It is a pity that this 1998 CD reissue (which includes the original liner notes) says nothing about what ever happened to Earl Anderza. The date (which has its original eight selections augmented by "I'll Be Around" and two previously unheard alternate takes) was the altoist's only one as a leader, and he has been little heard from since. Anderza's style, while influenced to an extent by Charlie Parker and Jackie McLean, was also touched a little by Eric Dolphy. Standards mix with originals; the oddest aspect of the set is that pianist Jack Wilson switches to harpsichord (not a good move!) on a couple of the numbers. The support by either George Morrow or Jimmy Bond on bass, plus drummer Donald Dean, is subtle and swinging. Earl Anderza clearly deserved better than the total obscurity he found.
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.
The music Earl Hooker and Junior Wells made together demonstrates the blues in transition, still upholding its traditions but recasting them in a format that reflected the musical taste of contemporary black society. Shortly after these records were produced, the Blues Boom shifted the music’s focus on to young white audiences. The tracks featured here represent some of the last instances of Chicago blues being produced for the artists’ own community.
Reissue features the latest digital remastering and the high-fidelity SHM-CD format (compatible with standard CD player) and the latest DSD / HR Cutting remastering. Comes with a description. Features the original LP designs. Possibly the strongest album ever recorded by mellow-voiced jazz vocalist Earl Coleman – a singer with a deeper style that's very much in the classic Billy Eckstine mode, but which swings a bit more freely in a small combo! The set's got a nicely open style – with longer tracks than usual for a jazz vocal date, and lots of room for jazz soloists that include Art Farmer on trumpet, Gigi Gryce on alto, and Hank Jones on piano.
Reissue with the latest 2017 remastering. Comes with a description written in Japanese. Earl Hines had many years of music under his belt when he cut this session in the mid 60s – yet his sense of creative improvisation was more than sharp enough to warrant the promise of the title! The set features Hines alone at the keyboard, in a wonderfully well-recorded setting – working this amazing magic on his solo performances, which really transform the tunes into something new entirely – piano explorations that almost make you feel like you're finding Earl in the back room of some small club, after hours – working out all sorts of new ideas, without having to worry about commercial considerations at all.
This particular version of the Broadcasters was unarguably magical, and this recording reveals why. Recorded four years after Earl dealt with his demons (alcohol, drugs, nervous collapse), it is the first of a string of all-instrumental albums by Earl, and it drips with class and soul. It's not just the exceptional skill of the players, however, that makes it so special; it was recorded on one of a handful of audiophile labels (AudioQuest), and therefore features state-of-the-art production. From the ringing opening chords of Magic Sam's "Blues for the West Side" to the beautiful acoustic guitar/piano duet of "Derek's Peace," Still River is thoroughly enjoyable. "Kansas City Monarch" is slow and sweet, featuring Bruce Katz tearing up the low notes, a nice sax solo by Anders Gaardmand, and some great double-string work by Earl. There is a moody version of John Coltrane's "Equinox" and a bog-dwelling rouser written by the entire band called "Chili Ba Hugh." You'll also like the greasy Hammond B3 organ on "Soul Serenade".