Earl Hines, Pete Johnson and James P. Johnson: Reminiscing at Blue Note – 1939-43

In the beginning, there was the piano – if not in jazz generally, then definitely at Blue Note Records.

From the start, Blue Note founder Alfred Lion was obsessed with the piano. Blue Note’s very first recordings, in 1939, were 19 tunes by boogie-woogie pianists Meade “Lux” Lewis and Albert Ammons. You can hear them all on one fabulous CD called The First Day.

Later that same year, Lion recorded more piano favorites by all-time greats Earl “Fatha” Hines and Pete Johnson. A few years later, he recorded the father of stride piano, James P. Johnson. Together, these 16 recordings make up the CD Reminiscing at Blue Note.

If you’re a fan of early jazz piano – especially boogie-woogie and stride – you will love Reminiscing. And if you’re a fan of Blue Note, this is a must-have.

In a word, this is raucous jazz. The old-time honky-tonk kings knew how to make a piano roar. Granted, some tunes are slow and bluesy. And granted again, there is no shortage of latter-day keyboard piano virtuosos. (Or is that virtuosi?) Has the jazz world birthed any faster or more amazing pianists than Art Tatum or Oscar Peterson?

Still, there’s something primal about listening to the old boogie-woogie and stride masters. The only shame is that Blue Note never recorded Fats Waller, the very best of the bunch. Alas.

Like all good jazz musicians, the early keyboard pounders knew how to take a basic beat and a few chords and perform magic – speed it up, slow it down, flip it, do acrobatic twirls, take it apart, put it back together and stick a solid landing, apparently without ever fumbling. As a piano player myself, I could never quite master the stride technique. I am forever in awe of those who can tame the beast.

This is old fashioned jazz in the best sense – definitely post-ragtime, but not yet bop. If your idea of a perfect Blue Note record is Art Blakey and an ever-changing cast of boppers, or maybe Norah Jones or Robert Glasper, think again. This is where the great jazz label began – in a very fun, funky place.

There’s no need to be an old fart to enjoy this old music. Just listen and be amazed.

Rating: 5 stars (out of 5)

Availability: Not rare at all

Cost: $5 used, $11 new

Big John Patton: Along Came John – 1963

If you like Booker T and MG’s, you’ll love Big John Patton’s Along Came John. It is, without a doubt, the funkiest, bluesiest, most soulful organ jazz record of all time, bar none. And that includes everything ever done by the legendary Jimmy Smith.

Along Came John is a great party record, and once you hear it, you’ll be moving your feet and feeling the groove.

This is blues, pure and simple – and I do mean simple. There are six songs and every one of them uses the same three-chord template. Yep, it’s a formula, but it works. Like lots of great rock records – think “Louie Louie” or almost anything by Chuck Berry – there are infinite variations on the three-chord blues.

Along Came John features three hot and lively blues, two fun mid-tempo blues and one slow and mournful blues. All come with crazy catchy hooks.

The band is equally simple: Patton on organ, Grant Green on guitar, Ben Dixon on drums and two tenor saxes – Fred Jackson and Harold Vick. (I can’t tell them apart, and there’s no need to. Both are wailing wonders.)

Let’s put this in perspective. Along Came John was recorded in April 1963. Just five months earlier, Booker T and the MGs released “Green Onions,” one of the greatest and most popular R&B instrumental hits ever. It featured a ridiculously catchy hook, yet another variation on a three-chord blues, by one of the all-time great organ-guitar combos. Along Came John is the musical child of “Green Onions,” plus horns.

There’s nothing complex or sophisticated here. No amazing techniques or unusual rhythms. If cerebral jazz is your thing, look elsewhere. But if you like your jazz fun and funky, get this record. It’s a classic of the genre.

Rating: 5 stars (out of 5)

Availability: Not hard to find.

Cost: $8 or $9 used