LIONEL HAMPTON AND HIS ORCHESTRA – 1947 | The Chronogical Classics – 994 (1998) FLAC (tracks+.cue), lossless

All of Lionel Hampton's studio recordings from 1947 (before the second recording strike) are on this intriguing CD. Hampton's big band at the time mixed together R&B with bebop, swinging hard and putting on exciting shows. "Hamp's Got a Duke," "Three Minutes on 52nd Street," and "Red Top" are typical of the ensemble's work, but there is also Charles Mingus' futuristic "Mingus Fingers" along with the original version of Hampton's classic ballad "Midnight Sun." In addition, there are three fairly obscure small-group sessions that mostly showcase Hampton's vibes but also include pianist Milt Buckner, tenor saxophonist Morris Lane, trumpeter Benny Bailey, and pianist Dodo Marmarosa. Well worth picking up by fans of 1940s jazz. Scott Yanow
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
Tracklist :

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
Tracklist + Credits :

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  
Tracklist + Credits :

MARY LOU WILLIAMS – 1951-1953 | The Classics Chronological Series – 1346 (2004) FLAC (tracks+.cue), lossless

While the Asch recordings of Mary Lou Williams, recorded during the mid-'40s, are wrapped in a veil of pleasant 78-rpm surface noise, her Circle recordings of 1951 are presented here as direct transfers from early 33-and-one-third-rpm platters. This creates a different listening experience, for while sustained 78-rpm "scratchiness" acts as a constant texture through which the music may usually be heard, the inconsistent wandering hiss of the primitive acetate "long-playing" record creates at times a slightly distracting rhythmic pattern that is most noticeable on the slower numbers. This is emphasized by the otherwise "clean" sound of the recording. With Willie Guerra's bongos and Billy Taylor's upright bass backing the leader's excellent piano, the intrusive little hisses sound at times as though someone might be carelessly handling a shekere, or possibly teasing a pet snake. All phonographic pickiness aside, the music heard on the opening session is exquisite, particularly "Handy Eyes," a grooved-up rendition of W.C. Handy's "St. Louis Blues." Two further Circle sides from 1952 feature the pianist supported by an unidentified bassist and drummer. After a marvelous passage through Ellington and Tizol's "Caravan," the men open "Yes, We Have No Bananas" by shouting the title in a bizarre and surprising manner. On July 11, 1952, Mary Lou Williams performed in front of a loudly appreciative audience with a band including her second ex-husband, trumpeter Harold "Shorty" Baker, trombonist Vic Dickenson, and tenor saxophonist Morris Lane. The ten-minute "Down Beat" is a warm, swinging jam during which the players are able to stretch out and cook nicely. A lovely take on "Out of Nowhere" leads into eight and a half smoky minutes of "C Jam Blues." The remaining 12 tracks were recorded during Mary Lou Williams' visit to England during the first half of 1953. Backed by guitar, bass, and either the regular drum kit or bongos, she delivers her customary blend of original compositions, jazz standards, classic ragtime, and contemporary tropes from innovators such as Tadd Dameron and Thelonious Monk. arwulf arwulf
Tracklist :
1    Mary Lou Williams Trio–    Lover, Come Back To Me    3:30
2    Mary Lou Williams Trio–    S'Posin'    3:16
3    Mary Lou Williams Trio–    Handy Eyes    3:20
4    Mary Lou Williams Trio–    Tisherome    4:03
5    Mary Lou Williams And Her Modern Music*–    Caravan    2:35
6    Mary Lou Williams And Her Modern Music*–    Yes, We Have No Bananas    2:08
7    Mary Lou Williams And Her Orchestra–    Down Beat    9:57
8    Mary Lou Williams And Her Orchestra–    Out Of Nowhere    4:06
9    Mary Lou Williams And Her Orchestra–    C Jam Blues    8:25
10    Mary Lou Williams Trio–    Titoros    2:55
11    Mary Lou Williams Trio–    Lady Bird    3:00
12    Mary Lou Williams Trio–    Don't Blame Me    3:24
13    Mary Lou Williams Trio–    They Can't Take That Away From Me    2:39
14    Mary Lou Williams Trio–    Koolbongo    2:52
15    Mary Lou Williams Trio–    Perdido    2:33
16    Mary Lou Williams Trio–    For You    2:54
17    Mary Lou Williams Trio–    Round About Midnight    4:05
18    Mary Lou Williams And Her Rhythm–    Laughing Rag    1:49
19    Mary Lou Williams And Her Rhythm–    Rag Of Rags    1:51
20    Mary Lou Williams Quartet–    Melody Maker    2:30
21    Mary Lou Williams Quartet–    Musical Express    2:16
Credits :    
Bass – Billy Taylor Sr. (tracks: 1 to 4), Eddie Safranski (tracks: 7 to 9), Jack Fallon (tracks: 18, 19), Ken Napper (tracks: 10 to 17), Rupert Nurse (tracks: 20, 21), Unknown Artist (tracks: 5, 6)
Bongos – Tony Scott (tracks: 10 to 17), Willie Guerra (tracks: 1 to 4)
Drums – Don Lamond (tracks: 7 to 9), Gerry McLaughlin (tracks: 18, 19), Tony Kinsey (tracks: 20, 21), Unknown Artist (tracks: 5, 6)
Guitar – Allan Ganley (tracks: 10 to 17), Nevell John (tracks: 7 to 9), Ray Dempsey (tracks: 20, 21)
Piano – Mary Lou Williams
Tenor Saxophone – Morris Lane (tracks: 7 to 9)
Trombone – Vic Dickenson (tracks: 7 to 9)
Trumpet – Harold Baker (tracks: 7 to 9)