally recorded for OKeh and again unissued. L. thinks this recording may be from late rather than early in the year.

     

     

     

    BESSIE SMITH 230100

    Bessie Smith (vcl), accompanied by Bubber Miley (cnt), Charlie Irvis (tbn), Sidney Bechet (sop/clt), Clarence Williams (pno), Buddy Christian (bjo). New York, c. January 1923

    *I Wish I Could Shimmy Like My Sister Kate

    Bessie Smith's test record for either Columbia (per Williams) or OKeh (per Bechet). Jazz History certainly regrets its disappearance!

     

     

     

    CLARENCE WILLIAMS' BLUE FIVE 230730

    Thomas Morris (cnt), John Mayfield (tbn), Sidney Bechet (sop), Clarence Williams (pno), Buddy Christian (bjo). New York, July 30 1923

    S-71-706-B Wild Cat Blues

    S-71-707-B Kansas City Man Blues

    Originally recorded for OKeh. First extant recording of Sidney Bechet. The matrix numbers used are from L., and not the 'condensed' versions used previously. The date is from L. and R., and not from other discographers, who give 30 June. Note the spelling of the trombonist's name, as confirmed by L.

     

     

     

    SARAH MARTIN WITH CLARENCE WILLIAMS' BLUE FIVE 230801

    Sarah Martin (vcl), accompanied by Thomas Morris (cnt), John Mayfield (tbn), Sidney Bechet (sop), Clarence Williams (pno), Buddy Christian (bjo). New York, c.August 1 1923

    S-71-711-B Blind Man Blues

    S-71-712-B Atlanta Blues

    Originally recorded for OKeh.

     

     

     

    MAMIE SMITH ACCOMPANIED BY THE HARLEM TRIO 230805

    Mamie Smith (vcl), accompanied by Sidney Bechet (sop), Clarence Williams (pno), Buddy Christian (bjo).

    New York, c.August 5 1923

    S-71-725-B Lady Luck Blues

    S-71-726-B Kansas City Man Blues

    Originally recorded for OKeh.

     

     

     

    EVA TAYLOR & CLARENCE WILLIAMS WITH CLARENCE WILLIAMS' BLUE FIVE 230811

    Eva Taylor (vcl), Clarence Williams (pno,vcl on 71747), accompanied by Thomas Morris (cnt), John Mayfield (tbn), Sidney Bechet (clt), Buddy Christian (bjo). New York, c.August 11 1923

    S-71-747-B Oh! Daddy Blues

    S-71-748-B I've Got the Yes! We Have No Banana Blues

    Originally recorded for OKeh. L. & R. give "Banana", although Eva Taylor clearly sings the plural version.

     

     

     

    CLARENCE WILLIAMS' BLUE FIVE 230827

    Thomas Morris (cnt), John Mayfield (tbn), Sidney Bechet (clt), Clarence Williams (pno), Buddy Christian (bjo). New York, c. August 27 1923

     

    S-71-797-A Achin' Hearted Blues

    Originally recorded for OKeh. Not everyone is convinced that this is Bechet - L. not, and Z. discounts it in his discography, but later re-instates it in the Compact Disc MŽdia 7 release produced by him. There is no doubt in my mind however.

     

     

    EVA TAYLOR ACCOMPANIED BY CLARENCE WILLIAMS' TRIO 230929

    Eva Taylor (vcl), accompanied by Sidney Bechet (sop), Clarence Williams (pno), Buddy Christian (bjo).

    New York, c. September 29 1923

    S-71-910-A Irresistible Blues

    S-71-910-C Irresistible Blues

    S-71-911-B Jazzin' Babies Blues

    Originally recorded for OKeh. Both takes of 71910 are said to have been used on copies of the first release: OK 8129, although two different versions have never been appeared on LP or CD. Per My., -C was at best a dub of -A. D. in his 1998 edition drops the existence of -C completely

     

     

     

    CLARENCE WILLIAMS' BLUE FIVE 231000

    Thomas Morris (cnt), John Mayfield (tbn), Sidney Bechet (sop), Clarence Williams (pno), Buddy Christian (bjo). New York, c. October 1923

    S-71-928-B 'Tain't Nobody's Bus'ness If I Do

    S-71-929-B New Orleans Hop Scop Blues

    S-71-930-B Oh Daddy!

    Originally recorded for OKeh.

     

     

     

    ROSETTA CRAWFORD ACCOMPANIED BY KING BECHET TRIO 231005

    Rosetta Crawford (vcl), accompanied by Sidney Bechet (sop), Clarence Williams (pno), Buddy Christian (bjo). New York, c.October 5 1923

    S-71-945-A Down On The Levee Blues

    S-71-946-B Lonesome Woman Blues

    Originally Recorded for OKeh. The Bechet name appears on a record label for the first time.

     

     

     

    SARAH MARTIN AND CLARENCE WILLIAMS' HARMONIZING FOUR 231011

    Sarah Martin (vcl), accompanied by Thomas Morris (cnt), Sidney Bechet (sop), Clarence Williams (pno), Buddy Christian (bjo). New York, October 11 1923

    S-71-961-B Graveyard Dream Blues

    S-71-962-B A Green Girl Can't Catch On (Blues)

    Originally recorded for OKeh.

     

     

    MARGARET JOHNSON ACCOMPANIED BY CLARENCE WILLIAMS' BLUE FIVE 231019

    Margaret Johnson (vcl), accompanied by Thomas Morris (cnt), Charlie Irvis (tbn), Sidney Bechet (sop), Clarence Williams (pno), Buddy Christian (bjo). New York, October 19 1923

    S-71-972-B If I Let You Get Away With It Once You'll Do It All Of The Time

    S-71-973-B E Flat Blues

    Originally recorded for Okeh. D. says Martin and Johnson could be the same person, but this is not so.

     

     

     

    EVA TAYLOR-LAWRENCE LOMAX 231110A

    Eva Taylor, Lawrence Lomax (vcl duet), accompanied by Thomas Morris (cnt), Charlie Irvis (tbn), Sidney Bechet (sop), Clarence Williams (pno). New York, c.November 10 1923

    S-72-028-C Old Fashioned Love

    S-72-029-B Open Your Heart

    Originally recorded for OKeh.

     

     

     

    CLARENCE WILLIAMS' BLUE FIVE 231110B

    Thomas Morris (cnt), ?John Mayfield (tbn), Sidney Bechet (sop), Clarence Williams (pno), Buddy Christian (bjo). New York, c November 10 1923

    S-72-040-B Shreveport Blues

    S-72-041-B Old Fashioned Love

    Originally recorded for OKeh. Some doubts linger about whether the trombonist is Irvis or Mayfield.

     

     

     

    CLARENCE WILLIAMS' BLUE FIVE 231114

    Thomas Morris (cnt), ?John Mayfield (tbn), Sidney Bechet (sop), Clarence Williams (pno), Buddy Christian (bjo). New York, c November 14 1923

    S-72-059-B House Rent Blues (The Stomp)

    S-72-060-B Mean Blues

    Originally recorded for OKeh. Some doubts linger about whether the trombonist is Irvis or Mayfield. L. says Bechet on soprano & clarinet here, but it's only soprano.

     

    (note: the Virginia Liston session of 7 January 1924 ["I Don't Love Nobody"/"Tain't A Doggone Thing But The Blues"] is listed by M.[B16], T. and Z. as possible Bechet. However, R., L. & My. do not agree, and Z., having included it in his discography, later discounts it in the Compact Disc MŽdia 7 release produced by him. I think it's not Bechet)

     

     

     

    VIRGINIA LISTON 240110

    Virginia Liston (vcl) accompanied by unknown guitar. New York, c.January 10 1924

    72265-A,-B Jail House Blues

    Originally recorded for OKeh; the original release on OK 8122 gives: "Guitar accomp. by Sidney Bechet". This is mentioned by Bechet in "Treat it Gentle": he asked Clarence Williams to put his name on a record label - it was already on a Rosetta Crawford release (see above) - and Williams duly complied, but selected titles not containing Bechet (see also below re: another Virginia Liston session)! Pops Foster says that he Acould pick some guitar@. L. suggests Sylvester Weaver.

     

     

     

    MAUREEN ENGLIN 240500

    Maureen Englin (vcl), accompanied by Sidney Bechet (sop), Art Sorenson (pno). New York, May 1924

    105347 Foolin' Me

    *Pleasure Mad

    Originally recorded for PathŽ Actuelle (per My., for Perfect). Details of the unreleased track come originally from M., but no matrix number has been traced; it is of course a Bechet composition (aka AViper Mad@).

     

     

     

    DUKE ELLINGTON AND THE WASHINGTONIANS 240700

    Bubber Miley (cnt), Charlie Irvis (tbn), Sidney Bechet (sop/clt), Otto Hardwick (alt), Duke Ellington (pno), Fred Guy (bjo), Sonny Greer (dms). New York, mid 1924

    *Twelfth Street Rag

    *Tiger Rag

    I have been unable to trace the source of this information; it may be based on unsubstantiated claims by Bechet that he recorded with Ellington, which have been given greater credence than they are worth. The received wisdom here is that the sides were originally recorded for Brunswick. It is however sure that Bechet played with the Washingtonians during the summer of 1924 (which appears a more likely date than 'late 1924'[per M.]), and he is ceratinly not on any other Ellington band sides from later in the year. If the recordings were indeed made, this is once again unissued material; time has deprived us of Miley & Bechet doing battle, as recounted by Duke.

