自小即展露神奇天分的Sidney Bechet大部分的器乐技巧皆来自他自我学习而得，他是爵士乐史上以高音萨克斯风为主揍乐器的先驱者，13岁的时候就开始了他职业演奏的生涯，1916 年离开King Oliver之后，便依著当时爵士乐向上发展的路线由芝加哥跑到纽约，不过当时他并未得到很好的机会。1924年，Bechet获得参加Clarence Williams的录音工作，这也是他第一次的正式录音，在此之后先后与Duke Ellington、Louis Armstrong同台表演，当他於1925年再度回到纽约之后，便立即成为广大乐评注目的焦点。Sidney Bechet的演奏风格在於他的吹奏鏗鏘有力，彷彿有一股取之不竭的热情与随时处理高潮的劲道，受到他影响的人也相当多，其中包括了Johnny Hodges与Steve Lacy等。 by Scott YanowSidney Bechet was the first important jazz soloist on records in history (beating Louis Armstrong by a few months). A brilliant soprano saxophonist and clarinetist with a wide vibrato that listeners either loved or hated, Bechets style did not evolve much through the years but he never lost his enthusiasm or creativity. A master at both individual and collective improvisation within the genre of New Orleans jazz, Bechet was such a dominant player that trumpeters found it very difficult to play with him. Bechet wanted to play lead and it was up to the other horns to stay out of his way.Sidney Bechet studied clarinet in New Orleans with Lorenzo Tio, Big Eye Louis Nelson, and George Baquet and he developed so quickly that as a child he was playing with some of the top bands in the city. He even taught clarinet, and one of his students (Jimmie Noone) was actually two years older than him. In 1917, he traveled to Chicago, and in 1919 he joined Will Marion Cooks orchestra, touring Europe with Cook and receiving a remarkably perceptive review from Ernst Ansermet. While overseas he found a soprano sax in a store 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 records backing blues singers, interacting with Louis Armstrong and playing some stunning solos. He was with Duke Ellingtons early orchestra for a period and at one point hired a young Johnny Hodges for his own band. However, from 1925-1929 Bechet was overseas, traveling as far as Russia but getting in trouble (and spending jail time) in France before being deported.Most of the 1930s were comparatively lean times for Bechet. He worked with Noble Sissle on and off and had a brilliant session with his New Orleans Feetwarmers in 1932 (featuring trumpeter Tommy Ladnier). But he also ran a tailors shop which was more notable for its jam sessions than for any money it might make. However, in 1938 he had a hit recording of Summertime, Hugues Panassie featured Bechet on some records and soon he was signed to Bluebird where he recorded quite a few classics during the next three years. Bechet worked regularly in New York, appeared on some of Eddie Condons Town Hall concerts, and in 1945 he tried unsuccessfully to have a band with the veteran trumpeter Bunk Johnson (whose constant drinking killed the project). Jobs began to dry up about this time, and Bechet opened up what he hoped would be a music school. He only had one main pupil, but Bob Wilber became his protégé.Sidney Bechets fortunes changed drastically in 1949. He was invited to the Salle Pleyel Jazz Festival in Paris, caused a sensation, and decided to move permanently overseas. Within a couple years he was a major celebrity and a national hero in France, even though the general public in the U.S. never did know who he was. Bechets last decade was filled with exciting concerts, many recordings, and infrequent visits back to the U.S. before his death from cancer. His colorful (if sometimes fanciful) memoirs Treat It Gentle and John Chiltons magnificent Bechet biography The Wizard of Jazz (which traces his life nearly week-by-week) are both highly recommended. Many of Sidney Bechets recordings are currently available on CD.