Classic Earl Hines Sessions 1928-1945 (#254)

There are only a few names in jazz we can count among those teachers. The true originals. One the most important is Earl Hines. And in our new Mosaic collection, you will find his rules.

For the first time ever, you can own a set that brings together his important work as a leader and soloist spanning 1928 to 1945. This unprecedented collection draws from all the important labels that recorded him -- OKeh, Victor, Brunswick, Vocalion, Bluebird and Signature. And to our delight, as we combed through the vault at Sony where all these masters now reside, we discovered 11 tracks that have never appeared anywhere.

Not only do the songs reveal how strikingly new his concept was when he first burst on the scene, but how it developed across his solo work, with duos and trios, small combos, and his big band.

Freedom From Rhythm

Hines taught piano players how to break free from that and play what we now call jazz. In the bass notes, the hand could walk and jump, chord, and hold notes longer than expected to play against expected time. With the right hand, he could belt out solos like a wind player (hence, the moniker "trumpet-style" to describe Hines' sense of melody), often playing in octaves, or weave intricate lines across the keyboard.

On the surface, all that freedom might sound like it has to exist apart from other musicians, but the fact is Hines' stylistic innovations allowed ensemble work to flourish. Pianists could accompany or lead; embellish a statement, or kick off a new thought. With freedom from strictly composed rhythmic and melodic patterns came the opportunity for dialogue and response in the moment - the essence of spontaneous composition.

Fame Takes Hold

Hines launched his own band in 1928 in Chicago, and stayed in the same club (The Grand Terrace) for 10 years. But he became nationally known, as did many of the stand-out solo musicians he helped introduce. Sarah Vaughan, Dizzy Gillespie, Charlie Parker and Hines' featured vocalist Billy Eckstine all made names for themselves first with Hines. (Sadly, no recordings were made when Parker and Gillespie were beside him).

Our collection features a wealth of Hines solos on ensemble selections, as well as over a dozen piano solo recordings. Included are "Rosetta," "A Monday Date," "Melancholy Baby," and more. From his Chicago orchestra we're treated to "Cavernism," "Take It Easy," "Madhouse," and "Rhythm Sundae." There are the hits as well - "Boogie Woogie On St. Louis Blues," "Jelly, Jelly," "Stormy Monday Blues," and the sensational "Skylark."

A Wealth Of Material, All From Original Sources

The set includes 171 tracks on seven CDs, remastered from the original metal parts and test pressings housed in the Sony archive. Rare photos from the collection of Stanley Dance and an essay by Brian Priestley are featured in our patented Mosaic booklet, along with a discography that corrects time worn errors.