Earl Hines: His Unrecorded Band, by Leif Bo Petersen, 3 of 3 (+Bonus)

[Lewis notes: In the first two essays of this series, Petersen shared a tremendous amount of new information about this legendary band, with photos and related audio. Now he summarizes the period when Diz and Bird were in the group, and discusses what happened afterward. I offer conclusions at the end. At the very bottom are two rare articles for Paying Subscribers.]

By Leif Bo Petersen:

George Hoefer, in “Earl Hines in the 40s,” Downbeat, April 25, 1963, 25, 42, gives a thorough account of the repertory of this band in 1943, mostly built on Feather’s Metronome review, June 1943, 20–21. (For Paying Subscribers, Feather’s review was a Bonus in the previous essay, and Hoefer’s article is below, along with another relevant article.) He confirms that Second Balcony Jump remained in the repertoire, and he mentions A Night in Tunisia, which as we showed was in fact titled by Hines during this period.

He adds two titles not mentioned in any reviews. Hoefer was  active as a listener, collector, and writer from the late 1930s, so it’s likely that he heard these himself or was told about them by others on the scene then. The songs are:

This Is My First Love, aka My First Love: Sarah Vaughan, voc; Charlie Parker, ts obbligatos.

Down Under: Dizzy Gillespie, comp and arr.

[Lewis adds:

In part One, we already heard the Hines recording of “Second Balcony Jump” from 1942. Gillespie’s “Down Under” was written for and recorded by Woody Herman in 1942. Let’s listen to Herman’s version, to get an idea what the Hines band sounded like:

Gillespie was getting quite a reputation as a composer. He also wrote “Woody ‘N’ You” (aka “Woody’n You”), “Swing Shift.” and “Dizzy’s Dream” for Woody, but the band didn’t record them, although of course “Woody ‘N’ You” is known from other recordings.

And as noted last time, Cliff Smalls, the pianist and trombonist with Hines, mentioned A Night in Tunisia and East of the Sun as arrangements by Gillespie in the band’s repertory. The earliest surviving recording of Tunisia is a radio broadcast of Dizzy with a small group in January 1944. But just a few months later, around the beginning of April 1944, is the earliest big band version, led by Boyd Raeburn. This radio broadcast features Gillespie’s early inspiration Roy Eldridge as the fiery guest soloist, along with Tommy Pederson playing the theme on trombone, and 23-year-old Don Lamond on drums. It surely gives us a good idea of the chart that the Hines band played a year earlier:

(According to some sources, when the Hines played Tunisia, it was trombonist Bennie Green who played the opening theme.) Later, in December 1944, Sarah Vaughan recorded a vocal version of Tunisia under its original title, Interlude. But we have no evidence that she ever sang it with the Hines band.

On the other hand, East of the Sun featured Sarah Vaughan’s voice, but it was only recorded with a small group. However, Gillespie was the arranger, so the recording was almost certainly a “miniature version” of Dizzy’s big band version for Hines. After all, it features a Gillespie intro similar to Tunisia, and then has the kind of unison lines that Smalls said were played behind Vaughan. In this case the lines are played by Aaron Sachs (cl) and Georgie Auld (ts). Gillespie comps chords at the piano, and goes to the mike for a trumpet solo at one point. The rhythm section was Chuck Wayne (g), Jack Lesberg (b), and Morey Feld (d). This was Vaughan’s first date as a leader, December 31, 1944. Let’s listen, and imagine the Hines band playing this in 1943:

Based on all of this evidence, it is indeed fair to say that by the time that this edition of the Hines band broke up, It had a substantial element of what would become known as bop, both in terms of the pieces played and of the soloists.

Now, Back to Petersen:]

Now, last time we mentioned that this legendary version of the Hines band lasted from about Christmas 1942 through the summer of 1943. Here is a report of changes in the band during August 1943. To get the joke in the headline, remember that Hines’s nickname was “Father”:

“‘Father' Hines Loses Plenty of Children,” Variety, August 18, 1943, 37: Tour South cancelled from Wednesday. August 18. Eckstine and 7 others got induction notices from the draft board. The others were: Gail Brockman (tp); Howard Scott (tb); Jesse Miller (tp), Dizzy Gillespie (tp), Goon Gardner, Thomas Crump (saxes), Jesse Simpkins (b).

A similar report appeared in the Black press:

”Lucky, Hines, Hawkins Hit by Draft Blues," Pittsburgh Courier, August 28, 1943, 21: Hines in danger of losing Gail Brockman, Jesse Miller, and John Gillespie (tp); Goon Gardner, Thomas Crump (sax); Howard Scott (tb); Jesse Simpkins (b); Billy Eckstein (sic) (voc). The other bands mentioned were Lucky Millinder and Erskine (not Coleman) Hawkins.

In an interview, Eckstine gave a different explanation: “I left together with Gillespie and Parker and others because of my recent marriage.” (E. Southern, Conversation with William Clarence "Billy" Eckstine, The Black Perspective in Music, fall 1970, 195.)

