01 Muscrat Ramble
02 Blue Horizon
03 Lazy River
04 Wrap Your Troubles In Dreams
05 Maple Leaf Rag
06 The Mooche
07 Milenberg Joys
08 I Got Rythm
09 September Song
10 Who
11 Runnin' Wild
12 Blues Of Bechet
13 Ain't Misbehavin'
14 China Boy
15 Summertime
16 Joshua Fit The Battle Of Jericho 178bpm

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1. Blame it on The Blues
2. Laura
3. Groovin’ The Minor
4. Darkdown Strutters Ball
5. Blue Horizon
6. Love for Sale
7. St. Louis Blues
8. I Had It But It's All Gone
9. Old Stack O'Lee Blues
10. Summertime

Sidney Bechet was a child prodigy in New Orleans. He was such good clarinet player that, in his youth he was featured by some of the top bands in the city. Bechet's style of playing clarinet and soprano sax dominated many of the bands that he was in. He played lead parts that were usually reserved for trumpets and was a master of improvisation. In 1917 he moved to Chicago. In 1919 he was playing with Will Marion Cook's Syncopated Orchestra and with Louis Mitchell's Jazz Kings in Europe. While overseas he bought a soprano sax and from then on it was his main instrument. Back in the U.S. Bechet made his recording debut in 1923 with Clarence Williams and during the next two years he appeared on several of Williams' records backing up blues singers and on a classic session with the Clarence Williams Blue Five, featuring Louis Armstrong whom he knew as a child in New Orleans. He played in an early version of Duke Ellington's Washingtonians but unfortunately never recorded with them. From 1925 to 1929 Bechet lived and played in Europe, playing in England, France, Germany and Russia. While living in Paris, Bechet got into a dispute with another musician and a gun fight broke out. Three people were wounded and Sidney spent a year in a French jail as a result of the fracas. He was deported upon release from prison and went to Berlin, Germany. He could not stay in France and he would not get a visa for England so he stayed in Berlin till 1931 then joined the Noble Sissle Orchestra and returned to America. Bechet managed to keep playing during the Thirties, but he also ran an unsuccessful tailor's shop with Tommy Ladnier and made some memorable recordings with the trumpeter under the name of the New Orleans Feetwarmers. In 1938 he had a hit record of "Summertime". In the Forties Bechet worked regularly in New York with Eddie Condon and tried to start a band with Bunk Johnson. Bechet was a popular figure of the Dixieland revival of the late Forties often recording with Mezz Mezzrow. Bechet returned to France in 1952 and was warmly received there. While in France he recorded hit records that rivaled the sales of pop stars. Bechet was one of the great soloists of early Jazz. He lived a very rich life, always managing to "make the scene" where it was "happening", whether it be in New Orleans, Chicago, New York, Berlin or Paris. --- redhotjazz.com

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CD 1
1.Jazz Me Blues
2.Blues Horizon
3.Muskrat Ramble
4.You've Got Me Walkin' And Talkin' To Myself
5.Quite Please
6.Cliff's Boogie Blues
7.Jeepers Creepers
8.High Society				play
9.Salty Dog
10.Weary Blues
11.Jackass Blues
12.Milenberg Joys
13.Lord Let Me In The Lifeboard
14.Days Beyond Recall
15.Porto Rico					play
16.Up In Sidney's Flat
17.Quincy Street Stomp (Blame It On The Blues)
18.Old Stack O'lee Blues

CD 2
1.Royal Garden Blues
2.Slow Blues
3.Old Fashioned Love
4.Fast Blues
5.Bugle Blues
6.Spreading Joy
7.I Had It But It's All Gone
8.Polka Dot Stomp						play				
9.Kansas City Man Blues
10.Buddy Bolden Stomp
11.Song Of Songs
12.My Woman's Blues
13.Song Of Songs
14.Just One Of This Things
15.Love For Sale						play
16.Laura
17.Shake 'em Up
18.Sister Kate
19.Tiger Rag

