EDDIE SOUTH – 1923-1937 | The Classics Chronological Series – 707 (1992) FLAC (tracks+.cue), lossless

Twenty songs covering Eddie South's chronological history up to World War II -- this disc starts with his recording debut as a member of Jimmy Wade's Syncopators, jumps to his solo stuff, and then South's work in Europe in association with the Swing label in Paris, through which his name became widely known. South's New York-based Columbia and Okeh sides never sold as well as what he did for Swing, but they're equally worthwhile. Bruce Eder             Tracklist + Credits :

EDDIE SOUTH – 1937-1941 | The Classics Chronological Series – 737 (1993) FLAC (tracks+.cue), lossless

The 20 recordings on the 1937-1941 volume were cut variously in Paris during 1937; Hilversum, Holland, in 1938; and New York in 1940 and 1941. The French and Dutch recordings represent South's final European sessions before his return to the United States in 1938 -- that's Django Reinhardt strumming along on the two Parisian sides, "Fiddle Blues" and "Interpretation Sing du Premier Mouvement du Concerto en Re Mineur de Jean-Sebastien Bach-Part 2," with Stephane Grappelli joining him on violin. South's own quintet (including the extraordinarily sweet piano of David Martin) is featured on the four Hilversum sides, all of which -- "Honeysuckle Rose," "On the Sunny Side of the Street," the delightful "Fiddleditty," and the extraordinary "Black Gypsy," a track worthy of Jascha Heifetz -- are worth the price of this disc. South's New York-based Columbia and Okeh sides never sold as well as what he did for Swing, but they're equally worthwhile. The disc closes out with his hot rendition of "Lady Be Good" and a mellow version of "Stompin' at the Savoy." Bruce Eder    Tracklist + Credits :

EARL HINES AND HIS ORCHESTRA – 1947-1949 | The Classics Chronological Series – 1120 (2000) FLAC (tracks+.cue), lossless

This segment of the Earl Hines chronology finds the pianist leading smaller ensembles rather than the big band for which he had become famous throughout the 1930s and early '40s. Back in Chicago during December of 1947, Hines cut a handful of sides for the diminutive Sunrise record label. "Blues for Garroway" features the electrified guitar of Skeeter Best and Morris Lane's smooth tenor sax. "Honeysuckle Rose" is rendered by the interesting combination of organ, piano, sax, and violin, almost like gentle salon or chamber music. That's Eddie South on the fiddle, and Hines plays what sounds like an upright piano. "Dark Eyes" spotlights the viol with bass and piano accompaniment. Hines spent the last day of 1947 making six more records for Sunrise. The pianist sings a spruced-up version of "Sheik of Araby," proudly referring to himself as "streamlined" and quoting from "I'se A-Muggin'" as a lead-in to a duet with Wini Brown. The next three tracks have bluesy vocals by trumpeter Duke Garrette, but the most interesting components are Eddie South, alto saxophonist Bobby Plater, and young bassist Charles Mingus, whose solo on the "No Good Woman Blues" is tasty. Mr. Ming also mingles with the Earl behind rockin' vocals by Wini Brown and the band on "Bama Lama-Lam," a jump tune spiced with Garrette's trumpet and the baritone sax of Charlie Fowlkes. The rolling "Spooky Boogie" might be the coolest tune in the whole package, as all four horns, Mingus, and South each really strut their stuff. These last two titles were issued under the name of Curley Hamner & His Orchestra, although why Hamner -- also listed in discographies as Hamer and Hammer -- was designated as the leader is anybody's guess. If the Classics chronology is accurate, Earl Hines wasn't able to record again until December of the following year, this time for the MGM label in New York. Hines' "Swingtette" consisted of himself, guitarist Floyd Smith, bassist Arvell Shaw, and percussionist supreme Sidney Catlett. "Lazy Mornin'" is a very slow essay made of lovely tones, and the other three tunes sizzle merrily. Hines' next recording gig was in Paris on November 4, 1949, waxing eight sides for the Royal Jazz label. Forming a trio with Arvell Shaw and Wallace Bishop, Hines produced a lovely version of his own composition "I Never Dreamt," then augmented a lively number called "Snappy Rhythm" with actual finger snaps and some wild arpeggios spanning several octaves up and down the piano keyboard. Adding Buck Clayton and Barney Bigard on the same date, Hines now had a quintet with which to relax and cook up a series of fresh interpretations of old-fashioned melodies, along with "Night Life in Pompeii," a minor dance that seems to have been created especially for the marvelous clarinet artistry of Barney Bigard. arwulf arwulf
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