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2 x CD |
| 3.632 Ft
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| 1. CD tartalma: |
| 1. | Weather Bird -- Louis Armstrong
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| 2. | Blues In Thirds [Caution Blues]
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| 3. | Panther Rag
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| 4. | Stowaway
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| 5. | Chimes In Blues
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| 6. | A Monday Date
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| 7. | Caution Blues
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| 8. | Fifty-Seven Varieties
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| 9. | I Ain't Got Nobody
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| 10. | I Wish I Could Shimmy Like My Sister Kate -- Earl Hines And His Orchestra
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| 11. | Glad Rag Roll
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| 12. | Beau Koo Jack -- Omer Simeon
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| 13. | Blue Nights -- Earl Hines And His Orchestra
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| 14. | Grand Piano Blues -- Earl Hines And His Orchestra
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| 15. | Deep Forest -- Earl Hines And His Orchestra
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| 16. | Angry -- Earl Hines And His Orchestra
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| 17. | Rhythm Sundae -- Earl Hines And His Orchestra
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| 18. | Grand Terrace Shuffle -- Earl Hines And His Orchestra
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| 19. | Piano Man -- Earl Hines And His Orchestra
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| 20. | Rosetta
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| 21. | Number 19 -- Earl Hines And His Orchestra
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| 22. | Boogie Woogie On St. Louis Blues -- Earl Hines And His Orchestra
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| 23. | Child Of A Disordered Brain
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| 24. | Tantalizing A Cuban -- Earl Hines And His Orchestra
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| 25. | Blues In Thirds -- Sidney Bechet And His Trio
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| 26. | Easy Rhythm -- Earl Hines And His Orchestra
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| 2. CD tartalma: |
| 1. | Up Jump The Devil -- Earl Hines And His Orchestra
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| 2. | My Melancholy Baby
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| 3. | On The Sunny Side Of The Street
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| 4. | Windy City Jive -- Earl Hines And His Orchestra
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| 5. | The Earl -- Earl Hines And His Orchestra
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| 6. | Second Balcony Jump -- Earl Hines And His Orchestra
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| 7. | Stormy Monday Blues -- Earl Hines And His Orchestra
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| 8. | Honeysuckle Rose -- Earl Hines Quartet
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| 9. | Dark Eyes -- Earl Hines Quartet
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| 10. | No Good Woman Blues -- Earl Hines And His Orchestra
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| 11. | Bo Legged Mama -- Earl Hines And His Orchestra
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| 12. | Spooky Boogie -- Curley Hamner Orchestra
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| 13. | Keyboards Kapers -- Earl Fatha Hines Swingtette
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| 14. | Chicago -- Earl Hines Quintet
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| 15. | Tea For Two -- Earl Hines Quartet
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| 16. | Snappy Rhythm -- Earl Hines Trio
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| 17. | Singin' For My French Brothers
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| 18. | Fine And Dandy -- Louis Armstrong And His All Stars
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| 19. | 'Deed I Do -- Earl Hines Trio
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| 20. | These Foolish Things -- Earl Hines Trio
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| 21. | Rosetta -- Earl Hines Trio
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| 22. | Diane -- Earl Hines Trio
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| 23. | Honeysuckle Rose -- Louis Armstrong And His All Stars
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| 24. | Green's Corner -- Earl Hines Quintet
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| 25. | The Darktown Strutter's Ball -- Earl Hines Quartet
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Jazz / Big Band, Swing, Classic Jazz
We've already outlined a general history of jazz by strolling down the many highways and byways of its different styles during the first fifty years of its life; now we're going to propose another approach to this music, the most popular and creative of the 20th century, and incidentally, one that's still continuing to develop, though in a different manner. We'll be offering a chronological approach to the life and music of some great jazzmen. There are already several anthologies and compilations in this world to do with jazz and those who are part of it, but we wanted to take a different approach and go one step further if possible. We'll be following our selected artists into every corner of their life, their critical and popular successes, anything unusual or innovatory they introduced, all in their order of composition; another "extra" with us will be the sound which will be cleaned and restored. So here goes. Jazz to listen to, accept, listen to again, appreciate, think about. For these are the high points of a musical story belonging to the 20th century that's still relevant fifty years later.
