For some unjustifiable reason, when you think of the most important piano players in jazz, Earl “Fatha” Hines is rarely on the top 5 list. The fact is that there would be no Mehldau, Tyner, Jarrett, Evans, Peterson or even Tatum if it weren’t for the guy who took jazz piano out of its rigid stride and started opening up the left hand with single note improvisations. It was a radical concept at the time, (think of the first guy that ate an egg, and you get the idea) and completely changed the direction of “hot” music. Not only did Hines do that with the piano, but his big band recordings served as the fertile soil for another radical change in music, that of setting the tone for a strange new sound called bebop in the early 40s. This 7 cd set has all of the important sessions of Hines performing solo masterpieces, leading a swinging and forward looking big band, and even leaving enough space for a handful of hip small group tunes.
Hines’ solo performances during 1928 were during the period when he was transforming jazz with a chap by the name of Louis Armstrong. Here, he takes the spotlight by himself and delivers mind boggling pieces such as “A Monday Date” and “Blues In Thirds.” Melodically, they are second to none; stylistically, they set the jazz world aflame. And, while to today’s standards you might think that his style and technique is stiff, just remember that today’s airplanes make the Wright Brothers’ biplane look archaic as well. But, please keep in mind that in both cases these were the first ones to get off the ground and fly when everyone else was tied to the earth. His 1929 band from Chicago was “hotcha” hot, with material like “Beau Koo Jack” and “Everybody Loves My Baby” looking forward to the swing era. His ’32 orchestra was a step in the right direction with the addition of George Dixon/tp and Omer Simeon/cl who keep the energy high and mighty on “Oh, You Sweet Thing” , an Ellington-sounding “Blue Drag,” (with some jaw dropping work by Hines) and the classic signature tune “Rosetta.”
The definitive band started its genesis when tenor titan Budd Johnson climbed aboard the Chicago express in 1937. He starts off in a cooking little quartet take of “Honeysuckle Rose” with Simeon, and Hines sounds digitally inspired by the company. Hines still finds time between big band sessions to record some more electrifying solo sessions, with a take of “Body and Soul” sounding overwhelmingly lovely.
During the late 30s and early 40s, Swing and Boogie Woogie were the infectious thing, and Hines’ orchestra reflected the times with “Swingin’ on C”, “Second Balcony Jump” and “Boogie Woogie.” By the mid 40s the band was sounding fuller, with Trummy Young’s trombone and Jimmy Mundy’s tenor as well as some clever arrangements hitting the roof with “A Madhouse.” Billy Eckstine enters the band during this period, and completely radicalizes male vocals with his deep, sensuous and rich baritone. His singing on “Jelly Jelly” and “I’m Falling For You” transformed singers, black ones at least, from jivey jokesters or falsetto-ed dandies into real men. Eckstine threw down the gauntlet on “Stormy Monday Blues” with Hines and the orchestra sonically realizing that they were on to something special. His version of “All Or Nothing At All” is staggeringly visceral. The horn sections are amazingly tight, witht the team of saxes as thick as molasses. Budd Freeman delivers some breathy solos, with his work on “Windy City Jive” a breezy delight. A final trio performance with Al Casey and the firebrand Oscar Pettiford shows that Hines was changing with the times with aplomb, and not resting any laurels. Due to the economics of the times, Hines’ 1945 big band was the last call of an era, but with neo boppers like Wardell Grey/ts and Willie Cook/tp, he went out swinging.
When you imagine the sounds, songs and stars of the Big Band era, names like Goodman, Basie, Ellington, Shaw, Herman and Lunceford come first to your mind. This excellent limited edition 7 cd set serves as a convincing argument for including Chicago-based Hines and his orchestra into the club. The booklet with informative notes by Brian Priestley just adds icing to the cake. Don’t let this one get away.
Mosaic Records
www.mosaicrecords.com