Earl Hines Albums (48)
'Jazz Is His Old Lady and My Old Man'
Release Date 12/23/2003
Tracks 10
Label Acrobat
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What The Critics Say
Earl Hines is joined by singer Marva Josie for this late-'70s studio date, though the album essentially features Josie more prominently than the leader. Hines became impressed upon meeting the singer and recorded with her on a number of sessions between 1970 and 1981, though she seems to have dropped from sight since Hines' death. Buck Clayton arranged the title track, which begins with a little humorous banter between the pianist and the vocalist. Josie's efforts are an acquired taste, as she drags a bit in "Just Squeeze Me," but swinging with authority in "'Deed I Do." The session takes a turn downhill with the limpid Burt Bacharach ballad "Make It Easy on Yourself" and the nauseating pop song "Feelings," with the musicians probably doing their best to keep from laughing aloud. The dance beat arrangement of "Candy" is little better. Tenor saxophonist Rudy Rutherford and alto saxophonist Tom Griffin (both of whom double on clarinet), trombonist Benny Morton and guitarist Skeeter Best are among the supporting musicians. This disc falls short of expectations so it can not be considered an essential acquisition by fans of Earl Hines; it is surprising that Acrobat bothered to reissue this deservedly obscure Catalyst LP in 2003 as a CD. ~ Ken Dryden, All Music Guide
'An Evening with Earl Hines'
Release Date 4/8/2003
Tracks 25
Label Chiaroscuro
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What The Critics Say
This double LP is valuable as documentation of Earl Hines and his band on a typical gig in 1973. Marva Josie has a few vocals and Tiny Grimes contributes some guitar solos but the leader/pianist is easily the main star, romping on such tunes as "Perdido," "Boogie Woogie on the St. Louis Blues" and "Lester Leaps In." Swinging (if not essential) music. ~ Scott Yanow, All Music Guide
'The Real Earl Hines: Recorded Live in Concert'
Release Date 7/31/2001
Tracks 6
Label Collectables
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'Jazz in Paris: Paris One Night Stand'
Release Date 4/10/2001
Tracks 16
Label Verve
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What The Critics Say
The two 1957 sessions that make up this CD featuring Earl Hines with a pickup rhythm section in Paris were recorded originally for Phillips, with bassist Guy Pedersen and drummer Gus Wallez. The pianist is in top form, including just a little of the Dixieland repertoire ("Royal Garden Blues" and "Muskrat Ramble") that typically dominated most of his recordings made in the U.S. during this period, and spending more time exploring favorite warhorses like "Hallelujah" and "Makin' Whoopee," as well as already classic jazz compositions such as "If I Could Be With You One Hour Tonight" and "I Got It Bad (And That Ain't Good)." While the tracks are generally brief, the music is consistently swinging at a high level and four bonus tracks have been added to the CD reissue, so it should be considered an essential purchase for fans of Earl "Fatha" Hines. ~ Ken Dryden, All Music Guide
What The Critics Say
Earl "Fatha" Hines didn't record for Delmark extensively, although he did provide a few memorable albums for the Chicago-based jazz/blues label. One of them was At the Party, which documents a May 13, 1970, concert in San Francisco. Not surprisingly, the album is excellent. Leading a sextet who includes, among others, vibist Johnny Rae (who was heavily influenced by Lionel Hampton), bassist Larry Richardson, and guitarist Jack Crowley, Hines is in fine form during a swing-oriented set that boasts inspired performances of "Indiana," "It's Only a Paper Moon," "I Want a Little Girl," and other well-known standards. Equally memorable is a 12-minute medley that unites "Chicago" with Tony Bennett's signature tune "I Left My Heart in San Francisco," which was an appropriate song to perform given where this concert took place. Hines was 66 when At the Party was recorded, and the influential pianist was continuing to play with as much stamina and vitality as ever; the Earl "Fatha" Hines of 1970 doesn't sound any less enthusiastic than the Earl "Fatha" Hines of the '20s, '30s, and '40s. His fingers and imagination were still serving him well in the early '70s, and thankfully, Hines kept busy throughout that decade. But while At the Party is excellent, it falls short of essential. Many of the albums that Hines provided in the '70s are excellent, but excellent doesn't necessarily mean essential. Nonetheless, Hines enthusiasts will find a great deal to admire about At the Party, which Delmark reissued on CD in 2001. ~ Alex Henderson, All Music Guide
