BUCK CLAYTON – 1953, Vol. 2 | The Chronogical Classics – 1427 (2006) FLAC (tracks+.cue), lossless

This fourth volume in the Classics Buck Clayton chronology is mainly devoted to the excellent music he recorded in Paris during the first two weeks of November 1953. Much different from the old-fashioned jazz he blew with Mezz Mezzrow during the same tour, this material represents a fresh, modern approach to the traditions Clayton had helped to establish with (and without) Count Basie during the 1930s and '40s. Tracks one through five showcase informal jam bands co-led by Clayton and drummer Gerard Pochonet. There are several fine soloists featured here, including electrically amplified guitarist Jean-Pierre Sasson, clarinetist and baritone saxophonist Michel de Villers, trombonist Benny Vasseur, and pianist Andre Persiani. That's a short list -- these pleasantly loose blowing sessions involved some of the top jazz musicians available in Paris at that time. Back in New York and recording for Columbia on December 14 and December 16, 1953, Clayton led a ten-piece group that was essentially the Count Basie Orchestra with Sir Charles Thompson at the piano. Three extended romps close out this highly rewarding segment of the Buck Clayton story: "Lean Baby," a sultry blues by Billy May, cruises at a relaxed lope for eight-and-a-half minutes; the great Kansas City swing anthem "Moten Swing" rolls for twelve-and-a-half minutes, and a cool "Sentimental Journey" stretches out for nearly 14 minutes. Excellent music, superbly rendered. arwulf arwulf  
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ERSKINE HAWKINS AND HIS ORCHESTRA – 1936-1938 | The Chronogical Classics – 653 (1992) FLAC (tracks+.cue), lossless

This excellent CD has the first 24 recordings by trumpeter Erskine Hawkins' Orchestra, which was originally known as the 'Bama State Collegians. From the start, Hawkins had his sound together, with such top soloists as Dud Bascomb and the leader on trumpets, either Paul Bascomb or Julian Dash on tenor, baritonist Haywood Henry, and pianist Avery Parrish. Although there are some vocals from James Morrison, Billie Daniels and Merle Turner, it is the many spirited instrumentals that made Hawkins' big band one of the most popular of the next decade. Among the highlights of this superior set are "Swinging In Harlem," "Uproar Shout," "I Found a New Baby" and "Rockin' Rollers' Jubilee." Scott Yanow
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ERSKINE HAWKINS AND HIS ORCHESTRA – 1938-1939 | The Chronogical Classics – 667 (1992) FLAC (tracks+.cue), lossless

The second in the Classics label's reissuance of all of trumpeter/bandleader Erskine Hawkins' early recordings features the orchestra in its early prime. Although underrated in the history books, Hawkins led one of the finest big bands of the era. Among the more memorable selections in this consistently exciting set are "Weary Blues," "King Porter Stomp," "Swing Out," "Swingin' On Lenox Avenue," "Gin Mill Special," and the original version of "Tuxedo Junction." All of the CDs in the valuable series are highly recommended to swing collectors. Scott Yanow
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ERSKINE HAWKINS AND HIS ORCHESTRA – 1939-1940 | The Chronogical Classics – 678 (1992) FLAC (tracks+.cue), lossless

The Erskine Hawkins Orchestra was riding high during the era covered by this Classics CD, and their recording of "After Hours" (included among this reissue's highlights), which features pianist Avery Parrish, would keep the momentum going. Such numbers as "Satan Does the Rhumba," "Uptown Shuffle," "Gabriel Meets the Duke" and "Junction Blues" show why the Hawkins band was one of the most popular in Harlem during the 1930s and '40s. Scott Yanow
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ERSKINE HAWKINS AND HIS ORCHESTRA – 1941-1945 | The Chronogical Classics – 868 (1996) FLAC (tracks+.cue), lossless

All of the recordings cut by the always-underrated Erskine Hawkins Orchestra during a four-year period are reissued on this Classics CD. Actually there is only one cut from 1941 and seven songs from 1942 so the bulk of the set deals with the 1945 edition of the orchestra. In general the instrumentals are much more rewarding than the vocals, featuring solos by the trumpeter/leader, altoist Bobby Smith (who stars on the hit record of "Tippin' In") and tenor-saxophonist Julian Dash. The vocals by James Mitchelle, Ida James, Carol Tucker and Dolores Brown are harmless if forgettable; pianist Ace Harris fares best singing "Caldonia." In addition to "Tippin' In," highlights include "Lucky Seven," "Bear Mash Blues" (a near-classic by Sammy Lowe), "Caldonia," "Good Dip" and "Holiday for Swing." This is the fifth Erskine Hawkins CD from Classics and, due to the consistency of the band, all are recommended. Scott Yanow
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ERSKINE HAWKINS AND HIS ORCHESTRA – 1946-1947 | The Chronogical Classics – 1008 (1998) FLAC (tracks+.cue), lossless