CD 3
1.Tin Roof Blues
2.I've Found A New Baby
3.Nobody Knows You When You're Down And Out
4.When The Saints Go Marching In
5.I Got Rhythm
6.September Song					play
7.Who!
8.Song Of The Medina
9.Maryland, My Maryland
10.Careless Love
11.Egyptian Fantasy
12.Basin Street Blues					play
13.Cake Walking Babies
14.Tailgate Ramble
15.At The Jazz Band Ball
16.Joshua Fit The Battle Of Jericho
17.Fidgety Feet
18.Honeysucke Rose
19.Coquette
20.High Society
21.On The Sunny Side Of The Street
22.Sugar

CD 4
1.Muskrat Ramble
2.St. Louis Blues
3.Sweet Georgia Brown
4.Summertime
5.I Found A New Baby
6.September Song
7.High Society
8.Dippermouth Blues
9.I Got Rhythm
10.Frankie And Johnny
11.Casey Jones				play
12.Society Blues
13.Petite Fleur					play

Sidney Bechet (May 14, 1897 – May 14, 1959) was an American jazz saxophonist, clarinetist, and composer.

He was one of the first important soloists in jazz (beating cornetist and trumpeter Louis Armstrong to the recording studio by several months and later playing duets with Armstrong), and was perhaps the first notable jazz saxophonist. Forceful delivery, well-constructed improvisations, and a distinctive, wide vibrato characterized Bechet's playing.

Bechet's erratic temperament hampered his career, however, and not until the late 1940s did he earn wide acclaim. Bechet successfully composed in jazz, pop-tune, and extended concert work forms. He knew how to read music, but chose not to due to his highly developed inner ear; he developed his own fingering system and he never played section parts in a big band or swing-style combo. His recordings often have been reissued.

Some of the highlights of his career include 1923 sides with Louis Armstrong in "Clarence Williams Blue Five"; the 1932, 1940, 1941 "New Orleans Feetwarmers" sides; a 1938 "Tommy Ladnier Orchestra" session "Weary Blues", "Really the Blues"); a hit 1938 recording of "Summertime"; and various versions of his own composition, "Petite Fleur".

In 1939, Bechet co-led a group with pianist Willie "The Lion" Smith that recorded several early versions of what was later called "Latin Jazz", adapting traditional Meringue, Rhumba and Haitian songs to the jazz idiom. Bechet in New York in 1947

On July 28, 1940, Sidney Bechet made a guest appearance on NBC Radio's The Chamber Music Society of Lower Basin Street show, playing two of his show-pieces ("Shake It and Break It" and "St. Louis Blues") with Henry Levine's dixieland band. Levine invited Bechet into the RCA Victor recording studio (on 24th Street in New York City), where Bechet lent his soprano sax to Levine's traditional arrangement of "Muskrat Ramble." On April 18, 1941, as an early experiment in overdubbing at Victor, Bechet recorded a version of the pop song "The Sheik of Araby", playing six different instruments: clarinet, soprano saxophone, tenor saxophone, piano, bass, and drums. A theretofore unissued master of this recording was included in the 1965 LP Bechet of New Orleans, issued by RCA Victor as LPV-510. On the liner notes, George Hoeffer quotes Sidney as follows: "I started by playing The Sheik on piano, and played the drums while listening to the piano. I meant to play all the rhythm instruments, but got all mixed up and grabbed my soprano, then the bass, then the tenor saxophone, and finally finished up with the clarinet."

In 1944, 1946, and 1953 he recorded and performed in concert with Chicago Jazz Pianist and Vibraphonist Max Miller, private recordings which are part of the Max Miller archive and have never been released. These concerts and recordings are covered completely in John Chilton's great book on Bechet.

Bechet was an important influence on alto saxophonist Johnny Hodges, who studied with Bechet as a teenager. In 1968, Bechet was inducted into the Down Beat Jazz Hall of Fame.

Sidney Bechet (ur. 14 maja 1897 w Nowym Orleanie, zm. 14 maja 1959 w Paryżu) – amerykański saksofonista, klarnecista i kompozytor jazzowy.

Był najwybitniejszym po Louisie Armstrongu jazzmenem z Nowego Orleanu. Początkowo grał na klarnecie. W 1919 wyruszył ze swoim big bandem na tournée po Europie i tam kupił saksofon sopranowy. Od tej pory znany był jako jeden z najwybitniejszych wirtuozów tego instrumentu w jazzie. Jako pierwszy zaczął tworzyć utwory bez tematu bazującego na piosence, a jedynie na strukturze harmonicznej.

