“The note you hold, narrowing and rising, shakes,
Like New Orleans reflected on the water”
Those words are not my fancy, they belong to Philip Larkin. The poet and arch traditionalist who championed Sidney Bechet in the face of be bop and the Modern Jazz boom of the late 1950s and early 1960s. As I’m sure that you all know Bechet, together with Louis Armstrong and his Hot Fives, was one of the founding fathers of jazz and blues. His tone & timbre is woven into the DNA of popular music’s early morning.
But, and some may say it is a wobbly but, I unbashfully reveal that early New Orleans trad dad style jazz has not featured much in my taste cloud. To my ears it sounds too sepia, too archival. It gives me the same feeling I get when I try to laugh at a Charlie Chaplin movie. You admire the skill of its execution and and gasp at the heavy foot fall of its time line but you don’t get it. You shrug your shoulders and move on. Maybe to the modal motorcade with John Coltrane, to be overtaken by a Miles Davis in a Maserati. The penny farthing ride to Basin’ Street can wait.
What gets me here is a copy of Bechet’s French film soundtracks have landed on my doormat courtesy of the ever reliable Moochin’ About label. It is a good excuse to confront my prejudice. Perhaps as Elvis Costello said in his recent autobiography you often don’t like a type of music or artist because it’s not the right time for you. Maybe Now’s the Time.
This crisp single disc compilation catches Bechet during the high season of his popularity. He moved to France in 1951, married a local girl and his records were selling well. Selling not just to jazz beards but to normal folk who just like a good tune. Three film soundtracks are included in this set, with Bechet scoring and acting in all three. Not surprising he is very plausibly often cast as a musician.
The first two films are Serie Noire, a drama and L’inspecteur Connait La Musique, a crime story. The element that unites all here is Bechet’s singular alto, fluttering confidently like a warm ribbon over a pre-beat Paris. Precise and as earthy as a Doisneau contact sheet. Tempos shift from dancehall rags to melancholy strolls with an easy confident touch. Principal accompanist Claude Luter joins Bechet on the bandstand and his clarinet provides underlay and depth. Both he and Bechet playfully joist with the bluesy melodies. I would mention the other musicians present but this info has been lost in time..
The very best soundtrack is last and it’s the longest, Ah! Quelle Equipe! What lifts it above the other two is the inclusion of Passport To Paradis a jukebox hit of its day with live audience overdubs giving off an authentic night club atmosphere. The listener feels included in the conversation that is being held both in the past and the present at the same time. If you are a Bechet buff you will likely want to add this to your CD pile. The sound quality is premier class with Moochin’ About adding their signature flair for sleeve notes and packaging. Sceptics are also invited.
Review: Simon Cooney