---Andre Francis (Jazz Characters creator)
This LP and Hep 1018 have all of the recordings of Earl Hines's 1932-33 orchestra (including the many alternate takes). This often overlooked big band featured strong and swinging arrangements (particularly those of Jimmy Mundy) along with fine solos from trumpeter Walter Fuller, trombonist Trummy Young (who joined in mid-1933) and the reeds of Omer Simeon, Cecil Irwin and Darnell Howard. Both of these LPs are well worth searching out, for they offer fine examples of early swing and the sparkling virtuosity of Hines's piano. ~ Scott Yanow, All Music Guide
Earl Hines
Active Decades: '20s, '30s, '40s, '50s, '60s, '70s and '80s
Born: Dec 28, 1903 in Duquesne, PA
Died: Apr 22, 1983 in Oakland, CA
Genre: Jazz
Styles: Big Band, Swing, Classic Jazz
Once called "the first modern jazz pianist," Earl Hines differed from the stride pianists of the 1920s by breaking up the stride rhythms with unusual accents from his left hand. While his right hand often played octaves so as to ring clearly over ensembles, Hines had the trickiest left hand in the business, often suspending time recklessly but without ever losing the beat. One of the all-time great pianists, Hines was a major influence on Teddy Wilson, Jess Stacy, Joe Sullivan, Nat King Cole, and even to an extent on Art Tatum. He was also an underrated composer responsible for "Rosetta," "My Monday Date," and "You Can Depend on Me," among others.
Earl Hines played trumpet briefly as a youth before switching to piano. His first major job was accompanying vocalist Lois Deppe, and he made his first recordings with Deppe and his orchestra in 1922. The following year, Hines moved to Chicago where he worked with Sammy Stewart and Erskine Tate's Vendome Theatre Orchestra. He started teaming up with Louis Armstrong in 1926, and the two masterful musicians consistently inspired each other. Hines worked briefly in Armstrong's big band (formerly headed by Carroll Dickerson), and they unsuccessfully tried to manage their own club. 1928 was one of Hines' most significant years. He recorded his first ten piano solos, including versions of "A Monday Date," "Blues in Thirds," and "57 Varieties." Hines worked much of the year with Jimmy Noone's Apex Club Orchestra, and their recordings are also considered classic. Hines cut brilliant (and futuristic) sides with Louis Armstrong's Hot Five, resulting in such timeless gems as "West End Blues," "Fireworks," "Basin Street Blues," and their remarkable trumpet-piano duet "Weather Bird." And on his birthday on December 28, Hines debuted with his big band at Chicago's Grand Terrace.
A brilliant ensemble player as well as soloist, Earl Hines would lead big bands for the next 20 years. Among the key players in his band through the 1930s would be trumpeter/vocalist Walter Fuller, Ray Nance on trumpet and violin (prior to joining Duke Ellington), trombonist Trummy Young, tenor saxophonist Budd Johnson, Omer Simeon and Darnell Howard on reeds, and arranger Jimmy Mundy. In 1940, Billy Eckstine became the band's popular singer, and in 1943 (unfortunately during the musicians' recording strike), Hines welcomed such modernists as Charlie Parker (on tenor), trumpeter Dizzy Gillespie, and singer Sarah Vaughan in what was the first bebop orchestra. By the time the strike ended, Eckstine, Parker, Gillespie, and Vaughan were gone, but tenor Wardell Gray was still around to star with the group during 1945-1946.
In 1948, the economic situation forced Hines to break up his orchestra. He joined the Louis Armstrong All-Stars, but three years of playing second fiddle to his old friend were difficult to take. After leaving Armstrong in 1951, Hines moved to Los Angeles and later San Francisco, heading a Dixieland band. Although his style was much more modern, Hines kept the group working throughout the 1950s, at times featuring Muggsy Spanier, Jimmy Archey, and Darnell Howard. Hines did record on a few occasions, but was largely forgotten in the jazz world by the early '60s. Then, in 1964, jazz writer Stanley Dance arranged for him to play three concerts at New York's Little Theater, both solo and in a quartet with Budd Johnson. The New York critics were amazed by Hines' continuing creativity and vitality, and he had a major comeback that lasted through the rest of his career. Hines traveled the world with his quartet, recorded dozens of albums, and remained famous and renowned up until his death at the age of 79. Most of the many recordings from his career are currently available on CD.
---Scott Yanow, All Music Guide |
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