     

     

     

    CLARENCE WILLIAMS' BLUE FIVE 241017A

    Louis Armstrong (cnt), Charlie Irvis (tbn), Sidney Bechet (sop/clt), Clarence Williams (pno), Buddy Christian (bjo). New York, October 17 1924

    S-72-914-B Texas Moaner Blues

     

     

     

    VIRGINIA LISTON ACCOMPANIED BY CLARENCE WILLIAMS' BLUE FIVE 241017B

    Virginia Liston (vcl), accompanied by Louis Armstrong (cnt), Charlie Irvis (tbn), Sidney Bechet (sop -1/clt -2), Clarence Williams (pno), Buddy Christian (bjo). New York, October 17 1924

    S-72-915-B Early In The Morning -2

    S-72-916-B You've Got The Right Key, But The Wrong Keyhole -1,-2

    Originally recorded for OKeh. Bechet's first Clarence Williams dates for 11 months represent also the first collaborations between Bechet & Armstrong on record.

    (note: Bechet is listed on the label of OK 8196 [Virginia Liston: "Night Latch Key Blues"/"Any Day The Sun Don't Shine"], but does not play on it. Probably a similar example to 240110 above)

    (note: The Clarence Williams session of November 6 1924 ["Of All The Wrongs You've Done To Me"/"Everybody Loves My Baby"] features the first Bechet copyist: Buster Bailey on soprano sax. These titles have been included in Bechet album releases in the past)

    (note: The Margaret Johnson session of November 25 1924 listed by M. [B20] and T. does not contain Bechet; in fact there is no reed at all!)

     

     

     

    SIPPIE WALLACE ACCOMPANIED BY CLARENCE WILLIAMS' BLUE FIVE 241128

    Sippie Wallace (vcl), accompanied by Louis Armstrong (cnt), Aaron Thompson (tbn), Sidney Bechet (sop), Clarence Williams (pno), Buddy Christian (bjo). New York, November 28 1924

    73007-B Baby, I Can't Use You No More

    73008-B Trouble Everywhere I Roam

    Originally recorded for Okeh, the session features in all the discographies, and L. is quite certain it's him. However, Z., having included it in his discography, later discounts it in the Compact Disc MŽdia 7 release produced by him. It's also rejected by D. (who suggests Buster Bailey). Whoever it is, he is struggling against a rogue soprano sax with a mind of its own. The intonation is not Bechet, who had by now mastered the difficulties of the soprano better than these performances suggest; however, the tone is more like him. Either it is someone imitating Bechet (and Buster Bailey would be a possibility here) or it's Bechet in bad form or on a poor quality instrument. I decided therefore to leave the entry in, even though it is rejected by other discographers, since it's not possible to say categorically that it's not him.

     

     

     

    SIPPIE WALLACE ACCOMPANIED BY CLARENCE WILLIAMS' TRIO 241202

    Sippie Wallace (vcl), accompanied by Sidney Bechet (sop -1/clt -2), Clarence Williams (pno), Buddy Christian (bjo). New York, December 2 1924

    73014-B I'm So Glad I'm Brownskin -1

    73015-B Off And On Blues -2

    Originally recorded for OKeh.

     

     

     

    CLARENCE WILLIAMS' BLUE FIVE 241217

    Louis Armstrong (cnt), Charlie Irvis (tbn), Sidney Bechet (sop -1/sarrusaphone -2), Clarence Williams (pno), Buddy Christian (bjo), Eva Taylor (vcl). New York, December 17 1924

    S-73-026-B Mandy, Make Up Your Mind (ET vcl) -1, -2

    S-73-027-B I'm A Little Blackbird Looking For A Bluebird (ET vcl) -1

    Originally recorded for OKeh. The only known sarrusaphone outing in jazz. It is likely that Bechet had encountered this instrument while with the Southern Syncopated Orchestra in London, and unlikely that he saw it for the first time in a pawn shop on the way to the studio for this session (as he sometimes claimed).

     

     

     

    JOSEPHINE BEATTY WITH THE RED ONION JAZZ BABIES 241222A

    Alberta Hunter (Josephine Beatty) (vcl), accompanied by Louis Armstrong (cnt), Charlie Irvis (tbn), Sidney Bechet (sop), Lil Armstrong (pno), Buddy Christian (bjo). New York, December 22 1924

    9246 Nobody Knows The Way I Feel Dis' Mornin'

    9247A Early Every Mornin'

    Originally recorded for Gennett. Josephine Beatty was Miss Hunter's sister's name.

     

     

     

    RED ONION JAZZ BABIES 241222B

    Alberta Hunter & Clarence Todd (vcl duet), accompanied by Louis Armstrong (cnt), Charlie Irvis (tbn), Sidney Bechet (sop), Lil Armstrong (pno), Buddy Christian (bjo). New York, December 22 1924

    9248A Cake Walking Babies (From Home)

    Originally recorded for Gennett. These recordings retain the sound of the Williams sessions; in fact the only difference is Lil Armstrong for Williams.

     

     

     

    MARGARET JOHNSON ACCOMPANIED BY CLARENCE WILLIAMS' BLUE FIVE 250108A

    Margaret Johnson (vcl), accompanied by Bubber Miley (cnt), Aaron Thompson (tbn), Sidney Bechet (sop), Clarence Williams (pno), Buddy Christian (bjo). New York, January 8 1925

    S-73-081-A Who'll Chop Your Suey (When I'm Gone)

    S-73-082-B Done Made A Fool Out Of Me

    Originally recorded for OKeh. "Suey" is one of only two Bechet compositions recorded by any Williams outfit (the other is "Ghost of the Blues", recorded May 16 1924 by Eva Taylor with a Williams group including Lorenzo Tio on clarinet), although the Clarence Williams Music Publishing Company owned other titles composed by Bechet, who held the position of 'Professional Manager' with the company.

     

     

     

    EVA TAYLOR ACCOMPANIED BY CLARENCE WILLIAMS' BLUE FIVE 250108B

    Eva Taylor (vcl), accompanied by Louis Armstrong (cnt), Charlie Irvis (tbn), Sidney Bechet (sop), Clarence Williams (pno), Buddy Christian (bjo). New York, January 8 1925

    S-73-083-A Cake Walking Babies From Home

    S-73-084-B Pickin' On Your Baby

    Originally recorded for OKeh. These two sessions were recorded either on the same or subsequent days; The cornet player definitely changes between the sessions, although it is less clear who the trombonist is.

     

     

     

    EVA TAYLOR ACCOMPANIED BY CLARENCE WILLIAMS' BLUE FIVE 250304

    Eva Taylor (vcl), accompanied by Louis Armstrong (cnt), Charlie Irvis (tbn), Sidney Bechet (sop-1), Buster Bailey (sop/clt-2), Don Redman (alt-3), Clarence Williams (pno), Buddy Christian (bjo). New York, March 4 1925

    S-73-204-A Cast Away -2, -3

    S-73-205-A Papa De-Da-Da -1, -2

    Originally recorded for OKeh. The identity of the trombone player is again open to conjecture. Some discographers list all three reedmen, although Z., having included Bechet in his discography, later discounts him entirely in the Compact Disc MŽdia 7 release produced by him. D. also rejects him entirely. After repeated listening to CD releases, I have opted for the above split.

     

     

     

    THE GET HAPPY BAND 250717

    ? Johnny Dunn (cnt), Joe 'Tricky Sam' Nanton (tbn), Sidney Bechet (sop), Bob Fuller (alt), Mike Jackson or Porter Grainger (pno), ? Sam Speed (bjo), u/k (bbs), u/k (dms). New York, July 17 1925

    140773-2 Junk Bucket Blues

    140774-1 Harlem's Araby

    Originally recorded for Columbia. The personnel listed is a compilation of various discographers' conjectures.

     

    (note: this is Bechet's last recording session before he began European travels. The Williams/Eva Taylor session of October 8 1925 ["Coal Cart Blues"/"Santa Claus Blues"], which was always thought to contain Bechet, must now be disregarded. This is all the more strange since Armstrong & Bechet were thought to have 're-created' "Coal Cart Blues" for the New Orleans Album on American Decca in 1940 [see 400527]. Nevertheless, there can be no doubt that [as pointed out by John Chilton] Bechet left the USA with the company of the "Revue Ngre" on board the liner 'Berengaria' in late September; he was already in France on 8 October).

     

    The 1930's

     

    SIDNEY BECHET AND HIS NEW YORKERS 300600

    ? Gabriel (tpt), Jimmy Bell (tpt/clt/alt), Sidney Bechet (sop-1/clt-2), ?Friedrich Hollaender?(pno), ?Harald M. Kirchstein? (gtr), ?Mike McKendrick (bjo), ?Hans Holdt (bbs), Paul Delvi (dms), Louis Douglas (dance), Greta Keller, Jo Sargent & other members of cast (vcl). Berlin June-September 1930

    Ich Lass Mir Meinen Kšrper Schwarz Bepinseln -1, -2

    Kind, Dein Mund Ist Musik -1

    Originally recorded for the Franco-German Film: "Einbrecher" ("Flagrant DŽlit", or "Burglar"), and released in audio format for the first time on (French) MŽdia 7 CD MJCD 14. The entire film has been released on video (VHS PAL format: BMG (UFA) 4197). Details of personnel from MŽdia 7/H. & D. If the banjoist is indeed Mike Mckendrick (as identified by Delvi - see H.), this would be strange, since he and Bechet had been involved in a shooting incident in Paris less than 2 years previously, and both spent a considerable time in prison as a result. The recordings are very poor, and are mostly 'background music' to the actors in the film. Bechet does not play on two other titles from the film: "Lass Mich Einmal Deine Carmen Sein" and "Eine Liebelei, So Nebenblei". See "Storyville" magazine issue 72 re: this film, and Bechet's activity in Germany at the time.

     

     

     

    NOBLE SISSLE AND HIS ORCHESTRA 310224

    Demas Dean, Tommy Ladnier (tpts), Billy Burns (tbn), Sidney Bechet (sop -1/clt -2/bar -3), Rudy Jackson, Ralph Duquesne (sop/alt/clt), Ramon Usera (clt/ten), Lloyd Pinckney (?Floyd Plackney?) (pno), Frank Ethridge (bjo), Edward Coles (bs), Jack Carter (dms), Noble Sissle (vcl).

