LOUIS JORDAN AND HIS TYMPANY FIVE – 1940-1941 | The Chronogical Classics – 663 (1992) FLAC (tracks+.cue), lossless

The second in the Classics label's CD series that reissues all of Louis Jordan's early recordings features the masterful entertainer with his Tympani Five in the period that directly preceded his great commercial successes. Although most of these 26 selections (including "Somebody Done Hoodooed the Hoodoo Man," "After School Swing Session," "Saxa-Woogie" and "De Laff's On You") are quite obscure, the playing by the group is quite infectious and enjoyable. Singers Daisy Winchester and Mabel Robinson are heard on the Mar. 13, 1940 session for a song apiece, but otherwise, the focus is on Jordan and his fine band, which features tenor saxophonist Kenneth Hollon and several trumpeters, including (on one date) Freddy Webster. Recommended to listeners who want to hear more Louis Jordan than just his hit records. Scott Yanow  
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EARL HINES AND HIS ORCHESTRA – 1937-1939 | The Classics Chronological Series – 538 (1990) FLAC (tracks+.cue), lossless

Another chapter in the Classics label's impressive chronological account of Earl Hines' big-band and solo piano work from 1928-1947. By this time, Hines was slipping into a bit of a routine, but for the most part the material here maintains the high standards of his benchmark work from 1934 and 1935. His top arranger, Jimmy Mundy, is on hand again, joined by Horace Henderson (Fletcher Henderson's brother) and Budd Johnson. Johnson would later flower as one of Hines' main chart-makers, and here he ably displays his talents on the churning "XYZ" and the Hines showcase "Piano Man." Hines further displays his mammoth chops on two exciting solo tracks, "The Father's Getaway" and "Reminiscing at Blue Note." And making fine contributions of their own are clarinetist Omer Simeon and trumpeters George Dixon, Ray Nance (later of Ellington fame), and Freddy Webster. A highly enjoyable if unessential disc from the Hines catalog. Stephen Cook  
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EARL HINES AND HIS ORCHESTRA – 1941 | The Classics Chronological Series – 621 (1991) FLAC (tracks+.cue), lossless

In 1975, when Bluebird brought out a double-LP reissue of vintage Earl Hines big-band recordings, the producers included a chain of beefy instrumentals from 1941. The Classics Chronological series zeroed in and fleshed out an important part of the picture by compiling all of Hines' 1941 material onto one CD 16 years later. What you get are eight terrific instrumentals interspersed with ten vocal tracks and a pair of fine piano solos. Since the vocal performances were aimed at the general record-buying public, they deviate noticeably from the powerhouse home base of big-band swing infused with intimations of the approaching bebop revolution. Eight instrumentals, then, form the backbone of this volume in the complete recordings of Earl Hines. "Up Jumped the Devil" and the attractive "Jersey Bounce" were designed for dancers, fairly bristling with hot drum breaks by Rudy Traylor and steamy solos by trumpeter George Dixon and tenor man Franz Jackson. Jackson composed, arranged, and blew his horn on "South Side," a cooker with solos by trumpeter Harry Jackson and Scoops Carey on clarinet. "Windy City Jive," composed and arranged by Buster Harding, has a tenor sax solo by the mighty Budd Johnson. Arranged by Eddie Durham, "Swingin' on C" overflows with great solos, including two trombone breaks by John "Streamline" Ewing. "Yellow Fire," a vivid, time-honored stomp for big band, finishes off with a percussion explosion by Traylor. Presiding over all of this excitement, Earl Hines distinguishes himself from time to time with piano breaks amid the other solos. "The Father Jumps," borrowing an ascending riff from Duke Ellington's "Merry Go Round," is a good hot jam with foamy drumming. "The Earl" is completely built around the pianist's presence, as he executes flashy tricks and wiggly runs between big-band blasts. This track showcases some of Hines' finest keyboard calisthenics. On the two unaccompanied piano solos, Hines demonstrates what could be called "Chicago stride," experimenting more than a bit with the structure of "Melancholy Baby." As for the vocalists, Billy Eckstine turns in half a dozen calorie-laden performances, the best of which is the slightly outrageous "Jitney Man," wherein he approaches the joyous theatricality of Al Hibbler. Madeline Green had a sweet little voice, but listeners are almost never able to appreciate it without the sugary backing of a vocal group calling itself the Three Varieties -- a takeoff on the Heinz condiment company's much-touted slogan, "57 Varieties." These singers try for the confectionary sound that many white big bands were hopelessly addicted to at the time. They pour syrup all over the place, and as a result some of the pop-oriented material feels at times a bit sticky. But that's what you get in a complete chronological survey of everything this bandleader did in order to stay in business over the space of eight months in 1941. arwulf arwulf  
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SARAH VAUGHAN – 1944-1946 | The Classics Chronological Series – 958 (1997) FLAC (tracks+.cue), lossless

This first installment in the complete chronological recordings of Sarah Vaughan is a gold mine of great jazz dating from turbulent and transitional times. It's also one of the very best Sarah Vaughan retrospectives ever made available to the public. Vaughan positively glows in front of every ensemble lucky enough to back her, as she performs in an almost bewildering series of outstanding recordings on the De Luxe, Continental, Guild, Crown, Gotham, H.R.S., and Musicraft labels. She appears as a 20-year-old featured with Billy Eckstine's Orchestra, then sitting in with Dizzy Gillespie and Charlie Parker, with violinist Stuff Smith's Trio, and with the amazing John Kirby Sextet (here billed as his orchestra). She rubs shoulders with Trummy Young, Dicky Wells, Tony Scott, Ben Webster, Freddy Webster, Al Cohn, Serge Chaloff, Flip Phillips, Tadd Dameron, Bud Powell, Dexter Gordon, Gene Ammons, Leo Parker, Georgie Auld, Art Blakey, Max Roach, Sid Catlett, Max Roach, and pianist Jimmy Jones, destined to accompany Vaughan intermittently until 1958. The jazz talent assembled on this one disc is nothing short of formidable. Sarah Vaughan began her recording career in the eye of the hurricane of jazz in New York during the mid-'40s. This incredible compilation documents exactly how she went about it. arwulf arwulf
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BUD POWELL – 1945-1947 | The Classics Chronological Series – 1003 (1998) FLAC (tracks+.cue), lossless

An excellent companion to Classics' 1949-1950 Bud Powell title, this roundup of the bop pianist's early post-war sides gets top overview honors for its better balanced share of combo and trio sides. The first half is mostly taken up by an incredible 1946 session featuring Fats Navarro, Sonny Stitt, Kenny Dorham, and Kenny Clarke, with highlights including the Navarro originals "Webb City," "Fat Boy," and "Everything's Cool." For Powell fanatics, though, the eight trio sides will be the real attraction. Backed by first-tier boppers Max Roach and Curly Russell, Powell is at his fleet and innovative best on a mix of his own work ("Bud's Bubble"), some Monk ("Off Minor"), and a handful of choice covers ("I'll Remember April," "I Should Care"). A taste of possibly the most irrepressible and sophisticated bop on wax. Stephen Cook  
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SAM PRICE – 1942-1945 | The Classics Chronological Series – 1083 (1999) FLAC (tracks+.cue), lossless

A nice collection of Price's 1942-1945 recordings that spotlights this highly undervalued boogie pianist. Kicking off with four sides backing Mabel Robinson, the set also includes ten sides that Price's small groups cut for the Decca label, as well as ten piano solos recorded in New York but originally issued in France. A stray duo track with drummer Big Sid Catlett rounds out the collection. A hidden treasure. Cub Koda
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