Of course both stories may be true, but I think that Eckstine avoided mentioning the draft, because he managed to escape military service by having his A status changed to 4F (not fit for military service). Possibly he was embarrassed about that.

By September 1943, Hines had a reorganized with a much larger group—27 musicians including strings and singers.

[Lew adds: Paul Whiteman and Artie Shaw had previously added strings to a big band, and at this time, Glenn Miller’s military band had a string section. But only Hines hired women for that section, a move that the Pittsburgh Courier declared to be “one of the most revolutionary steps ever taken by a colored bandleader.” (“‘Fatha’ Hines Adds Twelve Girls to His Band,” Pittsburgh Courier, September 11, 1943, 20) He was inspired to do this partly because so many men were being drafted each week that it was impossible to maintain a stable band personnel. But Hines still deserves credit, because other bandleaders simply would not consider hiring women.

For Paying Subscribers, the entire article about Hines is included below, along with other interesting pieces about Lionel Hampton, integrated bands, and more. Now, Back to Leif:]

Hines’s new personnel was as follows:

Angel Creasy (violin soloist), Helen Way, Sylvia Medford and/or Lolita Valdez (v; Medford is pictured but Valdez is mentioned in the text); Ardine Loving (cello); La Villa Tulos (harp); Shorty McConnell, Benny Harris, Paul Cohen, Leonard Graham (later known as Idrees Sulieman) (tp); Cliff Smalls, Gus Chappell, Benny Green, unidentified (tb); Scoops Carey, Wardell Gray (as); Harold Clark, Thomas Crump (ts); John Williams (bars); Earl Hines (p, dir); Roxanne Lucas (g); Lucille Dixon (b); Murray Dinofer (d); Sarah Vaughan (p. voc); Bluebonnets: Ellen Solomon, Jean Parks, Anita San, Mary Beasley (voc).

Notice that Benny Harris was back, and that white lead trumpet player Paul Cohen was added to the band, along with legendary Black saxophonist Wardell Gray. And along with women in the string section, there were women on guitar and bass. La Villa Tulos was a sensational harpist, as can be seen in a 1944 film on Mark Cantor’s website of his jazz film research. She is never mentioned in the short list of jazz harpists.

With minor changes this line-up lasted until May 1944, when the string group was abandoned. Sarah Vaughan left in early 1944, replaced by Betty Roché, who had just left Ellington’s band. This group debuted on September 10 at the Apollo, where it was soon reviewed:

“Stage Show Reviews,” Metronome, October 1943, 56: Review from the Apollo on September 17, 9 pm. show:

Soloists: Shorty McConnell, Paul Cohen.

Vocalists: Sarah Vaughan, Warren Evans, and the Bluebonnets vocal group. No specific songs mentioned.

Six months later, in 1944, the group was reviewed twice while performing again in NYC:

“Night Clubs—Vaudeville: Loew’s State, New York,” Billboard, April 8, 1944, 26: Review on March 31.

 Boogie Woogie: Cliff Smalls, (p).

Otherwise no mention of musicians or repertory.

Another review from the same engagement:

“House Reviews: State, N.Y.,” Variety, April 5, 1944, 35: Sarah Vaughan not mentioned in review.

Holiday for Strings (violin group)

I Love You Just the Same (Bluebonnets)

In July 1944, the Hines band was reviewed two times at the Earle in Philadelphia. The string group had been abandoned, and Lloyd Smith was added on sax and flute—the latter being an unusual jazz instrument until the 1950s. Willie Cook was added on trumpet. Cook stayed with Hines until 1948, then joined Gillespie, and was featured with Ellington for many years starting in 1951. Hines’s Orchestra was now a traditional 16-piece band with the following personnel:

Palmer Davis, Willie Cook, and two unknown (tp); Cliff Smalls (tb, p); Gus Chappell, and one unknown (tb); Scoops Carey (as, cl);  Lloyd Smith (as, fl); Wardell Gray and one unknown (ts); John Williams (bars); Earl Hines (p, dir); René Hall (g, tb); Lucille Dixon (b); David Booth (d); Betty Roché, Jesse Perry (voc).

“Earl Hines Featured on Earle Stage,” Philadelphia Inquirer, July 8, 1944, 12:

Buzzin’: Orchestra.

Long Ago (and Far Away): Jesse Perry (voc).

Boogie Woogie: Clifton Smalls (piano feature)

Guitar Blues: René Hall (g feature)

Straighten up and Fly Right, Ever Loving Blues: Betty Roché (voc).

Piano solo: Earl Hines.

“House Reviews: Earle, Philly,” Variety, July 12, 1944, 39: Reviewed on July 7:

Straighten Up and Fly Right; Ever Loving Blues; Take the A Train: Betty Roché, voc

Long Ago (and Far Away), My First Love: Jesse Perry (voc).