    New York, February 24 1931

    E-36120 Got The Bench, Got The Park (NS vcl) -2, -3

    E-36121-AB In A CafŽ On The Road To Calais (NS vcl) -1, -2

    E-36122-A Loveless Love -1, -2, -3

    Originally recorded for Brunswick. All discographers agree on the date, except M. (24 January). Band is known as The Georgia Syncopators on Melotone label and Missouri Jazz Band on Supertone label (both 78 rpm releases). 36121 remained unreleased until the 1980's when it was released on LP by Fat Cat Jazz. M. and R. go for Pinckney, the French for Plackney. Bechet played a bass (even perhaps a contrabass?) sax in his early days with Sissle, who had arrangements in the 'book' which required it, but the sound here sounds a bit light for that, so I'll go for baritone. At times when the baritone can be heard, 3 other saxes can be heard too, so - although the baritone player achieves no prominence even in the ensemble, and is never heard in solo - I'll go for Bechet on baritone. There is little soprano to be heard except soloing, since Bechet's soprano intonation does not really fit ensemble work with other saxes.

     

     

     

    NOBLE SISSLE AND HIS ORCHESTRA 310421

    Demas Dean, Tommy Ladnier (tpts), Billy Burns (tbn), Sidney Bechet (sop-1/clt-2/bar-3), Rudy Jackson, Ralph Duquesne (sop/alt/clt), Ramon Usera (clt/ten), Lloyd Pinckney (?Floyd Plackney?) (pno), Frank Ethridge (bjo), Edward Coles (bs), Jack Carter (dms), Noble Sissle (vcl). New York, April 21 1931

    E-36644 Basement Blues (NS vcl) -1, -3

    E-36645 Wha'd Ya Do To Me (NS vcl) -2

    E-36646 Roll On, Mississippi, Roll On (NS vcl) -1, -2

    Originally recorded for Brunswick.

     

     

     

    THE NEW ORLEANS FEETWARMERS 320915

    Tommy Ladnier (tpt), Teddy Nixon (tbn), Sidney Bechet (sop-1/clt-2), Hank Duncan (pno), Wilson Myers (bs/vcl), Morris Morand (dms), Billy Maxey (vcl). New York, September 15 1932

    OA73398-1 Sweetie Dear -2

    OA73399-1 I Want You Tonight (BM vcl) -1, -2

    OA73400-1 I've Found A New Baby (mt) -1

    OA73400-2 I've Found A New Baby (am) -1

    OA73501-1 Lay Your Racket (BM vcl) -1

    OA73502-1 Maple Leaf Rag -1

    OA73503-1 Shag (WM vcl) -1

    Originally recorded for Victor. The two takes of 73400 are mentioned by most discographers, although all microgroove and CD releases have the same performance of this title; specifically the RCA Tribune 'Complete' Bechet releases (both LP & CD) do not include a #2.

     

     

     

    NOBLE SISSLE AND HIS INTERNATIONAL ORCHESTRA 340815

    Wendell Culley, Demas Dean, Clarence Brereton (tpts), Chester Burrill (tbn), Sidney Bechet (sop-1/clt-2), James Tolliver, Harvey Boone (alt), Ramon Usera (ten), Oscar Madera (vln), Harry Brooks (pno), Howard Hill (gtr), Edward Coles (bs), Jack Carter (dms), Noble Sissle, Billy Banks, Lavaida Carter (vcls). New York, August 15 1934

    C-9295 Under The Creole Moon (NS vcl)

    C-9296-A The Old Ark Is Moverin' (BB + band vcl)

    C-9297-A Loveless Love (LC vcl) -1

    C-9298-A Polka Dot Rag -1, -2

    Originally recorded for American Decca. Bechet is inaudible on the first 2 titles; one wonders whether he is actually present.

     

     

     

    NOBLE SISSLE AND HIS ORCHESTRA 360311

    Wendell Culley, Demas Dean, Clarence Brereton (tpts), Chester Burrill (tbn), Sidney Bechet (sop-1/clt-2), Chauncey Haughton (clt/alt), Gil White, Jerome Don Pasquall (tens), Oscar Madera (vln), Harry Brooks (pno), Jimmy Miller (gtr), Jimmy Jones (bs), Wilbert Kirk (dms), Noble Sissle, Billy Banks, Lena Horne (vcls). New York, March 11 1936

    60888-A That's What Love Did To Me (LH vcl)

    60889-A You Can't Live In Harlem (BB + band vcl) -1

    60890-A I Wonder Who Made Rhythm (BB vcl)

    60891-B Tain't A Fit Night Out For Man Or Beast (NS vcl) -1

    60892-A I Take To You (LH vcl)

    60893-A Rhythm Of The Broadway Moon (NS vcl) -1, -2

    Originally recorded for American Decca. Bechet is inaudible on 60888, 60890 & 60892; one wonders whether he is actually present.

     

     

    NOBLE SISSLE AND HIS ORCHESTRA 370414

    Wendell Culley, Demas Dean, Clarence Brereton (tpts), Chester Burrill (tbn), Sidney Bechet (sop-1/clt-2), Chauncey Haughton (clt/alt), Gil White, Jerome Don Pasquall (tens), Oscar Madera (vln), Erskine Butterfield (pno), Jimmy Miller (gtr), Jimmy Jones (bs), Wilbert Kirk (dms), Noble Sissle (ldr, vcl).

    New York, April 14 1937

    M-398-1 Bandana Days -1, -2

    M-398-2 Bandana Days -1, -2

    M-399-1 I'm Just Wild About Harry -2

    M-399-2 I'm Just Wild About Harry -2

    M-400-2 Dear Old Southland -1 (NS vcl)

    M-401- *St. Louis Blues

    Originally recorded for Varsity. Per D., the Sissle vocal is excluded from all LP & CD issues, and is known to exist on on D's Vocalion test pressing.

     

     

     

    NOBLE SISSLE'S SWINGSTERS 370416

    Sidney Bechet (sop -1/clt -2), Jimmy Miller (gtr), Jimmy Jones (bs), Wilbert Kirk (dms), Billy Banks (vcl). New York, April 16 1937

    M-406-1 Okey Doke (mt) -1, -2

    M-406-2 Okey Doke (am) -1, -2

    M-407-1 Characteristic Blues (mt) (BB vcl) -2

    M-407-2 Characteristic Blues (am) (BB vcl) -2

    M-407-2 *Characteristic Blues

    Originally recorded for Varsity. The two takes of 406 are identical, but most discographers list both. Details of the unisssued take from D.

     

     

     

    SIDNEY 'POPS' BECHET WITH NOBLE SISSLE'S SWINGSTERS 380210

    Clarence Brereton (tpt), Sidney Bechet (sop -1/clt -2), Gil White (clt/ten), Harry Brooks (pno), Jimmy Miller (gtr), Jimmy Jones (bs), O'Neil Spencer (dms/vcl). New York, February 10 1938

    63263-B Viper Mad (OS vcl) -1

    63264-A Blackstick -1, -2

    63265-A When The Sun Sets Down South (Southern Sunset) -1, -2

    63266-A Sweet Patootie (OS vcl) -1, -2

    Originally recorded for American Decca. These wonderful recordings are really the first recordings under the leadership/control of Bechet, and a significant indication of his skill as a composer. "Sunset" has been voted all-time favorite Bechet recording by a selection of French musicians.

     

     

     

    TRIXIE SMITH 380526A

    Trixie Smith (vcl) accompanied by Charlie Shavers (tpt), Sidney Bechet (clt), Sammy Price (pno), Teddy Bunn (gtr), Richard Fullbright (bs), O'Neil Spencer (dms). New York May 26 1938

    63865 *Lady Be Good

    63866-A Freight Train Blues

    63867-A Trixie's Blues

    63868-A My Daddy Rocks Me Part I

    63869-A My Daddy Rocks Me Part II

    63870-A He May Be Your Man But He Comes To See Me Sometimes

    63871-A Jack I'm Mellow

    63872-A *No Good Man

    63877-A My Unusual Man

    Originally recorded for American Decca. 63865/72 have never been found (information in R. of a release is incorrect); since "No Good Man" was re-recorded by Smith a few weeks later, probably the original recording was never saved. D. gives "Lady Be Good" as 63872 and does not list "No Good Man"

     

     

     

    GRANT & WILSON 380526B

    Coot Grant (Leola B. Wilson) and Kid Wesley 'Sox' Wilson (vcl-duet), accompanied by Charlie Shavers (tpt), Sidney Bechet (clt), Sammy Price (pno), Teddy Bunn (gtr), Richard Fullbright (bs), O'Neil Spencer (dms). New York May 26 1938

    63873-A Uncle Joe

    63874-A I Am A Woman

    63875-A Toot It, Brother Armstrong

    63876-A Blue Monday On Sugar Hill

    Originally recorded for American Decca. 63874 remained unreleased for some 40 years, until it appeared on a Time-Life box set dedicated to Bechet. 63875 also remained unreleased for a similar length of time, except for a few pressings of the original Decca 78 rpm release where it erroneously replaced 63876. Note that Bechet plays clarinet only throught sessions 680526A and B.

     

     

     

    JAM SESSION FOR B.B.C. 381105

    Sidney Bechet (sop), Joe Bushkin (pno), Carmen Mastren (gtr), Art Shapiro (bs), Zutty Singleton (dms). Radio broadcast, St Regis Hotel. New York, November 5 1938

    China Boy

    Marty Marsala (cnt), Pee Wee Russell, Joe Marsala (clts), Sidney Bechet (sop), Bud Freeman (ten), Jess Stacy (pno) Eddie Condon (gtr), Art Shapiro (bs), Zutty Singleton (dms). Same location & date.

    You took Advantage Of Me

    Bechet's first extant 'live' recording was a radio broadcast of a concert relayed to the BBC in London. He is heard only briefly on the second title.

