HERMAN CHITTISON – 1933-1941 | The Classics Chronological Series – 690 (1993) FLAC (tracks+.cue), lossless

This disc opens with a bang, or, to be more exact, a howl. Banjo Ikey Robinson imitates Cab Calloway's wide-open hollering -- specifically drawing upon Calloway's scream-along hit "Zaz Zuh Zaz" -- but somehow takes it to his own extremes as he wails about being "Unlucky." Robinson's piano-playing partner on July 17, 1933, identified as "Ivory" Chittison, provides a full-bodied background of smooth, low-down pulsating rhythms and sweeping arpeggios. This mingles surprisingly well with Robinson's guitar, but the tastiest part of the mix is that fearless vocal. The flip side is a real gem, one of Robinson's all-time greatest hot numbers. The melody to "My Four Reasons" sounds a little like "Clarinet Marmalade." The lyrics are boisterous, the guitar licks are hot, but again the grooviest parts of the entertainment are Robinson's frequent vocal outbursts. That man did love to cut loose and raise his voice. These two crazy tunes form a perfect appetizer leading into a full course of Herman Chittison's energetic piano solos. Recorded in Paris during the early summer of 1934, "Honeysuckle Rose" is terrifically stimulating. "Harlem Rhythm Dance" is so fast it's almost frightening. "Nagasaki" pairs off with "Honeysuckle" as well-organized stomps with all of the right stuff happening. "Stormy Weather" is brisk and muscular. It's good to hear a couple of examples of Chittison accompanying a vocalist. Arita Day sounds hipper than Ethel Waters on "Heat Wave" and works up a dramatically poignant reading of Cole Porter's epic tale of heartbreak, homicide, and lynching, "Miss Otis Regrets." Five Parisian piano solos from 1938 are refreshing and inventive, as Chittison sorts out his own style and technique from the influence of his number one role model, Art Tatum. "I'm Putting All My Eggs in One Basket" is particularly fine, and "My Own Blues" allows the artist to express himself for a couple of minutes without any discernible ties to Tin Pan Alley. Back in New York making records for Bluebird during September of 1941, the pianist served up a gorgeous pair of solos, simultaneously romantic and progressive. If Tatum's vibe is still very much a part of the Chittison style, there is just a hint of Bud Powell's advanced harmonies and lightning dexterity in "Flamingo" and "The Man I Love." arwulf arwulf  
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