Podczas kryzysu gospodarczego prowadził sklep krawiecki. W 1938 znów wrócił do muzyki. Odniósł sukces na koncercie zorganizowanym przez Johna Hammonda w Carnegie Hall. Potem na stałe przeniósł się do Paryża. Największe przeboje: "Petit fleur", "Indian Summer", "Sugar Blues".

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1. Maple Leaf Rag - The New Orleans Feetwarmers 
2. I've Found A New Baby - The New Orleans Feetwarmers 
3. Weary Blues - Tommy Ladnier 
4. Really The Blues - Tommy Ladnier 
5. High Society - Jelly Roll Morton 
6. Indian Summer 
7. Sidney's Blues 
8. Shake It And Break It 
9. Wild Man Blues 
10. Save It, Pretty Mama 
11. Stompy Jones 
12. Muskrat Ramble - Dr. Henry Levine 
13. Baby, Won't You Please Come Home 
14. The Sheik Of Araby (One Man Band) 
15. When It's Sleepy Time Down South 
16. I'm Coming Virginia 
17. Strange Fruit (Trio) 
18. Blues In The Air 
19. The Mooche 
20. Twelfth Street Rag 
21. Mood Indigo 
22. What Is This Thing Called Love?

Sidney Bechet - Bass, Clarinet, Composer, Drums, Piano, Sax (Soprano), Sax (Tenor), Vocals
Bernard Addison - Guitar
Gus Aiken - Trumpet
Henry "Red" Allen - Trumpet
Everett Barksdale - Guitar
Wellman Braud - Bass
Teddy Bunn - Guitar
Happy Caldwell - Sax (Tenor)
Big Sid Catlett - Drums
Kenny Clarke - Drums
Sidney DeParis - Trumpet
Vic Dickenson - Trombone
Baby Dodds - Drums
Don Donaldson - Piano
Hank Duncan - Piano
Henry Goodwin - Trumpet
J.C. Heard - Drums
Arthur Herbert 	- Drums
Victor Herbert 	Composer
J.C. Higginbotham - Trombone
Earl Hines - Piano
Charlie Howard - Guitar
Cliff Jackson - Piano
Elmer James - Bass
Lem Johnson - Sax (Tenor)
Manzie Johnson - Drums
Claude Jones - Trombone
Tommy Ladnier - Trumpet
John Lindsay - Bass
Lawrence Lucie - Guitar
Mezz Mezzrow 	- Clarinet, Sax (Tenor)
Morris Morland - Drums
Jelly Roll Morton - Piano
Wilson Myers - Bass
The New Orleans Feetwarmers 	
Albert Nicholas - Clarinet
Teddy Nixon - Trombone
Charlie Shavers - Trumpet
Zutty Singleton - 	Drums
Willie "The Lion" Smith 	- Piano
Rex Stewart - Cornet
James Toliver - Piano
Jim Tolliver - Piano
Sonny White - Piano
Sandy Williams 	- Trombone
Ernest Williamson - Bass

This collection of Bechet tracks cut between 1932 and 1941 would be worth owning if for nothing else than the inclusion of his one-man-band recording of "Sheik of Araby," the first known instance of overdubbing with Sidney playing clarinet, tenor sax, piano, bass and drums. But everything on here is fine, spirited New Orleans music, played with verve and wild energy. Kicking off with a wild version of "Maple Leaf Rag" by the New Orleans Feetwarmers, the set moves to include Bechet with Jelly Roll Morton, Tommy Ladnier (excellent versions of "Weary Blues" and Mezz Mezzrow's "Really the Blues"), Dr. Henry Levine's Barefoot Dixieland Philharmonic, and Sidney's later versions of the Feetwarmers. While some of the later configurations are too rooted in a more modern style, Bechet's brilliant lines and clear tone come through every time. With the exception of the sometimes quite naturally grainy "Sheik" overdub session, everything here is brilliantly captured with remarkable fidelity considering the source. ---Cub Koda, Rovi

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