Caveau de la Huchette



“Sidney Bechet,” Famous Composers, accessed November 24 2017, http://www.famouscomposers.net/sidney-bechet
 


 


 


 

Caveau de la Huchette has been in existence for centuries in the Latin Quarter of Paris, with its appearance and purpose changing over time. Dating as far back as 1551, Caveau de la Huchette was a place of religious gathering for Christian sects, such as the Rosicrucians and the Templers. Both groups held radical beliefs and disengaged from their previous religious group in order to gain greater autonomy over their practices. In 1772, the space was converted from that of religious importance into a small, secret lodge comprised of two rooms used for meetings. Later, in 1789, the upstairs room began to attract political leaders who used the space for drinking, dancing, and court proceedings. Today, these rooms are authentically preserved and still contain artefacts that provide a glimpse into the space’s early uses. After the war in 1946, as jazz erupted in the city, Caveau de la Huchette became a small club. Caveau de la Huchette was the first club within Paris to play jazz and thus, it attracted some of the most famous names in the industry. The club’s current owner, Danny Doriz, purchased it from a man who was “downright racist”. This man, who owned the club during the postwar period, did not allow any African American musicians to perform. Sidney Bechet was the only exception to this discriminatory rule. Sidney Bechet was an American saxophonist who was inspired by New Orleans jazz. Born in the late 1800s to a family who encouraged music, Bechet began his young career as a clarinet soloist in his family’s band. He began touring the United States in 1917 and subsequently, ventured into various European countries. Bechet first began to tour France in the 1920s and lived there temporarily from 1925-1929 . While still staying true to the culture of New Orleans, Bechet embraced life in France, as noticeable through his application for a “carte d’identité in May of 1928”. After performing at the Paris Jazz Festival in 1949, Bechet permanently moved to France in 1951.

Caveau de la Huchette, "From Revolution to Today," The Famous Temple of Swing Since1946, accessed November 18, 2017, http://www.caveaudelahuchette.fr/2/from_revolution_to_today_621799.html.

D. Mandal, "10 Incredible Things You Should Know About The Templars," Realm of History, accessed November 20, 2017, https://www.realmofhistory.com/2016/04/15/10-incredible-facts-knights-templar/.

Encyclopedia.com, "Bechet, Sidney," accessed November 15, 2017, http://www.encyclopedia.com/people/literature-and-arts/music-popular-and-jazz-biographies/sidney-bechet.

John Clark, "Sidney Bechet," Salem Press Biographical Encyclopedia Research Starters,

accessed November 20, 2017.

M. Contat, "From Sidney Bechet to "La La Land", the incredible story of the Caveau de la Huchette," Telerama, accessed November 20, 2017, http://www.telerama.fr/sortir/de-sidney-bechet-a-la-la-land-l-incroyable-histoire-du-caveau-de-la-huchette,153984.php.

Rachel Gillett, "Jazz and the Evolution of Black American Cosmopolitanism in Interwar Paris," Journal of World History (September 2010): 477.


Bechet's experience performing at Caveau de la Huchette, a club that discriminated based on race, is evidence of the false racial stereotypes that surrounded the Paris jazz scene as the genre emerged. It was common for black musicians, like Bechet, to migrate to Paris to pursue a career in jazz. Black Americans became personally invested in the lives of migrating jazz musicians, thus creating an "imagined racial community"[1]. Widely distributed newspapers, such as the Chicago Defender, featured news of success and triumph for black musicians in France. These musicians often sent personal anecdotes to the publishers, which further created a sense of intimacy and pride within the American audience[2]. While racial tensions in the United States were poignant, these publications conveyed the idea that racism was obsolete in Paris. Newspapers failed to convey the racial discrimination present in Paris to their audience, which exacerbated the negative outlook on racial tensions in the United States.

Americans did not have comprehensive knowledge of all aspects of Parisian life, thus changing their view on the journey across the Atlantic from a "voyage into slavery" to "entry point into international success"[3]. Although Bechet moved the trip to escape the rampant racism in America, he was still met with challenges in France. For Bechet, Paris "was love at first sight: he settled in ... like a native, even buying a beret"[4]. Yet, not everyone was accepting of this "native"[5], as Bechet was still met with racist discrimination from clubs such as the Caveau de Huchette and critics who attributed his musical success to biologic determinism[6]. In addition, the government worked diligently to separate American immigrants from their political affairs and halt the intermixing of popular culture[7]. He recognized the inequality of the country, yet made an effort to challenge racial norms and integrate himself into the culture.

While Paris is recognized as more racially inclusive than the United States during the mid-twentieth century, this is proved false by the experience of Bechet. He immersed himself into the culture of Paris and overcame social barriers to pursue his dream of being a successful jazz musician. Through his efforts, Bechet ultimately became the only black jazz musician to play at Caveau de la Huchette and ultimately died as a well-respected French artist[8]. While jazz musicians often escaped American racism for Paris, racial tensions were still present in France.



[1] Rachel Gillett, "Jazz and the Evolution of Black American Cosmopolitanism in Interwar Paris," Journal of World History (September 2010): 485.

[2] Ibid., 485.

[3] Ibid., 487.

[4] Andy Fry, Remembrance in Jazz Past: Sidney Bechet in France, ed. Jane Fulcher (Oxford University Press, 2011), 19.

[5] Ibid., 19.

[6] Ibid., 4.

[7] Rashida Braggs, Excerpt from "Jazz Diasporas: Race, Music, and Migration in Post-World War II Paris," Journal of Transnational American Studies (2016): 15.

[8] Andy Fry, Remembrance in Jazz Past: Sidney Bechet in France, ed. Jane Fulcher (Oxford University Press, 2011), 19.

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