What The Critics Say
Earl Hines recorded this studio date during a trip to France in 1974, accompanied by bassist Jimmy Gourley and drummer Panama Francis. All of the selections had been in the pianist's repertoire for some time, though he manages to take a fresh approach to each song. "Tangerine" has a bit of a Latin flavor and a fine solo by Gourley. His playful side is apparent in a rather relaxed interpretation of "There'll Be So Changes Made," a piece many musicians play at a brisk clip. He also has a bit of fun disguising the introduction to "Makin' Whoopee" with a semi-classical solo, before switching to a rollicking mode, adding a series of hilarious quotes (including "London Bridge Is Falling Down"). Even though this enjoyable date is not the best starting point for a jazz fan who is just beginning to explore the recorded legacy of Earl Hines, those already familiar with his work will enjoy this Black & Blue CD. ~ Ken Dryden, All Music Guide
'At Club Hangover 1955'
Release Date 8/10/1999
Tracks 13
Label Storyville
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What The Critics Say
Earl Hines' career was somewhat in the doldrums at the time of these 1955 radio broadcasts from Club Hangover in San Francisco, since he was not signed to any jazz label of significance, though he had obviously lost none of his enthusiasm for performing. His all-star group includes trumpeter Marty Marsala, trombonist Jimmy Archey, clarinetist Darnell Howard, bassist Ed Garland and drummer Joe Watkins. In addition to classic jazz fare such as "St. James Infirmary Blues," "Ballin' the Jack" and "Jazz Me Blues," Hines has some opportunities to solo with the rhythm section, including "Honeysuckle Rose," while he picks the pace for the full band with his rousing take of "Lady Be Good." It's hard to top his famous "Boogie Woogie on the St. Louis Blues." Although the long tremolo in his right hand gets a little tiresome, the addition of the horns and reeds helps keep it swinging. ~ Ken Dryden, All Music Guide
What The Critics Say
After his swing combo (heard on the Storyville CD, Esquire All Stars) broke up, pianist Earl Hines teamed up with cornetist Muggsy Spanier and put together a dixieland band that lasted for three years. The broadcasts that comprise this CD (two of the selections were previously unissued) are among the first made by this particular group, which consists of Hines, Spanier, trombonist Jimmy Archey, clarinetist Darnell Howard, bassist Pops Foster and drummer Earl Watkins. The repertoire is not particularly challenging for Hines, but he fares well on tune such as "Wang Wang Blues," "Mahogany Hall Stomp," "I Found a New Baby" and even "The Saints." Spanier is predictable but enthusiastic, Archey and Howard have their exciting moments and Foster is showcased thumping away on "Pops Blues." Recommended to dixieland fans. ~ Scott Yanow, All Music Guide
What The Critics Say
Earl Hines leads an all-star septet during a circa-1968 live concert that likely came from a radio broadcast. But before the full band is introduced, the veteran pianist romps through a stride-filled medley of "Black Coffee," "Bluesette," and "I've Got the World on a String." Hines features his soloists individually, playing brief trio numbers in between them, beginning with clarinetist Bob Donovan in a leisurely "At Dawn," followed by a boisterous muted trombone solo by Booty Wood in the blues "Minnie H." Budd Johnson shines on soprano sax in a swinging "Do It Yourself." The full group is finally featured in "Satin Doll," at first just scatting in unison to the rhythm section, then as instrumentalists in a brisk reprise of this chestnut. While this must have been a terrific performance to hear in person, the sound suffers from overmodulation in a number of spots, while the lack of liner notes gives no clue as to the reason this group was assembled. First issued by LRC as Plays Evergreens, this budget CD is worth the investment for swing fans. ~ Ken Dryden, All Music Guide
