Article: The Music In Me: Songs In The Key of Passion

[Gilbert Klein]

View full article

[astrotoy]

Gilbert, very interesting story about Sidney Bechet. I first heard his name from my college roommate, back in the early-mid '60's. He was from NOLA and talked about him like he was the God of Jazz. I wasn't much into jazz (still am not), but I think he had a few records of Bechet that he played on my early AR TT and Shure cartridge. Don't remember what he sounded like. I still am in contact with my roommate (he moved back to NOLA after college) and forward him your article.

 

Thanks, Larry

[astrotoy]

I shared your column with my roommate. He wrote back with a few interesting comments, including a twist to the duel story. Larry

 

"Well Sidney Bechet is very, very far from "unknown" in New Orleans. Every jazz clarinetist talks about him, and Sidney anecdotes are legion. As it happens we've been following a clarinetist for the last 15 years or so -since before the storm- named Evan Christopher, who is very dedicated to Sidney Bechet, and who has also played a lot in France. After the storm, like most N.O. musicians he was homeless and the French government invited him to tour France. He now speaks French, but he didn't grow up speaking French Creole. In fact he grew up in North Carolina, but N.O. is his home now, though he's also out in L.A. a lot. He has defined what he calls "creole style" clarinet which he attributes to Bechet; I guess you'd call it a variant of Dixieland. Evan's doing a series called "Clarinet Road"; this one is dedicated to Sidney: Clarinet Road Vol. 3: In Sidney’s Footsteps | Evan Christopher's Clarinet Road

 

The story about the Parisian duel is like I've heard it, from Evan, and from others, except for one detail: the way I heard it, it was the other guy who played a bad note, or more precisely, did the wrong chord change! I think Bechet is regarded as to the clarinet as Louis Armstrong was to trumpet, at least that's how I think of him. Of course the violence associated with him -and the fact that most of his career was in Europe- means he was very much less well known."

[Gilbert Klein]

I shared your column with my roommate. He wrote back with a few interesting comments, including a twist to the duel story. Larry

 

"Well Sidney Bechet is very, very far from "unknown" in New Orleans. Every jazz clarinetist talks about him, and Sidney anecdotes are legion. As it happens we've been following a clarinetist for the last 15 years or so -since before the storm- named Evan Christopher, who is very dedicated to Sidney Bechet, and who has also played a lot in France. After the storm, like most N.O. musicians he was homeless and the French government invited him to tour France. He now speaks French, but he didn't grow up speaking French Creole. In fact he grew up in North Carolina, but N.O. is his home now, though he's also out in L.A. a lot. He has defined what he calls "creole style" clarinet which he attributes to Bechet; I guess you'd call it a variant of Dixieland. Evan's doing a series called "Clarinet Road"; this one is dedicated to Sidney: Clarinet Road Vol. 3: In Sidney’s Footsteps | Evan Christopher's Clarinet Road

 

The story about the Parisian duel is like I've heard it, from Evan, and from others, except for one detail: the way I heard it, it was the other guy who played a bad note, or more precisely, did the wrong chord change! I think Bechet is regarded as to the clarinet as Louis Armstrong was to trumpet, at least that's how I think of him. Of course the violence associated with him -and the fact that most of his career was in Europe- means he was very much less well known."

 

 

Interesting twist on the duel story. Wonder where the truth lies? I wonder: if the other guy played the clam, why were they dueling? Unless the guy denied it and Bechet insisted. which he might have. Also, thanks for the relation to Louis, and so glad to learn that Bechet is still thought of- and so highly. Thanks for the link.

[Bryan]

Certainly understandable why African American's would have wanted to go elsewhere the way they were treated in US (and not just in Dixie). From Jazz musicians to writers (James Baldwin) and other occupation with the talent/skills/connections to make the leap. At present plenty of folks regardless of ethnicity would like to get away for four years if they could swing it. Oppression and bigotry is unacceptable to many.

"I don't want your Dixie

You can keep your Dixie

There's no one down in Dixie

Who can take me 'way from my hot Harlem"

[Deyorew]

I understand CA readers enjoy having things mixed up now and then with an article on music instead of technology, but this one had me scratching my head. I feel this website and cummunity is perhaps not the best avenue for articles like this one that never in any way tie back to what most folks come here to hangout, read and research.

[amsco15]

Yes please focus more on MQA. More technology and less about the music. Wait, what? Sorry, had to get that out.

 

I love stories like this. I'm fascinated by men like Sidney Bechet. Discovered him on my many trips to NOLA and talking to musicians there. He's larger than life. Was listening to "The Best of Sidney Bechet" this weekend. Summertime and Blue Horizon are particularly great!!

[m3lraaHnevetS]

I understand CA readers enjoy having things mixed up now and then with an article on music instead of technology, but this one had me scratching my head. I feel this website and cummunity is perhaps not the best avenue for articles like this one that never in any way tie back to what most folks come here to hangout, read and research.

 

Hahaha