EARL HINES AND HIS ORCHESTRA – 1928-1932 | The Classics Chronological Series – 545 (1990) FLAC (tracks+.cue), lossless

This initial installment in the historical chronology of recordings released under the name of Earl Hines contains no less than 13 finely rendered piano solos. Hines the pianist is caught in the act of tapping into everything that was in the air at the time: ragtime, blues, catchy airs and shout-style stride -- everything a bright young man would have picked up between Pittsburgh and Chicago, with Kansas City, New Orleans and New York coming up through the floorboards. Hines experimented unflinchingly with rhythmic variation, and was by far the most adventurous improviser in all of jazz piano before the rise of Art Tatum. "Caution Blues" is the venerable "Blues in Thirds" taken at a brisk clip. The ensemble sides, which were the very first to appear under Hines' own name, have elements in common with what was being recorded in 1929 by Louis Armstrong, Luis Russell, the nine- and eleven-piece editions of Fats Waller & His Buddies, and many other fine bands of the day. There are two rather insipid vocals by trombonist William Franklin, a fine dose of hefty scat singing from tuba-toting arranger Hayes Alvis, and three decidedly hip examples of Hines as hot and low-down vocalist. He scats with abandon during a smoky rendition of "Everybody Loves My Baby," talks like Don Redman on "Have You Ever Felt That Way?" and chortles wordlessly on "Sister Kate" after the manner of Louis Armstrong. Finishing off the disc with a taste of 1932, "Deep Forest," soon to be established as the Hines theme song, is a sort of piano concerto in miniature. Here is the perfect prologue to what this striking individual went on to accomplish over the next half-century. arwulf arwulf  
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EARL HINES AND HIS ORCHESTRA – 1932-1934 | The Classics Chronological Series – 514 (1990) FLAC (tracks+.cue), lossless

Hines began his career as a bandleader in 1928, the year in which he also started a lengthy residency at Chicago's Grand Terrace Club. During the Grand Terrace days, he did have his share of musical ups and downs, but this collection of 1932-1934 sides finds him in the first fertile patch of a long and distinguished career as a bandleader. Besides some fine piano work by the master himself, the music benefits greatly from the work of such topnotch arrangers as Jimmy Mundy, Walter Fuller, and Quinn Wilson. Mundy hits his spots with original versions of classics like "Cavernism," "Bubbling Over," and "Madhouse," while Wilson avails himself nicely with charts for "Japanese Sandman" and "Blue." There's also plenty of fine solo work from trombonist Trummy Young, clarinetist Omer Simeon, and tenor saxophonist Budd Johnson, among many others. The disc is spotty in parts but full of enough solid material to qualify as an essential collection. Stephen Cook  
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EARL HINES AND HIS ORCHESTRA – 1934-1937 | The Classics Chronological Series – 528 (1990) FLAC (tracks+.cue), lossless

Between his auspicious beginnings with Armstrong, Jimmie Noone, and Erskine Tate during the late '20s and his proto-bebop big band of the '40s, Earl Hines found his '30s stride with these fine recordings. Part of a clutch of Classics discs charting his solo and big-band sides from 1928-1947, this collection finds Hines in the stellar company of such top arrangers as Jimmy Mundy, Quinn Wilson, and Cecil Irwin. While Mundy was the only one to achieve fame beyond the group (with Count Basie), all these chart-makers flourished under Hines' watch. Mundy's work especially stands out: Four of his contributions here -- "Fat Babes," "Copenhagen," "Rock and Rye," and "Cavernism" -- count as pinnacles of the form, replete with inventive horn parts and streamlined yet driving rhythm tracks. Hines, of course, finds his own way quite nicely with a series of sparkling solo statements. And helping out on the bandstand are such luminaries as trombonist Trummy Young, trumpeter Walter Fuller, and tenor saxophonist Budd Johnson (later to provide Hines with some quality arrangements of his own). A high point in the Hines catalog. Stephen Cook  
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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 – 1939-1940 | The Classics Chronological Series – 567 (1991) FLAC (tracks+.cue), lossless

At the time of these recordings, Hines was in the process of re-igniting his once potent and inventive big band of the mid-'30s. And while he and his cohorts hadn't completely dropped off the quality scale -- Hines' solos, of course, always remained hot -- the group's material was beginning to dip in caliber. Then came the twin powers of arranger/tenor saxophonist Budd Johnson and singer Billy Eckstine. Picking up from his fine work on Classics' earlier 1937-1939 disc, Johnson delivers standout charts here, like "Number 19" and the novelty number "Tantalizing a Cuban." One of Hines' top arrangers from the past, Jimmy Mundy, also does his part with solid if somewhat slick cuts like "You Can Depend on Me" and "Easy Rhythm." And with Eckstine in the mix, the band finally found a genuine star vocalist. Showing the kind of swarthy tone and incredible facility that would bring him fame over the next three decades, Eckstine lights up the proceedings on classics like "Jelly, Jelly," "I'm Falling for You," and "Ann." Keeping up with the Young Turk, Hines displays his seasoned soloing chops on numbers like "Rosetta," "Body and Soul," and "Child of a Disordered Brain." Check out the mighty Hines band finding its groove again before unwittingly morphing into an incubator for bebop talent. Stephen Cook     Tracklist :

JIMMY MUNDY AND HIS ORCHESTRA – 1937-1947 | The Classics Chronological Series – 1200 (2001) FLAC (tracks+.cue), lossless

Jimmy Mundy was a valuable arranger during the swing era, contributing important charts to many big bands, particularly those of Earl Hines, Benny Goodman, and Count Basie. He had a short-lived orchestra of his own in 1939, but it did not make much of an impression. This CD has all of the sessions that Mundy led during the period. He is heard on two numbers with a septet that is mostly taken from Earl Hines' 1937 band, including trumpeter Walter Fuller on vocals, trombonist Trummy Young, guest drummer Chick Webb, and Mundy himself on tenor. His four selections with his 1939 orchestra are here (clarinetist Jimmy Hamilton, pianist Bill Doggett, and drummer Shadow Wilson are the only future names in the band), plus selections from three other ensembles from 1945-1947. Four numbers feature a novelty vocal group called the Ginger Snaps, one ensemble has trumpeter Ray Linn and Lucky Thompson on tenor, and four V-discs feature an all-star Los Angeles band with trumpeter Clyde Hurley, altoist Willie Smith, and Thompson. This formerly rare music should please swing fans. Scott Yanow
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