Orchestra settled in 1932 by New Orleans' jazz saxophonist, clarinetist, an… Read Full Bio ↴Orchestra settled in 1932 by New Orleans' jazz saxophonist, clarinetist, and composer Sidney Bechet and trumpetist Tommy Ladnier.
They only made a recording session, but seized 6 tracks with noticeable quality, including "Maple Leaf Rag". In the middle of United States' crisis era they couldn't tour abroad and didn't achieve enough popularity. Hence, Bechet decided to rather open a modest tailor's shop in Harlem.
Fortunately, he recorded with "New Orleans Feetwarmers" in 1932, 1940 and 1941. Today Sidney Bechet is considered one of the first important soloists in jazz (beating cornetist and trumpeter Louis Armstrong to the recording studio by several months[1] 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.
Sidney Bechet
The big rise of Bechet career may be related to the year 1934. In 1934 Bechet joins Noble Sissle and starts winning space as soloist 'until 1938, when he starts a career as leader of diverse orchestras, always inspired by New Orleans traditions.
In fact, would earn wide acclaim in the 40s as part of Dixieland revival movement of the late forties, often recording with Mezz Mezzrow. During this decade, he worked regularly in New York with Eddie Condon and tried to start a band with Bunk Johnson.
Bechet relocated to France in 1950, where he married Elisabeth Ziegler in 1951. He became a celebrity in the traditional french jazz movement playing in the orchestras of clarinetists Claude Luter and André Reweliotty. Existentialists in France called him "Le dieu". He is also remembered by playing in 1925 Joséphine Baker's debut in Paris in a vaudeville show called Revue Négre.
Shortly before his death in Paris, Sidney dictated his poetic autobiography, Treat It Gentle. He died from lung cancer on his sixty-second birthday.
Highlights
Sidney Bechet (May 14, 1897 – May 14, 1959) was was born in New Orleans to a wealthy Creole family and 'Discovered' at the age of six. Bechet (pronounced buh-SHAY) quickly learned the clarinet by picking up his brother's horn and teaching himself. Later in his youth, studied with such renowned Creole clarinetists as Lorenzo Tio, 'Big Eye' Louis Nelson, and George Baquet. Soon after, Bechet would be found playing in many New Orleans ensembles, improvising with what was 'acceptable' for jazz at that time (obbligatos, with scales and arpeggios).
From 1914-1917 he was touring and traveling, going as far north as Chicago, and frequently teaming up with another famous Creole musician, Freddie Keppard. In the spring of 1919, he traveled to New York, where he joined Will Marion Cook's Syncopated Orchestra. Soon after, the orchestra journeyed to Europe where, almost immediately, they performed at the Royal Philharmonic Hall. The group was warmly received, and Bechet was especially popular, attracting attention near and far. [3]
While in London, Bechet discovered the straight soprano saxophone, and quickly developed a style quite unlike his warm, reedy clarinet tone. Described as "emotional", "reckless", and "large", he would often use a very broad vibrato, similar to what was common for some New Orleans clarinetists at the time.
Recordings
Bechet returned to New York from Europe in 1922, and on July 30, 1923, began recording some of his earliest surviving studio work. The session was led by Clarence Williams, a pianist and songwriter, better known at that time for his music publishing and record producing. Bechet recorded the "Wild Cat Blues" and "Kansas City Man Blues". "Wild Cat Blues" is in a multi-thematic ragtime tradition, with four themes, at sixteen bars each, and "Kansas City Man Blues" is a genuine 12-bar blues. Bechet interpreted and played each uniquely and with outstanding creativity and innovation for the time.
He continued recording and touring, although his success was intermittent.
Many of his compositions are inspired by his love for France and New Orleans tradition. They include “Petite Fleur”, “Rue des Champs Elysees”, and “Si tous vois ma mere”. Other compositions include “Chant in the Night”, “Blues in the Air”, “Bechet's Fantasy”, and his ode to his Brooklyn home “Quincy Street Stomp”.
They only made a recording session, but seized 6 tracks with noticeable quality, including "Maple Leaf Rag". In the middle of United States' crisis era they couldn't tour abroad and didn't achieve enough popularity. Hence, Bechet decided to rather open a modest tailor's shop in Harlem.
Fortunately, he recorded with "New Orleans Feetwarmers" in 1932, 1940 and 1941. Today Sidney Bechet is considered one of the first important soloists in jazz (beating cornetist and trumpeter Louis Armstrong to the recording studio by several months[1] 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.
Sidney Bechet
The big rise of Bechet career may be related to the year 1934. In 1934 Bechet joins Noble Sissle and starts winning space as soloist 'until 1938, when he starts a career as leader of diverse orchestras, always inspired by New Orleans traditions.
In fact, would earn wide acclaim in the 40s as part of Dixieland revival movement of the late forties, often recording with Mezz Mezzrow. During this decade, he worked regularly in New York with Eddie Condon and tried to start a band with Bunk Johnson.
Bechet relocated to France in 1950, where he married Elisabeth Ziegler in 1951. He became a celebrity in the traditional french jazz movement playing in the orchestras of clarinetists Claude Luter and André Reweliotty. Existentialists in France called him "Le dieu". He is also remembered by playing in 1925 Joséphine Baker's debut in Paris in a vaudeville show called Revue Négre.
Shortly before his death in Paris, Sidney dictated his poetic autobiography, Treat It Gentle. He died from lung cancer on his sixty-second birthday.