     

     

     

    SIDNEY BECHET AND HIS ORCHESTRA 381106

    Sidney Bechet (sop-1/clt-2), Ernie Caceres (bar), Dave Bowman (pno), Leonard Ware (el-gtr), Henry Turner (bs), Zutty Singleton (dms), "Two Fishmongers" (vcl). New York, November 6 1938

    M-924-1 What A Dream -1

    M-924-2 What A Dream -1

    M-925-1 Hold Tight (TF vcl) -2

    M-925-2 Hold Tight (TF vcl) -2

    M-926-1 Jungle Drums -1

    M-927-1 Chant In The Night -1

    Originally recorded for Vocalion. Bechet's recordings around this time with Morton, Ladnier etc. place him firmly in a 'traditional' style, but this highly interesting session - only the second truly under his own leadership - is quite different and includes the innovative use of an amplified guitar, and no 'warhorses'.

     

     

     

    TOMMY LADNIER AND HIS ORCHESTRA 381128

    Tommy Ladnier (tpt), Sidney Bechet (sop-1/clt-2), Mezz Mezzrow (clt/ten-3), Cliff Jackson (pno), Teddy Bunn (gtr), Elmer James (bs), Manzie Johnson (dms). New York, November 28 1938

    030318-1 Ja-Da -1, -2, -3

    030319-1 Really The Blues -1, -2

    030320-1 When You And I Were Young, Maggie -1, -2, -3

    030321-1 Weary Blues -2

    Originally recorded for Bluebird (Victor, now BMG), and supervised by Hugues PanassiŽ.

     

     

     

    THE NEW ORLEANS FEETWARMERS 381223

    Tommy Ladnier (tpt), Dan Minor (tbn), Sidney Bechet (sop -1/clt -2), James P. Johnson (pno), Walter Page (bs), Jo Jones (dms). Concert, Carnegie Hall New York, December 23 1938

    Weary Blues -2

    I Wish I Could Shimmy Like My Sister Kate -1

    Panama -1

    Recordings from the "Spirituals to Swing" concert, originally released on John Hammond's Vanguard label, except "Panama" first released on French MŽdia 7 CD MJCD60.

     

     

     

    MOON OVER HARLEM 390000

    SIDNEY BECHET AND HIS CLARINET (per film credits)

    Sidney Bechet (sop -1, clt -2, speech) with Orchestra conducted by Donald Heywood.

    New York, early 1939

    *unknown -2

    *Liza -2

    Blues Request -1, -2 (SB speak)

    This (pretty awful) film (directed by Edward G. Ulmer) about gangsters, love and the variety of people living under the Harlem moon, includes Bechet and his wife Marieluise (sic) in acting roles. Bechet speaks 2 lines: "The lady made a request for it" and "The man said to play the blues". He is seen playing the above titles at a wedding, although this is not synchronized with the soundtrack which features him with (per the publicity information) a 60-piece orchestra. The music is rarely audible behind the dialogue. A small excerpt of the "Blues" was first released on French MŽdia 7 CD MJCD60.

     

    CHRISTOPHER COLUMBUS AND HIS SWING CREW

    Sidney Bechet (sop) with unknown band, including Columbus (dms), and unknown male and female vocalists.

    *Teach Me To Sing Again (2 x vcl)

    Save Some Of Those Kisses For Me (male vcl)

    As part of the same film "Teach Me" is performed on-stage. Bechet is heard on the soundtrack, but does not form part of the on-screen band. The male vocalist seems to be white, the female light-skinned (but negro). "Save Some" is used behind dialogue, and was first released on French MŽdia 7 CD MJCD60.

     

     

     

    THE NEW ORLEANS FEETWARMERS 390300

    Jabbo Smith (tpt), Sidney Bechet (sop), Billy Bowen (alt), Walter Blount (ten), Clarence Kaiser (pno), Joe Brown (bs), Bill Casey (dms), Eva Sharpe (vcl). New York, Spring 1939

    I Got Rhythm #1

    I Got Rhythm #2

    Test for Baldwin records, first released on French MŽdia 7 CD MJCD60. Neither lyrics nor theme of "IGR" is sung/played.

     

     

     

    SIDNEY BECHET QUINTET 390608A

    Sidney Bechet (sop), Meade Lux Lewis (pno), Teddy Bunn (gtr), Johnny Williams (bs), Sid Catlett (dms).

    New York, June 8 1939

    GM533-13 Summertime

     

     

     

    PORT OF HARLEM SEVEN 390608B

    Frankie Newton (tpt), J.C. Higginbotham (tbn), Sidney Bechet (sop-1/clt-2), Meade Lux Lewis (pno), Teddy Bunn (gtr), Johnny Williams (bs), Sid Catlett (dms). New York, June 8 1939

    GM532-12 Blues For Tommy (Ladnier) -1

    GM536-11 Pounding Heart Blues -2

    Originally recorded for Blue Note. No additional takes were discovered for inclusion in the Mosaic box set. Most discographers give "Summertime" as #14, however the above is based on research published with the Mosaic box set. Only one performance is known.

     

     

     

    JELLY ROLL MORTON'S NEW ORLEANS JAZZMEN 390914

    Sidney De Paris (tpt), Claude Jones (tbn/speak), Albert Nicholas (clt), Sidney Bechet (sop), Happy Cauldwell (ten), Jelly Roll Morton (pno/vcl), Laurence Lucie (gtr), Wellman Braud (bs), Zutty Singleton (dms/speak). New York, September 14 1939

    041456-1 Oh, Didn't He Ramble? (CJ speak) (mt)

    041456-2 Oh, Didn't He Ramble? (ZS speak) (am)

    041457-1 High Society

    041458-1 I Thought I Heard Buddy Bolden Say (JRM vcl)

    041459-1 Winin' Boy Blues (JRM vcl) (am)

    041459-2 Winin' Boy Blues (JRM vcl) (mt)

    Originally recorded for Bluebird (Victor, now BMG).

     

     

     

    THE HAITIAN ORCHESTRA 391122

    Kenneth Roane (tpt), Sidney Bechet (sop-1/clt-2), Willie 'the Lion' Smith (pno), Olin Alderhold (bs), Leo Warney (dms). New York, November 22 1939

    B 570-1 Magic Islands - Meringue -2

    B 571-1 Mayotte - Meringue -2

    B 572-1 Rosa Rhumba -1

    B-573-1 Sous Les Palmiers - Meringue -2

    B-574 *Danse Ensemble

    B-575-1 Colonel Bogey - March -1

    B-576-1 Diane (Tropical Mood - Rhumba) -2

    B-577-1 Nana (Baba - Rhumba) -1

    B-578 Original Haitian Music no. 1 -1

    B-579 Original Haitian Music no. 2 -1

    B-580 Original Haitian Music no. 3 -1

    B-581 Ti Ralph -2

    B 582 Meringue D'Amour -1

    B 583 Original Haitian Music no. 4 -1

    Originally recorded for Baldwin; the above information is based on correspondence from My., who had access to the original Baldwin 'contract sheet'. This is the most complex of Bechet's sessions to decipher. The titles and matrix numbers are those from the Baldwin documentation.

    Even the band style is open to conjecture: On Baldwin releases, it is just: "Original Haitian Music"; On the Varsity label (most of the above were first released on Varsity), it is "Willie (The Lion) Smith - Sidney Bechet Orchestra (Leo Warney at the drums)". On LP issue on Belfort, it is "Sidney Bechet, Willie The Lion Smith, Leo Warney & his Orchestre" (sic).

    In principle, there are 14 tracks, one of which seems never to have been released, although other matrices in the above have been released with the title "Danse Ensemble". There are a number of other names/titles applied to the above matrices, but only 13 different recordings have ever been released. Below (per My.) are the titles as listed on the Baldwin contract sheet:

    B 570-1 Meringue des Centraliers

    B 571-1 Mayotte

    B 572-1 Rose Rumba

    B-573-1 Sous Les Palmiers

    B-574 Danse Ensemble

    B-575-1 ‚a Pique ˆ Haiti

    B-576-1 Diane

    B-577-1 Nana

    B-578 ‚e Nous Mme

    B-579 Titte Chatte

    B-580 La Belle Germaine

    B-581 Ti Ralph

    B 582 Meringue D'Amour

    B 583 Danses De Chez Nous

     

     

     

    SIDNEY BECHET & HIS NEW ORLEANS FEETWARMERS 391125

    Sidney Bechet (sop -1/clt -2/vcl), Sonny White or Don Frye (pno), Stubby Sebastian (bs) or Wilson Myers (bs/vcl), Kenny Clarke (dms/vibes), u/k?(vcl). Fonda, New York, November 25 1939

    Dear Old Southland -1

    Blues (SB vcl) -1

    Fonda Blues (SB vcl) -1, -2

    Medley: What's New/To You (u/k vcl) -1

    Bugle Call Rag -1

    The Sheik Of Araby (KC vibes) -1, -2

    Bugle Call Rag -1

    Limehouse Blues -1

    Pop It (false start x 3)

    Pop It (KC vibes, u/k vcl) -1, -2

    The two Bechet vocals on the blues are known as "Sidney's Blues" on the Bluebird session of February 5 1940. Originally released on LP by French Vogue Nec Plus Ultra 502001. See 400121 re: pianist and 391230 re: bass/vocal.

     

     

     

    SIDNEY BECHET & HIS NEW ORLEANS FEETWARMERS 391230

    Sidney Bechet (sop -1/clt -2), Sonny White (pno), Charlie Howard (elec-gtr), Stubby Sebastian (bs) or Wilson Myers (bs/vcl), Kenny Clarke (dms), u/k?(vcl). Fonda, New York, December 30 1939

    Blues -1, -2

    Mood Indigo -2

    Big Wig In The Wigwam (u/k vcl) -1

    At The Log Cabin (u/k vcl) -1

    *Stardust

    *South Of The Border

    These two entries were private recordings made by John D. Reid, and undoubtedly used to persuade Victor to bring Bechet under contract. Four titles originally released on LP by French Vogue Nec Plus Ultra 502001 ("Blues", "Indigo" and "Wigwam") and 502013 ("Cabin"). Z. (MŽdia 7 CD MJCD76) suggests Myers as possible vocalist (& therefore bassist) here and on 391125, although John Reid's notes say differently (and he would have known Myers). Information on the unreleased titles from My. & D.

