Friday 28 December 2018

Earl Hines born 28 December 1903


Earl Kenneth Hines, universally known as Earl "Fatha" Hines (December 28, 1903 – April 22, 1983), was an American jazz pianist and bandleader. He was one of the most influential figures in the development of jazz piano and, according to one major source, is "one of a small number of pianists whose playing shaped the history of jazz

Once called "the first modern jazz pianist," Earl Hines differed from the stride pianists of the 1920s by breaking up the stride rhythms with unusual accents from his left hand. While his right hand often played octaves so as to ring clearly over ensembles, Hines had the trickiest left hand in the business, often suspending time recklessly but without ever losing the beat.

One of the all-time great pianists, Hines was a major influence on Teddy Wilson, Jess Stacy, Joe Sullivan, Nat King Cole, and even to an extent on Art Tatum. He was also an underrated composer responsible for "Rosetta," "My Monday Date," and "You Can Depend on Me," among others.

Earl Hines played trumpet briefly as a youth before switching to piano. His first major job was accompanying vocalist Lois Deppe, and he made his first recordings with Deppe and his orchestra in 1922. The following year, Hines moved to Chicago where he worked with Sammy Stewart and Erskine Tate's Vendome Theatre Orchestra. He started teaming up with Louis Armstrong in 1926, and the two masterful musicians consistently inspired each other. Hines worked briefly in Armstrong's big band (formerly headed by Carroll Dickerson), and they unsuccessfully tried to manage their own club.

Earl Hines & His Orchestra
1928 was one of Hines' most significant years. He recorded his first ten piano solos, including versions of "A Monday Date," "Blues in Thirds," and "57 Varieties." Hines worked much of the year with Jimmy Noone's Apex Club Orchestra, and their recordings are also considered classic. Hines cut brilliant (and futuristic) sides with Louis Armstrong's Hot Five, resulting in such timeless gems as "West End Blues," "Fireworks," "Basin Street Blues," and their remarkable trumpet-piano duet "Weather Bird." And on his birthday on December 28, Hines debuted with his big 
band at Chicago's Grand Terrace.

A brilliant ensemble player as well as soloist, Earl Hines would lead big bands for the next 20 years. Among the key players in his band through the 1930s would be trumpeter/vocalist Walter Fuller, Ray Nance on trumpet and violin (prior to joining Duke Ellington), trombonist Trummy Young, tenor saxophonist Budd Johnson, Omer Simeon and Darnell Howard on reeds, and arranger Jimmy Mundy.


                            

In 1940, Billy Eckstine became the band's popular singer, and in 1943 (unfortunately during the musicians' recording strike), Hines welcomed such modernists as Charlie Parker (on tenor), trumpeter Dizzy Gillespie, and singer Sarah Vaughan in what was the first bebop orchestra. By the time the strike ended, Eckstine, Parker, Gillespie, and Vaughan were gone, but tenor Wardell Gray was still around to star with the group during 1945-1946.

Earl Hines (piano) and Louis Armstrong (trumpet) at a 1948 jam session in Rome. They're joined by Jack Teagarden (trombone) and a host of local artists.

In 1948, the economic situation forced Hines to break up his 
orchestra. He joined the Louis Armstrong All-Stars, but three years of playing second fiddle to his old friend were difficult to take. 
After leaving Armstrong in 1951, Hines moved to Los Angeles and later San Francisco, heading a Dixieland band. Although his style was much more modern, Hines kept the group working throughout the 1950s, at times featuring Muggsy Spanier, Jimmy Archey, and Darnell Howard.

Hines did record on a few occasions, but was largely forgotten in the jazz world by the early '60s. Then, in 1964, jazz writer Stanley Dance arranged for him to play three concerts at New York's Little Theatre, both solo and in a quartet with Budd Johnson. The New 
York critics were amazed by Hines' continuing creativity and vitality, and he had a major comeback that lasted through the rest of his career. During his years as an elder statesman of jazz, Hines’s dazzling technique remained as strong as ever, and his performance at the 1974 Montreux Jazz Festival revealed his continued openness to new ideas.

Hines travelled the world with his quartet, recorded dozens of albums, and remained famous and renowned up until his death. Throughout his career, Earl Hines endeavoured to improve his already impeccable piano-playing ability. In the later years of his life, he suffered from heart problems and arthritis. Hines played his last show in San Francisco. One week later, Earl Hines died in Oakland, California on April 22, 1983, from a heart attack at the age of 79.


(Edited mainly from Scott Yanow @ AllMusic with added input from Wikipedia & Jazz At The Library )

3 comments:

boppinbob said...

For “Earl Hines – Piano Man – His Greatest Recordings” GO HERE:

https://www.upload.ee/files/9355016/Earl_Hines_-_Piano_Man.rar.html

1. Piano Man - Earl Hines & His Orchestra
2. Fireworks – ft. Louis Armstrong
3. Skip the Gutter - ft. Louis Armstrong
4. Two Deuces - ft. Louis Armstrong
5. Weather Bird - ft. Louis Armstrong
6. Every Evening (I Miss You) - feat: Jimmie Noone's Apex Club Orchestra
7. Smoke-House Blues
8. Honeysuckle Rose
9. Blues in Thirds
10. Save It Pretty Mama - Earl Hines feat: Sidney Bechet
11. A Monday Date
12. Stowaway
13. Chimes in Blues
14. Fifty-Seven Varieties
15. Love Me Tonight
16. The Father's Getaway
17. Chicago Rhythm - Earl Hines & His Orchestra
18. Rosetta - Earl Hines & His Orchestra
19. Cavernism - Earl Hines & His Orchestra
20. Harlem Lament - Earl Hines & His Orchestra
21. Ridin' a Riff
22. Solid Mama
23. Comin' Home
24. The Earl
25. Boogie Woogie on St. Louis Blues

Recording Dates: December 5, 1928 - November 17, 1941


Piano Man is the title of a Victor Bluebird record cut on July 12, 1939 by Earl "Fatha" Hines and his Orchestra. Piano Man is also the title of at least four different Earl Hines CD compilations. Living Era's Piano Man! is by far the best of the lot. It works incredibly well as a compact sampler containing 25 of the very best recordings Hines ever made, and as a magnum stash of classic jazz and big-band swing. The pianist is heard solo, leading his own big band and as a vital component in bands led by three legends of New Orleans jazz: Louis Armstrong, Jimmie Noone, and Sidney Bechet. Living Era's Piano Man! is utterly essential -- you just can't get much closer to the heart of the jazz tradition. (AllMusic Review by arwulf arwulf)

Claudio Brisighello said...

Thank you much sir. Happy new year!

Blighty said...

Thank you. Have a great 2019!