Highlights
Sidney Bechet (May 14, 1897 – May 14, 1959) was was born in New Orleans to a wealthy Creole family and 'Discovered' at the age of six. Bechet (pronounced buh-SHAY) quickly learned the clarinet by picking up his brother's horn and teaching himself. Later in his youth, studied with such renowned Creole clarinetists as Lorenzo Tio, 'Big Eye' Louis Nelson, and George Baquet. Soon after, Bechet would be found playing in many New Orleans ensembles, improvising with what was 'acceptable' for jazz at that time (obbligatos, with scales and arpeggios).
From 1914-1917 he was touring and traveling, going as far north as Chicago, and frequently teaming up with another famous Creole musician, Freddie Keppard. In the spring of 1919, he traveled to New York, where he joined Will Marion Cook's Syncopated Orchestra. Soon after, the orchestra journeyed to Europe where, almost immediately, they performed at the Royal Philharmonic Hall. The group was warmly received, and Bechet was especially popular, attracting attention near and far. [3]
While in London, Bechet discovered the straight soprano saxophone, and quickly developed a style quite unlike his warm, reedy clarinet tone. Described as "emotional", "reckless", and "large", he would often use a very broad vibrato, similar to what was common for some New Orleans clarinetists at the time.
Recordings
Bechet returned to New York from Europe in 1922, and on July 30, 1923, began recording some of his earliest surviving studio work. The session was led by Clarence Williams, a pianist and songwriter, better known at that time for his music publishing and record producing. Bechet recorded the "Wild Cat Blues" and "Kansas City Man Blues". "Wild Cat Blues" is in a multi-thematic ragtime tradition, with four themes, at sixteen bars each, and "Kansas City Man Blues" is a genuine 12-bar blues. Bechet interpreted and played each uniquely and with outstanding creativity and innovation for the time.
He continued recording and touring, although his success was intermittent.
Many of his compositions are inspired by his love for France and New Orleans tradition. They include “Petite Fleur”, “Rue des Champs Elysees”, and “Si tous vois ma mere”. Other compositions include “Chant in the Night”, “Blues in the Air”, “Bechet's Fantasy”, and his ode to his Brooklyn home “Quincy Street Stomp”.
I Found a New Baby
New Orleans Feetwarmers Lyrics
We have lyrics for 'I Found a New Baby' by these artists:
Andre Previn I found a new baby I found a new girl My fashion…
André Previn I found a new baby I found a new girl My fashion…
Benny Goodman Let's build a stairway to the stars And climb that stairway…
Benny Goodman and His Orchestra Ev'rybody look at me, Happy fellow you will see, I've got…
Benny Goodman and his Sextet Let's build a stairway to the stars And climb that stairway…
Bobby Darin I found a new baby I found a new girl My fashion…
Bud Freeman and His Orchestra Ev'rybody look at me, Happy fellow you will see, I've got…
Dizzy Gillespie and Roy Eldridge Everybody look at me, Happy girlie, you will see, I've…
Edgar Hayes and His Orchestra Ev'rybody look at me, Happy fellow you will see, I've got…
Ethel Waters Waters Ethel Miscellaneous I've Found a New Baby Everybody l…
Fletcher Henderson and His Orchestra Ev'rybody look at me, Happy fellow you will see, I've got…
Harry James and His Orchestra Ev'rybody look at me, Happy fellow you will see, I've got…
JATP All Stars Feat. J. J. Johnson It was a lucky April shower It was the most convenient…
Jay McShann & His Orchestra Ev'rybody look at me, Happy fellow you will see, I've got…
Jay McShann and His Orchestra Ev'rybody look at me, Happy fellow you will see, I've got…
Jones And Collins Astoria Hot Eight It was a lucky April shower It was the most convenient…
Les Paul Everybody look at me, Happy girlie, you will see, I've…
Maxim Saury and His Orchestra Ev'rybody look at me, Happy fellow you will see, I've got…
nat king cole & his trio I found a new baby I found a new girl My fashion…
Nat King Cole Trio I found a new baby I found a new girl My fashion…
Paul Whiteman & His Orchestra Ev'rybody look at me, Happy fellow you will see, I've got…
Roy Eldridge Everybody look at me, Happy girlie, you will see, I've…
Sidney Bechet And Claude Luter And His Orchestra Ev'rybody look at me, Happy fellow you will see, I've got…
The Mills Brothers i found a new baby down the ol' big sea…
Tommy Dorsey & His Orchestra Ev'rybody look at me, Happy fellow you will see, I've got…
We have lyrics for these tracks by New Orleans Feetwarmers:
The lyrics are frequently found in the comments by searching or by filtering for lyric videos
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@MrRezillo
This brings tears to my eyes. It was the first recording I ever heard that got me hooked on jazz as a little kid, listening to my dad's shellac '78 with "Shag" on the reverse side. Damn, does this thing swing! This ranks as of the great early jazz performances, right up there with "West End Blues" and "Singin' the Blues". Just for how intensely it swings, IMHO.
@jay1beaux
Yes!
@1984stef1984
Nice!
@EdwardHKDC
Most jazz performances of this tune use just the chorus of the original song, but interestingly this version also brings in the verse section, from 1:00 to 1:13.
@20thcenturyremnant
No Great Depression here.
@johnrothfield6126
9-15-1932 New York, New York
Victor 24150-B
Bluebird B-10022-B
@juanignaciotejero
Hola