     

    These last two entries in the 1930's section belong musically to the early recordings of the next decade.

     

    The 1940's

     

    SIDNEY BECHET & HIS NEW ORLEANS FEETWARMERS 400121

    Sidney Bechet (sop -1/clt -2/vcl), Don Frye or Sonny White (pno), Charlie Howard (elec-gtr), Wilson Myers (bs/vcl), Manzie Johnson (dms). Glovesville, New York, January 21 1940

    One O'Clock Jump (#1) -2

    One O'Clock Jump (#2) -2

    Preachin' Blues (WM vcl) -1

    St. Louis Blues -2

    Indian Summer -1

    Sidney's Blues (SB/WM vcl) -1

    Again, private recordings made by John D. Reid; this session - a 'rehearsal' for the Bluebird date two weeks later - originally released on LP by French Vogue Nec Plus Ultra 502013. Philippe Baudouin (MŽdia 7 CD MJCD76) suggests White here and Frye on 391125, although John Reid's notes say the opposite.

     

     

     

    SIDNEY BECHET & HIS NEW ORLEANS FEETWARMERS 400205

    Sidney Bechet (sop -1/clt -2/vcl), Sonny White (pno), Charlie Howard (elec-gtr), Wilson Myers (bs/vcl), Kenny Clarke (dms). New York, February 5 1940

    046832-1 Indian Summer -1

    046832-2 *Indian Summer -1

    043833-1 One O'Clock Jump -2

    043833-2 *One O'Clock Jump -2

    046834-1 Preachin' Blues (WM vcl) -1

    046834-2 Preachin' Blues (WM vcl) -1

    046835-1 Sidney's Blues (SB vcl) -2

    046835-2 Sidney's Blues (SB vcl) -2

    Originally recorded for Bluebird (Victor, now BMG). M. & Z. list the unissued takes, but these did not figure in the RCA "Jazz Tribune" release of all Bechet's Bluebird/Victor recordings. My. listed unnumbered alternates as issued on French RCA LP 730.593, but this seems unlikely.

     

     

     

    JOSH WHITE TRIO 400307

    Josh White (gtr/vcl), accompanied by Sidney Bechet (sop -1/clt -2), Wilson Myers (bs).

    New York, March 7 1940

    RS671A Careless Love (Blues) -2

    RS672 Milk Cow Blues -1, -2

    Originally recorded for Blue Note. No unreleased takes found for inclusion on the Mosaic box set.

     

     

     

    SIDNEY BECHET BLUE NOTE QUARTET 400327

    Sidney Bechet (sop-1/clt-2), Teddy Bunn (gtr), George 'Pops' Foster (bs), Sid Catlett (dms).

    New York, March 27 1940

    RS709B Lonesome Blues -2

    RS710A Dear Old Southland -1

    RS711A Bechet's Steady Rider -2

    RS712A Saturday Night Blues -2

    Originally recorded for Blue Note. No unreleased takes found for inclusion on the Mosaic box set. Bechet's second pianoless date (first ' 370416 for Varsity), and there were more to follow......

     

     

     

    BECHET-SPANIER BIG FOUR 400328

    Muggsy Spanier (cnt), Sidney Bechet (sop -1/clt -2), Carmen Mastren (gtr), Wellman Braud (bs). New York, March 28 1940

    R2773 Four Or Five Times -1, -2

    R2774 Sweet Lorraine -1, -2

    R2775 Lazy River -1, -2

    R2776-1 China Boy (mt) -2

    R2776-2 China Boy (am) -2

    Originally recorded for HRS (Hot Record Society).

     

     

     

    BECHET-SPANIER BIG FOUR 400406

    Muggsy Spanier (cnt), Sidney Bechet (sop -1/clt -2), Carmen Mastren (gtr), Wellman Braud (bs). New York, April 6 1940

    R2801-1 If I Could Be With You -1, -2

    R2802-1 *That's A Plenty (am)

    R2802-2 That's A Plenty (mt) -1, -2

    R2802-3 That's A Plenty (am) -1, -2

    R2803-1 *Squeeze Me

    R2803-2 *Squeeze Me

    R2803-3 Squeeze Me -1

    R2804-1 *Sweet Sue Just You

    R2804-2 Sweet Sue Just You -1

    Originally recorded for HRS (Hot Record Society). M., T. & Z. all give the unissued 2802-1, and T. & Z. unissued 2803-1 and -2. Unissued 2804-1 from D.

     

     

     

    SIDNEY BECHET AND VOCALISTS 400517

    Sidney Bechet (sop), unknown male & female vocalists. Philadelphia May 17 1940

    Ain't Misbehavin'

    A track from the John D. Reid Archives from The University of Arkansas, first released on French MŽdia 7 CD MJCD 100. Nothing further is known about the vocalists, and the performance is rather 'amateur', with two false starts, one incomplete take, and a lot of laughing.

     

     

     

    LOUIS ARMSTRONG AND HIS ORCHESTRA 400527

    Louis Armstrong (tpt/vcl), Claude Jones (tbn), Sidney Bechet (sop -1/clt -2), Luis Russell (pno), Bernard Addison (gtr), Wellman Braud (bs), Zutty Singleton (dms). New York, May 27 1940

    67817-A Perdido Street Blues -1, -2

    67818-A 2.19 Blues (LA vcl) -1, -2

    67819-A Down In Honky Tonk Town (mt) -1

    67819-B Down In Honky Tonk Town (am) -1

    omit Jones, Russell & Singleton; same session.

    67820-A Coal Cart Blues (LA vcl) -1

    This (in)famous session was originally recorded for American Decca. Most discographers after M. list unissued alternates: 67817-B, 67818-B, and 67820-B -C and -D. However, the only alternate performance ever to come to light is on 67819. Note that "Coal Cart" is not - as was often thought - a re-creation of a 1925 recording of that title with Eva Taylor & Clarence Williams, since Bechet was not present on that session (October 8 1925).

     

     

     

    SIDNEY BECHET AND HIS NEW ORLEANS FEETWARMERS 400604

    Sidney De Paris (tpt), Sandy Williams (tbn), Sidney Bechet (sop -1/clt -2/vcl) Cliff Jackson (pno), Bernard Addison (gtr), Wellman Braud (bs), Sid Catlett (dms). New York, June 4 1940

    051222-1 Shake It And Break It (mt) -1

    051222-2 Shake It And Break It (am) -1

    051223-1 Old Man Blues (mt) -1

    051223-2 Old Man Blues (am) -1

    051224-1 Wild Man Blues (mt) -2

    051224-2 Wild Man Blues (am) -2

    051225-1 Nobody Knows The Way I Feel Dis Mornin' -1, -2

    omit De Paris, Williams & Addison; same session

    051226-1 Make Me A Pallet On The Floor (SB vcl) -1

    Originally recorded for Bluebird (Victor, now BMG).

     

     

     

    GEORGE BAQUET'S SWINGSTERS 400617

    George Baquet (clt), Sidney Bechet (sop), Billy Carter (pno), u/k (gtr), Harold Holmes (bs), Shorty Williams (dms). Philadelphia, June 17 1940

    Blues With Bechet

    Originally recorded privately by John D. Reid, and first released on CD on American Music AMCD-44. A very respectful (to his old mentor) Bechet is not present on other titles recorded on the same occasion: "Blues", "Back To Bak" and "Nighthawk Shuffle".

     

     

     

    SIDNEY BECHET 400699

    Sidney Bechet (clt/sop/pno) Philadelphia, June 1940

    Time On My Hands

    Also from the John D. Reid collection, and first released on French MŽdia 7 CD MJCD 100 (except 1 take as below). His first attempt at a multi-recording does not go well, but provides experience for the more successful 'official' Victor date. There are several breakdowns/false starts, 2 completed sop-pno 'takes' and a completed one with all 3 instruments(MJCD 127). Surprisingly, Bechet picks a title he never recorded otherwise, and there is no known 'live' performance of it either.

     

     

    SIDNEY BECHET & THE CHAMBER MUSIC SOCIETY OF LOWER BASIN STREET 400728

    Sidney Bechet (sop), accompanied by Henry 'Hot Lips' Levine (tpt), Jack Epstein (tbn), Alfred Evans (clt), Rudy Adler (ten), Mario Janarro (pno), Tony Collucci (gtr), Harry Patent (bs), Nat Levine (dms). Radio Broadcast. New York, July 28 1940

    Shake It And Break It

    St. Louis Blues

     

     

     

    SIDNEY BECHET AND HIS TRIO 400906A

    Sidney Bechet (clt), Earl Hines (pno), Warren 'Baby' Dodds (dms). Chicago, September 6 1940

    053431-2 Blues in Thirds

     

     

     

    SIDNEY BECHET AND HIS NEW ORLEANS FEETWARMERS 400906B

    Rex Stewart (cnt), Sidney Bechet (sop -1/clt -2), Earl Hines (pno), John Lindsay (bs), Warren 'Baby' Dodds (dms), Herb Jeffries (vcl). Chicago, September 6 1940

    053432-1 Blue For You Johnny (HJ vcl) (mt) -2

    053432-2 Blue For You Johnny (am) -2

    053433-1 Ain't Misbehavin' (am) -1, -2

    053433-2 Ain't Misbehavin' (mt) -1, -2

    053434-1 Save It Pretty Mama -1, -2

    053435-1 Stompy Jones -1

    Originally recorded for Victor (now BMG). Note that 53432-2 is an instrumental, taken at an entirely different tempo from #1.

