Johnny Hodges & Earl Hines - Swing's Our Thing [1967] (vinyl>flac)

Re-upped from the old Crypt and as far as I know still no CD reissue.

Review by Sinclair Traill, Jazz Journal, March, 1969:

“Another fine album in the Hodges-Hines series, even if it is in some ways a trifle more uneven than the previous two. It is mostly imbued with a great sense of purpose, but there are places where the inspiration flags a little. The questionable Moose doesn't amount to much and although Buster Cooper's approach to Over The Rainbow is distinctly original, it doesn't quite catch on somehow. Buster sounds much better on Bustin' a virile vehicle for his ejaculatory trombone written by Jimmy Hamilton, and plays a noteworthy augmentative chorus behind Hodges on Doll Valley. This 32 bar original by Tom Whaley has some fine tenor from Hamilton and an easy going turn from Hines. Two good themes by Cat, who has the knack of writing catchy tunes, are Night Train (a slow blues) and Do It Yourself. Both tracks swing mightily and Hines shows of his amazing interdigitory skill on the latter. He plays great clusters of notes, but nothing impedes the drive and tremendous power of his playing. Pity this great track is so short. The interpretation of Mean To Me is novel and quite original, particularly from Hodges. Cat, who eschews his 'screamers' throughout the whole album, plays a thoughtful, muted solo and Hines again shows his extraordinary powers of invention.
The lively Cannery Walk and the melodious Trinidad were both penned by Hines, the former in honour of 'The Cannery' the new San Francisco showplace where Earl will work for five months a year on a lifetime contract. Open Ears (by Hodges) is another blues with solos all round. Cat struts his stuff with easy relaxation and Hines is again all over the keyboard in an astounding display of piano playing.
A most professional album by a set of the world's best jazz masters.”
Sinclair Traill, Jazz Journal, March, 1969

Although the review mentions three Hines-Hodges collaborations, I’m only aware of two, at least for Verve – this and ‘Stride Right’. The latter is available on CD.

Thanks to chu - the third album is 'Once Upon A Time' recorded for Impulse.

01 - Open Ears
02 - Mean To Me
03 - Doll Valley
04 - Can A Moose Crochet
05 - One Night In Trinidad
06 - Night Train To Memphis
07 - Bustin' With Buster
08 - Over The Rainbow
09 - Do It Yourself
10 - The Cannery Walk

Cat Anderson (tp) Buster Cooper (tb) Jimmy Hamilton (cl, ts) Johnny Hodges (as) Earl Hines (p) Jeff Castleman (b) Sam Woodyard (d)).
San Francisco, November 13 & 14, 1967.

Earl Hines Quintet - "Fatha" Blows Best

Hey gang.  This is a re-up from three years ago at the "old" Crypt.  Been spinning it recently and thought that perhaps some of you missed the original post.  You will notice that three out of four members of the JPJ Quartet appear on this album together.

Next up is the curiously titled "Fatha" Blows Best. Since we all know that Earl Hines was a pianist, I am not exactly sure what he blows...I will leave that up for you guys to figure out.

Title aside, this is another hard swingin winner. The group are all veterans of jazz, and it shows on the album. This quintet doesn't rush much of anything as they cook their way through ballads and mid tempo numbers.

Thinking Of You raises the fever, but only for a couple minutes. Infact most of the tunes don't exceed 3 minutes with the exception of Shine On Harvest Moon. On that tune, the group must have really been feelin it as it almost triples any other song on the album in length.

Hines mostly comps for his front line although he does throw in a pinch of hot pepper every now and again. Budd Johnson is excellent here, and fans will want to hear him tear through these numbers on both tenor and soprano. Infact his soprano work is excellent and it adds a nice dimension to the recording, expanding the realm of possibility and keeping things interesting. Buck Clayton was also having a fine day and compliments his partner well. Pemberton and Jackson mostly just keep things swingin for the group, which is fine by me.

This session could easily have appeared as a Swingville or Moodville side. The overall vibe gives me a visual of a hot southern day. This group had been together for some time, with the exception of Clayton, and clearly knew how to use their rapport to paint a picture.

This minty LP was ripped at 24/44.1 wav and dithered to 16/44.1 FLAC. A wonderfully swingin album...enjoy!!

Decca (DL75048) Mar. 8/11, 1968 NYC

Earl "Fatha" Hines - piano and vocal; Budd Johnson - soprano/tenor sax; Buck Clayton - trumpet; Bill Pemberton - bass; Oliver Jackson - drums

Cozy Cole - Cozy's Caravan & Earl Hines - Earl's Backroom

Ahhhhhh, home sweet home.  I may show up at different blogs, shoot....  I even have my own - but nothing, N-O-T-H-I-N-G compares to the Crypt.  I decided to take a short "blogcation" (yes I invented this word), which in turn became quite a long blogcation.  It was nice being able to just listen to some music that had been piling up, and simply chill out when logged on.  But enough of that, onto the music!!!

I want to continue where we left off and get the rest of this incredible series posted.  This album is really two sides in one, a split LP.  While on the topic, you should know that I have tagged it as such so don't be surprised to see two albums appear in your media player.

For fans of Cozy Cole, I don't think you will find a greater album than this.  First of all, the fidelity alone makes it a hot ticket.  Much of his early work suffers from poor recording.  This album also allows him some real space to hit ya with what he's got.  His solo during Caravan is an incredible example of his skill.  Cozy is in no rush and builds it slowly, deliberately creating that wonderful tension until he finally explodes before the band bring back the chorus.  Overall, like much of this series, we are treated to vocals and blues in a jazz jam setting.

