EARL HINES – 1953-1954 | The Classics Chronological Series – 1440 (2007) FLAC (tracks+.cue), lossless

The 11th installment in the Classics Earl Hines chronology charts the pianist and bandleader's professional progress during a time period running between May 1953 and August 1954. This entertaining segment of the Hines story includes eight excellent sides cut for the King label in New York, 14 selections recorded in Los Angeles for the Nocturne label, and lastly a five-and-a-half minute interview with Hines himself. The four King instrumentals ("Hot Soup," "Sleep Walking," "In the Attic," and "Space Ship") demonstrate how adaptable Hines was during these transitional years. This compilation opens with two surprisingly fine and funny vocals by world-famous pugilist Sugar Ray Robinson, while "A Pretty Girl Is Like a Melody" and "When I Dream of You" are sung by 30-year-old crooner Johnny Hartman. "Crazy Rhythm" was done up by four members of the band (including trombonist Dicky Wells!) who transformed themselves into a vocal group billed as the Hines Varieties, while "Almost Like Being in Love" and "I Don't Hear Sweet Music Any More" were sung by sax and flute man Jerome Richardson. Hines himself was the featured vocalist on "New Orleans," "Pennies from Heaven," "I Can't Believe That You're in Love with Me," and "I'm a Little Blackbird Looking for a Bluebird." (This last number dates back to the mid-'20s when it was first recorded by Eva Taylor and the Clarence Williams Blue Five with Louis Armstrong and Sidney Bechet.) All of these diverse treats, along with cameo appearances by reedmen Budd Johnson, Morris Lane, Aaron Sachs, and Haywood Henry, make this one of the great "variety packs" in the Earl Hines discography. arwulf arwulf
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COOTIE WILLIAMS AND HIS ORCHESTRA – 1945-1946 | The Classics Chronological Series – 981 (1998) FLAC (tracks), lossless

Having already starred in both Ellington's and Goodman's bands, trumpeter Cootie Williams marked the '40s with a slew of sides featuring his own big band and a variety of combos. His fiery, Armstrong-inspired blowing always was full of narrative wit, and this mighty horn package is certainly on display on Classics' chronological roundup of some of Williams' 1945-1946 sides. Still a bit shy of later R&B-styled work, Williams swings nicely on standouts like "Juice Head Baby," "Jumping to Conclusions," and "Echoes of Harlem." The supporting cast may not be star studded -- save for a young Eddie "Cleanhead" Vinson -- but the playing is all top-notch and Williams certainly delivers more than just a few meaty solos. A choice collection best suited to dedicated listeners. Stephen Cook
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COOTIE WILLIAMS AND HIS ORCHESTRA – 1946-1949 | The Classics Chronological Series – 1105 (2000) FLAC (tracks), lossless

Classics picks up the story of former Ellington trumpeter Cootie Williams as the leader of his own orchestra from 1946 through 1949 on sides he recorded for Capitol, Majestic, and Mercury. Vocalists Bob Merrill, Billy Matthews, and Eddie Mack are heavily featured on these 22 cuts. The R&B jump music of Louis Jordan and Wynonie Harris were big draws in the nightclubs and jukeboxes of the time and much of this material lends itself to that style. "Inflation Blues" is a takeoff of the "Let the Good Times Roll" theme, while "Save the Bones for Henry Jones," "I Should O' Been Thinking Instead of Drinkin," "Gator Tail" (parts one and two), and "Doin' the Gator Tail" are enjoyable mixtures of novelty lyrics and stompin' R&B instrumentals. While Williams favored this commercial recipe during these years, he did manage to wax a few ballads, such as "I Can't Get Started" and "I Want to Be Loved," and orchestra numbers like "Rhapsody in Bass"; "Sound Track" leans toward the Ellingtonesque style he was an earlier participant in. Al Campbell
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