     

     

     

    PROFESSOR SIDNEY BECHET WITH DR. HENRY LEVINE AND HIS BAREFOOTED DIXIELAND PHILHARMONICS 401111

    Sidney Bechet (sop), accompanied by Henry 'Hot Lips' Levine (tpt), Jack Epstein (tbn), Alfred Evans (clt), Rudy Adler (ten), Mario Janarro (pno), Tony Collucci (gtr), Harry Patent (bs), Nat Levine (dms). New York, November 11 1940

    057618-1 Muskrat Ramble

    Originally recorded for Victor (now BMG).

     

     

     

    SIDNEY BECHET AND HIS NEW ORLEANS FEETWARMERS 410108

    Henry 'Red' Allen (tpt), J.C. Higginbotham (tbn), Sidney Bechet (sop -1/clt -2), James Tolliver (pno),Wellman Braud (bs), J.C. Heard (dms). New York, January 8 1941

    058776-1 Coal Black Shine -2

    058777-1 Egyptian Fantasy -2

    058778-1 Baby, Won't You Please Come Home -1

    058779-1 Slippin' And Slidin' -1

    Originally recorded for Victor (now BMG).

     

     

     

    SIDNEY BECHET & THE CHAMBER MUSIC SOCIETY OF LOWER BASIN STREET 410317

    Sidney Bechet (sop), accompanied by Henry 'Hot Lips' Levine (tpt), Jack Epstein (tbn), Alfred Evans (clt), Rudy Adler (ten), Mario Janarro (pno), Tony Collucci (gtr), Harry Patent (bs), Nat Levine (dms). Radio Broadcast. New York, March 17 1941

    Shim-me-sha-wabble

    Blues

    *Kerry Dancers

    Sidney Bechet (pno). same location & date

    Blues

    Items from the John D. Reid collection; "Shim-me" is first released on LP by Vogue Nec Plus Ultra 502013, the two "Blues" on French CD MŽdia7 MJCD 127. "Kerry" is listed in the Reid collection at Arkansas University, but has not been located.

     

     

    SIDNEY BECHET'S ONE-MAN BAND 410418

    Sidney Bechet (sop/clt/ten/pno/bs/dms) (multi-track recording)

    New York, April 18 1941

    063785-1 *The Sheik Of Araby

    063785-2 *The Sheik Of Araby

    063785-3 *The Sheik Of Araby

    063785-4 The Sheik Of Araby

    063786-? Blues of Bechet (ten/pno only)

    063786-1 Blues of Bechet (no bs/dms)

    Originally recorded for Victor (now BMG). All discographers after M. list the different takes of "Sheik", although RCA and MŽdia7 include only one in their 'Complete' releases. Per D., takes #1-#4 all have the 6 instruments, and takes 3 & 4 are "similar". The ? take of "Blues" was first released on French CD MŽdia7 MJCD 127 and contains the first two instruments to be recorded, so the first dubbed take. Studio time ran out, leaving no time to include bass & drums on the "Blues".

     

     

     

    SIDNEY BECHET AND HIS NEW ORLEANS FEETWARMERS 410428

    Gus Aiken (tpt), Sandy Williams (tbn), Sidney Bechet (sop), Lem Johnson (ten), Cliff Jackson (pno), Wilson Myers (bs), Arthur Herbert (dms). New York, April 28 1941

    063823-1 Swing Parade (mt)

    063823-2 Swing Parade (am)

    063824-1 I Know That You Know (mt)

    063824-2 I Know That You Know (am)

    063824-3 I Know That You Know (am)

    063825-2 When It's Sleepy Time Down South

    063826-1 I Ain't Gonna Give Nobody None Of This Jelly Roll (mt)

    063826-1 I Ain't Gonna Give Nobody None Of This Jelly Roll (am)

    Originally recorded for Victor (now BMG). M., followed by T. allocates 823 to "I Know..." and 824 to "Swing Parade". In addition, M., followed by T. & Z., gives a 063825-1, but RCA on their 'Complete' Jazz Tribune release confirm that this is identical to -2.

     

     

     

    SIDNEY BECHET AND HIS NEW ORLEANS FEETWARMERS 410913A

    Charlie Shavers (tpt), Sidney Bechet (sop -1/clt -2), Willie 'The Lion' Smith (pno), Everett Barksdale (elec-gtr), Wellman Braud (bs), Manzie Johnson (dms). New York, September 13 1941

    067791-1 I'm Coming Virginia (am) -1

    067791-2 I'm Coming Virginia (mt) -1

    067792-1 Limehouse Blues -1

    067793-1 Georgia Cabin (mt) -1

    067793-2 Georgia Cabin (am) -1

    067794-1 Texas Moaner Blues (mt) -1, -2

    067794-2 Texas Moaner Blues (am) -1, -2

     

     

    SIDNEY BECHET TRIO 410913B

    Sidney Bechet (sop), Willie 'The Lion' Smith (pno), Everett Barksdale (elec-gtr).

    New York, September 13 1941

    067795-1 Strange Fruit

    067796-1 You're The Limit (mt)

    067796-2 You're The Limit (am)

    Originally recorded for Victor (now BMG).

     

     

     

    SIDNEY BECHET AND HIS NEW ORLEANS FEETWARMERS 411014

    Henry Goodwin (tpt/vcl), Vic Dickenson (tbn/vcl), Sidney Bechet (sop), Don Donaldson (pno), Ernest Williamson (bs), Manzie Johnson (dms). New York, October 14 1941

    066784-1 Rip Up The Joint (VD + band vcl)

    066785-1 Suey (VD vcl)

    066785-2 Suey (VD vcl)

    066786-1 Blues In The Air (mt)

    066786-2 Blues In The Air (am)

    066787-1 The Mooche (am)

    066787-2 The Mooche (mt)

    066788-1 Laughin' In Rhythm (VD, HG + band vcls)

    Originally recorded for Victor (now BMG). Goodwin's vocal contribution is to laugh.

     

     

     

    SIDNEY BECHET AND HIS NEW ORLEANS FEETWARMERS 411024

    Charlie Shavers, Sidney Bechet (sop -1/clt -2), Willie The Lion Smith, Everett Barksdale, Wellman Braud (bs), Sid Catlett (dms). New York, October 24 1941

    068112-1 Twelfth Street Rag (mt) -2

    068112-2 Twelfth Street Rag (am) -2

    068113-1 Mood Indigo (am) -2

    068113-2 Mood Indigo (mt) -2

    068114-1 Rose Room -1

    068115-1 Lady Be Good (mt) -1

    068115-2 Lady Be Good (am) -1

    068116-1 What Is This Thing Called Love (mt) -1

    068116-2 What Is This Thing Called Love (am) -1

    Originally recorded for Victor (now BMG).

     

     

     

    SIDNEY BECHET & ORCHESTRA 420824A

    Henry Goodwin (tpt), Sandy Williams (tbn),Sidney Bechet (sop), Don Donaldson (pno), Ernest Williamson (bs), Gerard Hobson (dms).Dance, Allaben Acres @ Camp Unity. New York August 24-27 1942

    Embraceable You

    Medley:Georgia Cabin/I Gotta Right to Sing the Blues

    Honeysuckle Rose

    Bugle Call Rag

    Royal Garden Blues

    That's A Plenty

    *Summertime

    *St. Louis Blues

    Details of the band style from a printed hand-out from Allaben Acres (note spelling not Allobon as per some details). These recordings come from the John Reid collection @ Arkansas University, originally released on LP by Vogue Nec Plus Ultra 502013. Information re: unreleased items from Z. (but not confirmed in correspondence from My., who had visited Arkansas).

     

     

     

    SIDNEY BECHET 420824B

    Sidney Bechet (sop/speech). Camp Unity, New York, August 24-27 1942

     

    Bechet's spoken message to Bunk

    Maple Leaf Rag (unaccompanied soprano sax solo)

    Baby I'd Love To Steal You (unaccompanied soprano sax solo)

    Weary Blues

    These items were recorded on a portable machine by Mary E. Karoley, and are also from the John Reid collection @ Arkansas University, released on CD by American Music (AMCD-44). The message to Bunk is in reply to the one to Bechet & Armstrong recorded by Bunk on February 2 1942. "Weary Blues" has Bechet playing along with a recording of Bunk's unaccompanied trumpet solo from that date.

     

     

     

    SIDNEY BECHET 420827

    Sidney Bechet (pno/vcl). Allaben Acres @ Camp Unity. New York August 27 1942

    *The Negro Rhapsody (The Voice of the Slaves)

    *Diggin' From The Bottom

    *This Is That Tomorrow That I Dreaded Yesterday

    More John Reid recordings; Bechet had written & published his Negro Rhapsody in Germany in 1928; some of its themes are recorded here, as he worked on the same thematic material. The same material was later used to create the ballet "La Colline du Delta" as recorded by Claude Luter after Bechet's death.

     

     

     

    SIDNEY BECHET 431113

    Sidney Bechet (whistling), unknown (pno), unknown (dms). Private Party @ Mrs. Gertrude Englander's house. Mount Healthy, Ohio, November 13 1943

    *Haydn's Toy Symphony

    *Haydn's Toy Symphony

    These & the following Ohio recordings made by John Reid; information from D.

     

     

     

    SIDNEY BECHET 431115

    Sidney Bechet (pno). Mount Healthy, Ohio, November 15 1943

    *The Blues

    Recorded at the home of Mary E. Karoley, as are all the other Ohio recordings from this week; information from D.