Although by 1946 Erskine Hawkins no longer had any hit records in the future (1945's Tippin' In was his last one), his orchestra was still one of the best in jazz. Most of the 22 selections on this 1998 CD (the sixth in Classics' complete Hawkins series) are obscure but quite worthwhile. There are vocals on 13 of the songs (four by Jimmy Mitchelle, one from Ruth Christian, Ace Harris sounding spirited on "Well Natch," and seven easy-to-take vocals by Laura Washington) but it is the nine instrumentals that take honors. Although there are hints of bebop in the later records from 1947, most of the music on this CD is still very much in the swing vein. Taken as a whole, there is ample evidence here for the Erskine Hawkins Orchestra to be rated as one of the finest (and most underrated) big bands of the 1946-47 period. The key soloists in the orchestra are Hawkins and Sammy Lowe on trumpets, Matthew Gee on trombone, altoist Bobby Smith, Julian Dash on tenor, and baritonist Haywood Henry who is often heard on clarinet. Highlights include "Sneakin' Out," "Feelin' Low," "Needle Points," and "Lazy Blues." Recommended. Scott Yanow
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ERSKINE HAWKINS AND HIS ORCHESTRA – 1947-1949 | The Chronogical Classics – 1148 (2000) FLAC (tracks+.cue), lossless

The swing era may have ended during 1945-1946, but Erskine Hawkins' big band was still a mighty power in the late '40s. Still based at the Savoy Ballroom, Hawkins' ensemble occasionally showed a slight influence of bebop, but was essentially unchanged from five years earlier in style. Dud and Paul Bascomb had departed, but the band still had strong soloists in trumpeter Sammy Lowe, altoist Bobby Smith, tenorman Julian Dash, baritonist/clarinetist Haywood Henry, who is particularly well-featured, and the exciting leader/trumpeter. With occasional vocals by Jimmy Mitchelle, there was no reason to think that this big band would not survive for decades to come. Highlights of the program of little-known but valuable music includes: "Gabriel's Heater," "Rose Room" (during which Henry is excellent on clarinet), "Corn Bread," "Texas Hop," and "Fishtail," among others. Highly recommended to fans of swinging big bands. Scott Yanow  
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ERSKINE HAWKINS AND HIS ORCHESTRA – 1950-1951 | The Chronogical Classics – 1257 (2002) FLAC (tracks+.cue), lossless

Having survived and adapted to changing popular tastes throughout the 1940s, the Erskine Hawkins Orchestra eased into the next decade with six of the most traditionally oriented titles in its entire discography. Sammy Lowe's arrangements, however, were anything but old-fashioned. There's more than a bit of bop in the blaring trumpets, vamping reeds, and whiplash rhythms. "St. Louis Blues" may have been published in 1914, but Hawkins' band has it sounding positively contemporary. With the leader's salty trumpet and a stable of young toughs like Idrees Sulieman, Booty Wood, Haywood Henry, and Julian Dash, there's nary a dull moment. Except for Jimmy Mitchell's tidy vocal on "Careless Love," the first six tracks are thrilling instrumentals. They were issued as an album of three 78-rpm platters bearing the title W.C. Handy for Dancing. This brings listeners to the very last recordings Erskine Hawkins would make for RCA Victor. Efforts were being made to update the band's sound, and the results are different from anything previously recorded by this organization. "Hey Pretty Baby" and "Opportunity" boast Caribbean percussion; both tunes are sung with exceptional charm by Ace Harris. Although the Classics discography seems reluctant to divulge their identity, a retooled ride through "Tuxedo Junction" features the Deep River Boys, who exercise their collective ability to exaggerate a song until it stands taller than a house. Why Classics failed to specify Harris or even mention the Deep River Boys is puzzling, as the original 78s had the vocal credits printed clearly on the labels, right under the song titles. Bongos return during a fortified, updated treatment of Irving Berlin's "Always." Jimmy Mitchell's sweet vocal is spiced with vocal interjections from the band in a style originated by Steve Washington, premiered with Doc Wheeler, and exploited by Tommy Dorsey. Two months later Hawkins was working for Coral Records. On "So Long, Goodbye Blues," this group suddenly sounds a lot like Jay McShann's mid-'40s Kansas City big band. "Skippin' and Hoppin'" clearly resembles the Hawkins orchestra's earlier hit record, "Tippin' In." Continuing to shoot for the jukebox, Hawkins ground out a greasy "Downbeat" and the sugary "Tennessee Waltz." Solid remakes of two hardcore slow blues -- "After Hours" and "Bear Mash Blues" -- closed out 1950, and were followed by yet another pass at "Tuxedo Junction." When they weren't making easy sentimental records, these guys really cooked for the dancing crowd. Here, then, is another fascinating chapter in the life of the mighty Erskine Hawkins. arwulf arwulf  
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