Bechet settled in France in 1949, and over the last decade of his maverick career established himself as a superstar on the French music scene. He recorded prolifically in the 50s, mainly with the Claude Luter or André Réwéliotty bands, always dominant in an effectively chosen mix of classic jazz standards, traditional creole songs, French popular recorded songs and folk tunes, and – highlighted here – in his own compositions.
Although his status as a legendary founding titan in the jazz pantheon is firmly established, less attention has been paid to his achievements as a composer. Addressing that issue, this vinyl LP (a reissue of the original Vogue VRL 3002 LP) contains a selection of tracks from sessions spanning 1950-1957, all Bechet compositions. Four bonus tracks from the same sessions have been added, also by Bechet.
Throughout his long career Bechet had enjoyed composing, with many notable pieces to his credit (e.g. Polka Dot Rag, Georgia Cabin). In the 50s he attempted “serious” classical music for a ballet and later an operetta, but with little success. Undaunted, he continued to write vibrantly interesting jazz tunes, many more than could be included on this album; the beautiful Jaqueline is a regrettable omission.
Across the channel, Bechet’s compositions made a considerable impact on the booming British traditional jazz scene. Humphrey Lyttleton recorded several, including Les Oignons (as The Onions) in a very popular arrangement by Humph with audience participation. Bechet himself recorded with the Lyttleton band. Monty Sunshine made a smash hit for Chris Barber with Petite Fleur, and the Barber band also recorded Si Tu Vois Ma Mère, retitled Lonesome. Acker Bilk recorded Lastic.
It’s regrettable that Bechet, perhaps recalling his wilder earlier years for claiming musical rights, could sometimes be very lax about copyright, passing off as his own the compositions of others – e.g. Moulin À Café (Rubber Plant Rag 1909), Egyptian Fantasy (Egyptia, 1911) and Panther Dance (Tiger Rag). (The latter two are not on the album). This failing, redeemed partly perhaps by Bechet’s unique treatment, should not detract from the striking originality of the best of his own compositions. Petite Fleur, Premier Bal, Passport To Paradise and Si Tu Vois Ma Mère are intensely expressive and romantic. Marchand De Poissons, Promenade Aux Champs-Elysées, Dans Les Rues D’Antibes and Moulin À Cafe (the only track with Bechet on clarinet, in duet with Luter) all romp along joyously.
The “Wizard Of Jazz” (as aptly named by biographer John Chilton) soars throughout this selection with all his customary power, passion and creativity. He is particularly well supported by Guy Longron from the ranks of the loyal and respectful young French musicians, also at the table for an appealing melodic feast.
Discography
(1) Petite Fleur; Marchand De Poissons; Temperamental; Promenade Aux Champs-Elysées; A Moi De Payer; Les Oignons; (2) En Attendant Le Jour; Lastic (25.31) – (1) Dans Les Rues D’Antibes; Premier Bal; Si Tu Vois Ma Mère; Passport To Paradise; Au Secours; As-Tu Le Cafard?; (2) Moulin À Cafe; Moustache Gauloise (24.30)
(1) Bechet (ss) with Claude Luter or André Réwéliotty Orchestras, Paris, various dates 1950-1957.
(2) as (1). Bonus tracks not included in original LP.
Collective personnel includes Claude Luter, André Réwéliotty (cl); Guy Longnon (t, tb); Bernard Zacharias, Jean-Ling Durand (tb); Yannick Singery (p); Moustache Galepides (d).
20th Century Masterworks 350264