     

     

     

    SIDNEY BECHET 431117

    Sidney Bechet (clt-1, pno-2). Mount Healthy, Ohio, November 15 1943

    *Clarinet Blues -1 (incomplete)

    *Piano Blues -2 (incomplete)

    *Piano Blues -2 (incomplete)

    *Boogie -2 (incomplete)

    *Clarinet Blues -1 (incomplete)

    Information from D., who identifies the blues items as "My Woman's Blues" (see 470731)

     

     

    SIDNEY BECHET 431119A

    Sidney Bechet (pno-1, speaking-2), John D. Reid (speaking-3). Mount Healthy, Ohio, November 15 1943

    *Conversation about New Orleans bands & men -2, -3

    *Voodoo Dance -1, -2

    *To-Wa-Bac-A-Wa -1, -2

    *I Don't Know Where I'm Going -1, -2

    *I Wish I Was In Heaven Sitting Down -1, -2

    *When A Fellow Needs A Friend -1

    *New Ballet (Negro Rhapsody) -1

    *Inside The Windmill -1

    Information from D., who identifies the last three themes above by better-known titles: "Without A Home" ("When a Fellow..."), "Delta Mood" ("New Ballet") and "The Broken Windmill" ("Inside the Windmill")

     

     

     

    SIDNEY BECHET 431119B

    Sidney Bechet (sop-1/clt-2/ten-3/pno-4/bs-5/dms-6). Mount Healthy, Ohio, November 19 1943

    *The Sheik Of Araby -3

    *The Sheik Of Araby -3

    *The Sheik Of Araby -3, -5

    *The Sheik Of Araby -3, -4, -5

    *The Sheik Of Araby -3, -5, -6

    *The Sheik Of Araby -1, -3, -4, -5, -6

    *The Sheik Of Araby -1, -3, -4, -5, -6

    *The Blues -1, -4

    *The Blues -3

    *The Blues -2, -4

    Multitrack recordings; all information from D.

     

     

     

    SIDNEY BECHET 431120

    Sidney Bechet (sop-1/clt-2/pno-3) Mount Healthy, Ohio, November 20 1943

    *Boogie Clarinet -2, -3

    *Boogie Soprano -1, -3

    *Humoresque (?)

    Also multitrack recordings ; it is not known which instrument(s) Bechet plays on "Humoresque". All information from D.

     

     

     

    SIDNEY BECHET & HIS NEW ORLEANS FEETWARMERS 431209

    Vic Dickenson (tbn), Sidney Bechet (sop/speech), Don Donaldson (pno), Wilson Myers (bs), Wilbert Kirk (dms). New York December 9 1943

    VP536 After You've Gone

    VP537 V-Disc Blues (Bugle Call Rag/Ole Miss)

    JP332 Bechet Parades The Blues (St. Louis Blues) (SB speak)

    *Medley of Parodies: Dear Mom/Tangerine/Nagasaki

    These were V-Disc recordings, since the AFM ban on all commercial recordings was still in effect (from August 1 1942); all the Victor re-issues include JP332 without a spoken introduction by SB, which however has been released.

     

     

     

    TALKING RECORDS 440600

    Discussions with John D. Reid, Bechet, Manuel Perez, 'Big Eye' Louis Nelson, Alphonse Picou & Willie Santiago. New Orleans, June 1944. Originally released on compact disc on American Music AMCD-44. This session was organized by John D. Reid; the recordings are from the John Reid collection @ Arkansas University.

     

     

     

    SIDNEY BECHET 440614

    Sidney Bechet (pno). New Orleans, June 14 1944

    *Blues (incomplete)

    *I Keep Calling Your Name (incomplete)

    Further John D. Reid recordings; information from D. "Name", originally credited to Bechet and Paul Barbarin, will turn up later in the 1950's as "En Attendant le Jour" (credited to Bechet only).

     

     

     

    NEW ORLEANS PIONEERS 440624

    Peter Bocage (tpt), 'Big Eye' Louis Nelson, Alphonse Picou (clts), Sidney Bechet (pno), Louis Keppard (gtr), George 'Pops' Foster (bs), Paul Barbarin (dms). New Orleans, June 24 1944

    Blues

    Egyptian Fantasy #1

    Egyptian Fantasy #2

    Bechet's first New Orleans recordings are on piano! Originally released on American Music CD AMCD-44, the session was organized by John D. Reid; recordings are from the John Reid collection @ Arkansas University. Bechet replaces Walter Decou (who plays on other titles from this informal session: "Panama", "Bucket Got A Hole In", "Olympia Rag", "Sister Kate" and "High Society").

     

     

     

    SIDNEY BECHET 441000

    Siney Bechet (sop), unknown (pno), unknown (dms), unknown (vcl). Private party ? @ home of Paul Eduard Miller. Chicago, October 1944

    *Is You Is Or Is You Ain't My Baby

    *Embraceable You

    *I Cried For You

    Information from D.

     

     

     

    SIDNEY BECHET & HIS TRIO 441008

    Sidney Bechet (sop-1/clt-2), Max Miller (pno), Ken Smith (dms). Private party @ home of Paul Eduard Miller. Chicago October 8 1944

    *Blues at Sunrise -2

    *Blues at Moonrise -1

    *Liberty Street Stomp

    *Carmen Avenue Special No. 1

    *Besame Mucho

    "Liberty" is identified as "Perdido Street Stomp" by D., who also indicates the 'private' location.

     

     

     

    SIDNEY BECHET 441099

    Sidney Bechet (pno/vcl). Mrs. Alma Molsby's house. Chicago c. October 1944

    *To-Wa-Bac-A-Wa

    John D. Reid recording; info from D.

     

     

    EDDIE CONDON BLUE NETWORK SHOW 441216

    Max Kaminsky, Billy Butterfield, Bobby Hackett (tpts), Jack Teagarden (tbn) Pee Wee Russell (clt), Sidney Bechet (sop), Ernie Caceres (bar), Gene Schroeder (pno), Sid Weiss (bs), Johnny Blowers (dms). Radio broadcast, Ritz Theatre. New York December 16 1944

    Impromptu Ensemble (Christmas at Carnegie)

     

    Bechet with Schroeder, Weiss & Blowers only. Same location & date.

    China Boy

    Bechet does not play on other items from this broadcast: "Ballin' The Jack", "The Sheik Of Araby", "There's A Small Hotel", "Royal Garden Blues" and "Wherever There's Love".

    Bechet's first appearance on Eddie Condon's radio shows, normally referred to as the 'Town Hall Concerts' although many of the later ones were broadcast from the Ritz Theatre. "China Boy" is dedicated to Rod Cless, who died 8 days earlier. Condon says "it's good to have Sidney back", but , as far as is known, this is his first appearance! These were not 'AFRS broadcasts', although many of the broadcasts were transcribed by the American Forces Radio Service and the resulting discs distributed through their network. Following Bozy White's method, the 'jam session' number which normally closed the broadcast is referred to always as "Impromptu Ensemble", although some items have been released with alternative titles, as above.

     

     

     

    SIDNEY BECHET & HIS BLUE NOTE JAZZMEN 441220

    Sidney de Paris (tpt), Vic Dickenson (tbn), Sidney Bechet (sop-1/clt -2), Art Hodes (pno), George 'Pops' Foster (bs), Manzie Johnson (dms). New York December 20 1944

    BN206-1 St Louis Blues -2

    BN207-0 Jazz Me Blues (am) -2

    BN207-3 Jazz Me Blues (mt) -2

    BN208-0 Blue Horizon -2

    BN209-0 Muskrat Ramble -1

    Originally recorded for Blue Note. 207-0 was discovered for release on the complete Bechet/Blue Note recordings on Mosaic. No reference to BN205 in discographies.

     

     

     

    CLIFF JACKSON'S VILLAGE CATS 441221

    Sidney de Paris (tpt), Wilber de Paris (tbn), Sidney Bechet (sop -1/clt -2), Gene Sedric (clt/ten), Cliff Jackson (pno), Everett Barksdale (elec-gtr), Wellman Braud (bs), Eddie Dougherty (dms), unknown (vcl). New York December 21 1944

    BW43 Walking And Talking To Myself (u/k vcl) -1, -2

    BW44 Quiet Please -1

    BW45 Cliff's Boogie Woogie -1

    BW46 Jeepers Creepers -2

    Originally recorded for Black & White. Often re-issued under Bechet's name, and once used to promote petrol! Bechet is definitely not the vocalist, despite Mauerer's assertion; D. suggests Sedric.

     

     

     

    EDDIE CONDON BLUE NETWORK SHOW 441230

    Max Kaminsky (tpt), Benny Morton (tbn), Pee Wee Russell (clt), Sidney Bechet (sop), Ernie Caceres (bar), Jess Stacy (pno), Jack Lesberg (bs), George Wettling (dms). Radio broadcast, Ritz Theatre.

    New York December 30 1944

    Sweet Georgia Brown

    Impromptu Ensemble (Saturday Afternoon @ Carnegie)

    Bechet with Stacy, Lesberg & Wettling only. Same location & date.

    Interview with Bechet by Condon

    I Know That You Know

    Bechet does not play on other titles from this broadcast: "Walkin' The Dog", "I Ain't Got Nobody", "Strut Miss Lizzie", "When Your Lover Has Gone". "I Know" is dedicated to Jimmie Noone (who died that year), and is preceded by Bechet's reminiscence of being introduced by Freddie Keppard to Noone the guitarist!

     

     

     

    LOUIS ARMSTRONG & HIS JAZZ FOUNDATION SIX 450117

    Louis Armstrong (tpt/vcl), J.C.Higginbotham (tbn), Sidney Bechet (sop -1/clt -2), James P. Johnson (pno), Richard Alexis (bs), Paul Barbarin (dms). Concert, Municipal Auditorium. New Orleans January 17 1945

    Back O'Town Blues (LA vcl) -2

    Confessin' (LA vcl) -1

    Dear Old Southland -1

    *Egyptian Fantasy

    *New Orleans Blues

    Add Bunk Johnson (tpt). Same location & date.

    Basin Street Blues (incomplete) -1

    One of only two Bechet recordings in New Orleans (see also 440624), this concert was recorded off the air as part of the "Second Esquire Jazz Concert" and relayed nationally; other parts of the concert were performed in New York and Los Angeles. "Southland" is a feature for J.C. Higginbotham, not for Bechet. "Basin Street" is incomplete on all releases, since the New Orleans part of the concert was faded out during this number. Details of the unreleased items from D.