Notice that Roché was performing her popular version of Take the A Train which she had premiered on film with Ellington in 1943. (The “A Train” scene had been filmed on October 8, 1942. The film was released in February 1943.)

Next, here was the band back at the Apollo:

Metronome, August 1944, 22: Review by Leonard Feather, Apollo, New York, NY.

Orchestra: Buzzin’: (Scoops Carey, cl solo; Wardell Gray, ts solo); Mr. Big (Wardell Gray, ts solo); Louise: (Willie Cook, tp solo; Feather reports that Hines said he wrote this arrangement of this old song).

Just One More Chance/Irresistible You/I Understand, medley (Earl Hines, p).

Shivers (Combo: Lloyd Smith, fl solo)

Lovin’ Lover; Straighten Up and Fly Right (Betty Roche, voc)

Jesse Perry, voc: no repertory mentioned.

In October 1944, the band reached the West Coast. Kermit Scott is added on sax.

“House Reviews: Orpheum, L.A.” Variety, October 4, 1944, 16: Reviewed on September 29:

Orchestra: C Jam Blues: (Kernit Scott, ts solo); Air Mail Special: (David Booth, d solo;) Buzzin’: (Scoops Carey, as solo; David Booth, d solo).

Louise (Hines, p solo; the review indicates that this is a piano feature; apparently the trumpeter Cook is no longer featured on this).

Shivers (instrumental quartet).

Boogie Woogie (Cliff Smalls, p)

Go Away Blues; Ever Loving Blues; Take the A Train (Betty Roche, voc)

It Could Happen to You; I’m Lost (Jesse Perry, voc)

[Lewis adds:

“Louise,” mentioned above, was recorded by Hines in 1947, with some of the same people still in the band from 1944. This would almost certainly be the same arrangement:

Back to Leif:]

Finally, we end this research on this legendary Earl Hines band here, because the following Armed Forces (AFRS) broadcast has been saved, so from this point on the band is no longer undocumented:

This is an article about recording the broadcast: “HVC [Hollywood Victory Committee] Sets 17 Stars, Two Bands for G. I. Platter,” Variety (Daily), October 31, 1944, 8: refers to show “last night.”

NBC studio, Hollywood, CA. “Live” studio recordings, with audience, for AFRS Jubilee 105 and 106.

October 23 and 30, 1944. Jubilee shows were on Mondays. They were dubbed (edited) the same day or the day after.

Earl Hines and His Orchestra

Probably Tommy Douglas, Palmer Davis,  Willie Cook, Arthur Walker (tp); Cliff Smalls, Gus Chappell, Walter Harris (tb); Scoops Carey,  Lloyd Smith (as); Kermit Scott, Wardell Gray (ts); John Williams (bars); Earl Hines (p, dir); René Hall (g); Lucille Dixon (b); David Booth (d); Betty Roche (voc); Guest; June Richmond (voc); Ernie Whitman (mc).

Boogie Woogie on St. Louis Blues

Father’s Idea

Go Away Blues (Betty Roche, voc)

I know That You Know

Keep on Jumpin’

Rockin’ the Blues

Scoops Carry’s Merry

Hit that Jive Jack (June Richmond, voc)

One O’Clock Jump

By Leif Bo Petersen

[Lew Adds: You can hear both programs online. Here is Jubilee 105, and here is 106. The opening song on 105, “I Know That you Know,” contains the first Wardell Gray solo ever recorded, as James Accardi notes in his detailed Gray discography.]

CLOSING NOTE FROM LEWIS:

I thank Leif for his excellent research! We now know a lot about this legendary Hines band. I think a fair summary would be as follows:

At the beginning of the undocumented period, in the fall of 1942, the Hines band was playing its usual swing repertory. Around Christmas 1942, when Diz and Bird joined, there was an influx of several other early boppers. That meant that some early bop repertory also came into the band, and it appears that the Hines band in 1943 gave the first performances ever of “Salt Peanuts,” “ A Night in Tunisia,”  and possibly other early bop numbers. And “Second Balcony Jump,” which Hines had recorded in March 1942, remained in the band’s repertory. But these were interspersed among swing numbers, and after this band broke up in the summer of 1943, Hines got together a new band with strings that appeared to have gone back to a standard swing repertory. Wardell Gray was a soloist in that band, but the repertory does not appear to have shown any signs of bop.

Still, the earlier Hines band had an important legacy: In New York City, on April 13, 1944, Eckstine made his first recording as a leader, with a big band that included eight people who had been with him in the Hines band: Dizzy Gillespie, Shorty McConnell, Howard Scott, Budd Johnson, Thomas Crump, Connie Wainwright, Shadow Wilson, and arranger Gerald Valentine. Valentine later played trombone in the band as well. (It was also the first recording ever for saxophonist Wardell Gray, but he got no solos.) And by June 1944, Eckstine had begun to tour with his own big band, performing “Second Balcony Jump” and other numbers, and setting the precedent for the big bands of Gillespie and many others to come.

All the best,
Lewis