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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