     

     

     

    EDDIE CONDON BLUE NETWORK SHOW 450120

    Max Kaminsky (tpt), Wild Bill Davison (cnt), Tommy Dorsey (tbn), Pee Wee Russell (clt), Sidney Bechet (sop), Ernie Caceres (bar), Earl Hines (pno), Eddie Condon (gtr), Sid Weiss (bs), George Wettling (dms). Radio broadcast, Ritz Theatre. New York January 20 1945

    Impromptu Ensemble (Carnegie Leap)

    Bechet with Jess Stacy (pno), Weiss & Wettling only; same location & date

    Dear Old Southland

    L. refers to this as the Downbeat Award Show'. Bechet does not play on other titles from this broadcast: "Jazz Me Blues", "Smoke Gets In Your Eyes", "At Sundown", "Rosetta" and "Don't Blame Me". Also, although listed in several discographies, he is not audible on "The Sheik of Araby" from this date.

     

     

     

    SIDNEY BECHET'S BLUE NOTE JAZZMEN 450121

    Max Kaminsky (tpt), George Lugg (tbn), Sidney Bechet (sop -1/clt -2/speech), Art Hodes (pno), George 'Pops' Foster (bs), Fred Moore (dms/vcl). New York January 21 1945

    BN215-1 High Society -2

    BN216-2 Salty Dog (FM vcl/SB speak) -2

    BN217-1 Weary Blues -1

    BN218-1 Jackass Blues (am) -1

    BN218-2 Jackass Blues (mt) -1

    Originally recorded for Blue Note. 218-2 was discovered for release on the complete Bechet/Blue Note recordings on Mosaic.

     

     

     

    EDDIE CONDON BLUE NETWORK SHOW 450203

    Max Kaminsky (tpt), Lou McGarity (tbn), Ed Hall (clt), Sidney Bechet (sop), Ernie Caceres (bar), Jess Stacy (pno), Eddie Condon (gtr), Sid Weiss (bs), George Wettling (dms). Radio broadcast, Ritz Theatre. New York February 3 1945

    My Blue Heaven

    Add Billy Butterfield (tpt); same location & date

    Impromptu Ensemble (Carnegie Leap)

    Bechet with Stacy, Weiss & Wettling only; same location & date

    Don't Get Around Much Any More

    Bechet does not play on other titles from this broadcast:"It's Been So Long", "Sweet Lorraine", "Sunday", "Alice Blue Gown" and "How Long Has This Been Going On". T. gives Jack Lesberg for Weiss.

     

     

     

    EDDIE CONDON BLUE NETWORK SHOW 450210

    Sidney Bechet (sop), Jess Stacy (pno), Bob Casey (bs), George Wettling (dms). Radio broadcast, Ritz Theatre. New York February 10 1945

    Sister Kate

    Add Yank Lawson (tpt), Muggsy Spanier (cnt), Lou McGarity (tbn), Hank D'Amico (clt). Same location & date.

    Impromptu Ensemble (Carnegie Leap)

    Bechet does not play on other titles from this broadcast: "Should I", "Song of the Wanderer", "Indiana", "Relaxin' At The Touro" and "I Can't Get Started".

     

     

     

    EDDIE CONDON BLUE NETWORK SHOW 450217

    Max Kaminsky, Billy Butterfield. Dick Cary (tpts), Lou McGarity (tbn), Pee Wee Russell (clt), Sidney Bechet (sop), Ernie Caceres (bar), Jess Stacy (pno), Eddie Condon (gtr), Jack Lesberg (bs), George Wettling (dms). Radio broadcast, Ritz Theatre. New York February 17 1945

    At The Jazz Band Ball

    Impromptu Ensemble (Carnegie Leap)

    Bechet with Stacy, Lesberg & Wettling only; same location & date

    There'll Be Some Changes Made

    Bechet does not play on other titles from this broadcast: "Strut Miss Lizzie" , "Time On My Hands", "Ain't Misbehavin'" and "Someone To Watch Over Me".

     

     

     

    EDDIE CONDON BLUE NETWORK SHOW 450224

    Sidney Bechet (sop), Jess Stacy (pno), Sid Weiss (bs), George Wettling (dms). Radio broadcast, Ritz Theatre. New York February 24 1945

    China Boy

    Add Billy Butterfield, Max Kaminsky (tpts), Tommy Dorsey (tbn), Jimmy Dorsey (clt), Ernie Caceres (bar); same location & date.

    Impromptu Ensemble

    Bechet does not play on other titles from this broadcast: "Honeysuckle Rose", "Baby Won't You Please Come Home", "I Can't Believe That You're In Love With Me", "Royal Garden Blues" and "Any Old Time".

     

     

     

    EDDIE CONDON BLUE NETWORK SHOW 450303

    Muggsy Spanier (cnt), Lou McGarity (tbn), Sidney Bechet (sop), Ernie Caceres (clt/bar), Jess Stacy (pno), Sid Weiss (bs), Johnny Blowers (dms). Radio broadcast, Ritz Theatre. New York March 3 1945

    Someday Sweetheart

    I Found A New Baby

     

    Max Kaminsky (tpt) for Spanier. Same location & date.

    That's A Plenty

    Spanier added; same location & date

    Impromptu Ensemble

    Bechet with Stacy, Weiss & Blowers only; same location & date

    High Society

    Bechet does not play on other titles from this broadcast: "Just Friends" and "The Man I Love".

     

     

    BUNK JOHNSON AND SIDNEY BECHET 450310

    Bunk Johnson (tpt), Sandy Williams (tbn), Sidney Bechet (clt), Cliff Jackson (pno), George 'Pops' Foster (bs), Manzie Johnson (dms). New York March 10 1945

    BN223-1 Milenberg Joys

    BN224 *Basin Street Blues

    BN225-0 Lord, Let Me In The Lifeboat

    BN226-0 Days Beyond Recall

    BN227-0 Porto Rico

    BN228-1 Up In Sidney's Flat

    Originally recorded for Blue Note. 227-0 was discovered for inclusion in the the complete Bechet/Blue Note recordings on Mosaic. BN224 was not found for this release, and is thought no longer to exist (it was Blue Note policy to destroy unissuable material). Note that Bechet plays clarinet only on all the issued titles.

     

     

     

    JAM SESSION AT RYAN'S 450311

    Bunk Johnson (tpt), Sandy Williams (tbn), Sidney Bechet (clt/sop), Hank Duncan (pno), George 'Pops' Foster (bs), Kaiser Marshall or Freddie Moore (dms). Jimmy Ryan's. New York, March 11 1945

    *Careless Love

    *St. Louis Blues

    *High Society

    *Weary Blues

    *I'm Confessin'

    This was a Milt Gabler jam session, held just before Bunk & Bechet left for Boston; this should have been the Boston band (minus Williams), but Ryan's would not release Duncan & Moore. Info from D. It is not known whether these recordings exist.

     

     

    SIDNEY BECHET AND HIS NEW ORLEANS RHYTHM KINGS 450325

    Bunk Johnson (tpt), Sidney Bechet (sop-1/clt-2), Ray Parker (pno), George 'Pops' Foster (bs), George Thompson (dms). WMEX broadcast from The Savoy CafŽ. Boston Mass. March 25 1945

    Introduction/Sobbin' Blues -2

    Royal Garden Blues -2

    Confessin' (incomplete) -1

    Careless Love -1

    Summertime (incomplete) -1

    I Know That You Know -1

    This is the first recording from Bechet's stint at the Savoy CafŽ; all the known recordings (*) made in Boston were released on the American Fat Cat label in the 1980's; the fact that some titles are incomplete is no criticism of the diligent work undertaken by Jack Towers and the Fat Cat company to restore complete tracks from damaged or broken discs, often from a variety of sources.

    * ' Rn. notes a 22 March broadcast, Apossibly not recorded@; well the residency started on 12 March, and there may have been a broadcast on 22, but this doesn't seem grounds for making an entry in a discography.

     

     

     

    SIDNEY BECHET AND HIS NEW ORLEANS RHYTHM KINGS 450327

    Bunk Johnson (tpt), Sidney Bechet (sop-1/clt-2), Ray Parker (pno), George 'Pops' Foster (bs), George Thompson (dms). WCOP broadcast from The Savoy CafŽ. Boston Mass. March 27 1945

    Sweet Georgia Brown (incomplete) -1

    Sleepy Time Down South -1

    Sobbin' Blues -2

    Pistol Packin' Mama -1

    Dear Old Southland -1 (Johnson out)

    Boogie Woogie (incomplete) -1

    Muskrat Ramble/Theme Out -1

     

     

     

    SIDNEY BECHET AND HIS NEW ORLEANS RHYTHM KINGS 450329

    Bunk Johnson (tpt), Sidney Bechet (sop), Ray Parker (pno), George 'Pops' Foster (bs), George Thompson (dms). WCOP broadcast from The Savoy CafŽ. Boston Mass. March 29 1945

    Introduction/Oh! Didn't He Ramble/Theme Out

    The Fat Cat release of this date (FCJ 001) conjectures that the shortage of recordings surviving from this date may have been caused by a power failure at the Savoy CafŽ.

     

     

     

    SIDNEY BECHET AND HIS NEW ORLEANS RHYTHM KINGS 450403A

    Bunk Johnson (tpt), Sidney Bechet (sop-1/clt-2), Ray Parker (pno), George 'Pops' Foster (bs), George Thompson (dms). Private 'rehearsal' recording; made on portable equipment by John D. Reid at The Savoy CafŽ. Boston Mass. April 3 1945

    Sister Kate -2

    Sobbin' Blues (false start) -2

    Clarinet Marmalade -2

    High Society -2

    Royal Garden Blues (false start) -2

    Royal Garden Blues -2

    Willie The Weeper (false start) -2

    Willie The Weeper -2

    Sobbin' Blues -2

    Blue Bells Goodbye (take 1) -2

    Blue Bells Goodbye (take 2) -2

    Perdido Street Blues -1

    This is not actually a broadcast, but a 'rehearsal' set up by John Reid.