As for the Earl Hines side, we are treated to a small quartet session featuring the little known horn player, Curtis Lowe.  Like many of his albums, these tunes are rooted in the blues and have a real jam flavour.  All 3 tracks are solid and exemplify Hines at his best.

With both of these sides combined, we get quite a strong album.  One theme that runs throughout??  FUN!!!  It's all upbeat and lighthearted which is a side of jazz I certainly love.  This was ripped from disc using EAC to 16/44.1 FLAC, 24 bit remastering, mmmmmmmm tasty Crypt BBQ anybody??? ...  enjoy!!!


Earl Hines Quartet - Earl's Backroom
Felsted FAJ 7002

01. Brussels’ Hustle (Hines) 7:59
02. Oooh! (Hines) 5:03
03. Backroom at the Villa d’Este (Hines) 6:49

Cozy Cole Septet - Cozy's Caravan

Felsted FAJ 7002

04. Caravan (Tizol-Ellington) 9:58
05. Phatz’ Blues (Morris-Thompson) 5:16
06. Margie (Davis-Conrad-Robinson) 4:26

Earl Hines Quartet:
Curtis Lowe (ts, bs), Earl Hines (p), Charles Oden (b), Earl Watkins(d).
Recorded in San Francisco, on February 3, 1958.

Cozy Cole Septet:
Lou Jones (tp), Walter 'Phatz' Morris (tb, hmca on #5), Boe McCain (ts), Reuben Jay 'June' Cole (p), Dickie Thompson (g, vcl), Peter Compo (b), Cozy Cole (d).
Recorded in New York City, on February 7, 1958.

Americans In Europe (1966-7)

Re-upped from the Crypt

An album of out-takes from LPs issued by the UK Fontana label in the late 60s and, as far as I know, never issued on CD. Included are two extra tracks from the Jimmy Witherspoon recording from the Bull's Head, Barnes that I posted earlier. Overall, there's some great straight ahead jazz here - enjoy!

01 - Bud Meets Eddie (Bud Freeman & Eddie Miller)
02 - Things Are Getting Tougher Than Tough (Jimmy Witherspoon)
03 - Time On My Hands (Earl Hines)
04 - Laura (Bud Freeman)
05 - I Can't Believe That You're In Love With Me (Wild Bill Davison)
06 - Diane (Eddie Miller)
07 - Can't We Talk It Over (Earl Hines)
08 - I'll Be So Glad (Jimmy Witherspoon)
09 - Church House Blues (Sir Charles Thompson)
10 - La Rosita (Ben Webster)

All tracks recorded in London 1966-7, apart from track 9 recorded in Paris.

Sidney Bechet & His New Orleans Feetwarmers - Chronological Masters

I know what you're thinking...  "great, another Bechet collection...next!!"

Frankly I don't blame you.  I mean, how many collections have been issued with Bechet's name attached?!?!  If I had to guess, I would say hundreds. 

The reality of most, is that the fidelity sucks and the tracks which have been promised as classic, are infact not fit for release.  This is why you are left feeling nothing when you spin it - no joy, no involvement and certainly no love.  It takes a serious minded company to find the choicest tracks and then remaster them for modern listening. 

What I have for you here is exactly that.  The Italian label Saar Milano issued these volumes in 1973.  They knew, as you will soon know, that the Feetwarmers represented some of the best output Bechet had ever done...period.  I am pretty sure I will never top the Rhythm Kings sides in terms of importance, but when it comes to fidelity and musical enjoyment - these sides are it!!   There was infact a Vol.3 also issued but I was unable to snag it.  The good thing is that these two albums were purchased still sealed from the original buyer!!

The New Orleans Feetwarmers was Bechet's attempt in 1932 to start up a "hot jazz" group, using the small New Orleans format.  Many people think this was poor instincts on his part, but I like to think he was ahead of his time.  The 1932 group was quickly stonewalled by public tastes which had moved to big band.  Of course, by 1940 the revivalist movement had begun and the Feetwarmers were reformed once again.

The group had many members and size variations, but this is what lends to the excellence of this collection.  Firstly, unlike the Rhythm Kings, we are treated to vocals in roughly 1/3rd of all the tracks.  Greats like Herb Jeffries and even Bechet himself add that personal statement of lyrics.  Stylistically, the band dabble in rearranged big band, ballads, standards and originals.  The pallet is ultra varied and keeps things really interesting.  Even the standards are fresh and full of life.

The Feetwarmers were instrumental in popularizing the small group format, and essentially were keepers of the flame.  It was groups like this which caught the interests of men like Alfred Lion and Orin Keepnews - men who were to be inspired enough to put their money where their mouths were - and became tastemakers for modern jazz fans everywhere. 

There's no doubt that Bechet's playing on these tracks is amongst his greatest.  Inspired, his bandmates all turn in incredible performances as well.  I'm absolutely convinced that you'll be floored by what you hear on these two LPs.  This is some of the most important jazz ever laid down, and you'll understand why after listening.  Tracks are typically short, so despite having 30 tracks overall, it's a relatively quick listen.

Ripped from minty vinyl at 24/44.1 wav and dithered to 16/44.1 FLAC... Enjoy!!!

Saar Milano

sm 3571 / 3572

1973