Monday, August 5, 2013

Earl Hines - Chronological Classics (1949-1952)

Not long after leaving Louis Armstrong's All Stars in the autumn of 1951, Earl Hines formed his own sextet. Based on his fame and reputation it was possible to find engagements at clubs, mainly on the West Coast and in the New York area. This CD includes the only recordings by Earl Hines' working band of the time plus music from two equally important earlier sessions.
Volume ten of the recordings of Earl Hines presented in chronological order, opens with the remaining tracks the pianist made in Paris in 1949. He had come to France with Louis Armstrong on his second post-war trip to Europe, Vogue fortunately let Hines chose what he wanted to record on this occasion. The up tempo "Fine & Dandy" is a real gem. Besides a reworking of his specialty, "Boogie Woogie On St, Louis Blues", Earl Hines provided the vocal on the final track from November 1949. The wonderful trio session from july 1950 belongs to a series of 10 inch LPs Columbia made with different jazz pianists at the time. Earl Hines knew these standards by heart and plays as well as ever. The remaining tracks are by his sextet: at first his new combo included Harold Land and Art Blakey but they were soon replaced by Aaron Sachs and Osie Johnson. This music was originally issued on the D'Oro label, a short-lived company
set up by Fred Roth, a fan of Hines, for the sole purpose of documenting this sextet. No other record firm seemed to care much about Earl Hines' unit, amazing though it certainly was, not least the vocalists: the beautiful "Cigarette For Company" was Helen Merrill's very first recording. Etta Jones is more convincing on "Stop" (including great solos from Jonah Jones, Aaron Sachs and Bennie Green) than on the exotic "Trinidad". Lonnie Satin and Hines himself also feature as vocalists, which seems to indicate the Fred Roth was particularly fond of vocals. Still, it is a pity this fine small band only managed to make this handful of recordings. To be continued...
Anatol Schenker, December 2002, from the booklet

Earl Hines
Chronological Classics


1 Honeysuckle Rose (Razaf, Waller)  3:13
2 Fine and Dandy (Jones, Swift)  3:14
3 Sugar (Pinkard)  3:27
4 Boogie Woogie on the St. Louis Blues (Handy, Hines)  3:06
5 Singin' for My French Brothers (Hines)  2:47
6 Velvet Moon (DeLange, Myrow)  4:02
7 Rosetta (Hines, Woode)  3:54
8 I Hadn't Anyone Till You (Noble)  4:04
9 These Foolish Things (Link, Marvell, Strachey)  4:00
10 'Deed I Do (Hirsch, Rose)  3:37
11 When I Dream of You (Carpenter, Hines)  3:50
12 You Can Depend On Me (Carpenter, Dunlap, Hines)  4:37
13 Diane Pollack, Rapee)  4:15
14 A Cigarette for Company (Hines, Toth, Miller)  2:35
15 Ella's Fella (Hines, Roth)  2:41
16 Whirl on a Whirl (Hines)  2:41
17 One Night in Trinidad (Hines)  2:40
18 Green's Corner (Hines)  3:04
19 When I Dream of You (Carpenter, Hines)  3:04
20 Stop (Hines)  3:01


[# 1-2]
Earl Hines - p
Arvell Shaw - b
Wallace Bishop - dr
Recorded in Paris ; November 4, 1949
[# 3-5]
Earl Hines - p & vc
Recorded in Paris ; November 6, 1949
[# 6-13]
Earl Hines - p
Al McKibbon - b
J. C. Heard - dr
Recorded in New York ; July 17, 1950
[# 14-20]
Jonah Jones - tp
Benny Green - tb
Aaron Sachs - cl & ts
Earl Hines - p & vc [# 15 only]
Tommy Potter - b
Osie Johnson - dr
Etta Jones - vc [# 17 & 20]
Helen Merrill - vc [# 14 only]
Lonnie Satin - vc [# 19]
Recorded in New York ; December 15, 1952

This disc begins with five excellent recordings that Earl Hines made for the Royal Jazz label in Paris. These joyous, optimistic trio renderings of "Honeysuckle Rose" and "Fine and Dandy" were part of a sizable bundle of great music recorded on November 4, 1949, the balance of which occupies the final eight tracks of Classics 1120. Two days later, Hines created three interesting piano solos for Royal: a relaxed revisit with Maceo Pinkard's old-fashioned love song "Sugar," a tough and powerful remake of "Boogie Woogie on the St. Louis Blues," and "Singing for My French Brothers," during which the pianist scats amiably. In July of 1950, Hines recorded eight outstanding trio performances to be issued on Columbia's newly developed long-playing 33-and-1/3-rpm format. The combination of Hines with bassist Al McKibbon and the impeccable J.C. Heard was remarkably fruitful. "These Foolish Things" seems to unfold as gradually as the dawn, "Velvet Moon" and "When I Dream of You" are slow and reflective, and the rest of this trio's work swings marvelously. "Diane" develops something like a Cuban rhythm halfway through, then prances the rest of the way home. In December of 1952 Hines was able to wax seven sides for the D'Oro label, which was created especially to record the Earl Hines Sextet, with a front line of trumpeter Jonah Jones, trombonist Bennie Green, and Aaron Sachs, who played clarinet and tenor sax. Vocalists heard here are Helen Merrill (this was her very first appearance on record), Lonnie Sattin (who bellows and croons like an Eckstine caricature), and a soulful Etta Jones (who has a lot of fun hollering "Stop"). Hines himself sings over a rhumba called "Ella's Fella," and "Whirl on a Whirl" also has a bit of that rhythmic Caribbean energy running through it. "Green's Corner" — which in fact uses the bridge from "Love Is Just Around the Corner" — is a friendly study for trumpet, tenor sax, and trombone with rhythm accompaniment, including brief solos from bassist Tommy Potter and Earl "Fatha" Hines.
arwulf arwulf

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