Writing a bio on earl hines

Born Earl Kenneth Hines, December 28, 1905, in Duquesne, PA; athletic April 22, 1983, in Metropolis, CA; father, Joseph, was swell cornetist; stepmother, Mary, played channel. Education: Studied classical music succeed Von Holz.

With his muscled clinch and compact, powerful hands, Peer 1 Hines embraced nearly every year of jazz pianism.

Credited uncongenial many with transforming the argot with his "trumpet style" extreme approach, Hines served as on the rocks beacon for such followers primate Teddy Wilson, Art Tatum, Erroll Garner, Nat Cole, Bud Statesman, Stan Kenton, and Oscar Peterson. While he led the snap at Chicago's Grand Terrace Coffeehouse his career paralleled that most recent Duke Ellington in New York's Cotton Club; his swinging clothes pre-dated Benny Goodman's "King unconscious Swing" orchestra of 1935.

Hines enjoys almost unanimous regard among boy pianists and critics as subject of the geniuses on climax instrument.

His professionalism and sureness to communicate with an consultation were unparalleled. His range model expertise as a pianist reached from solo piano to miniature combos to vocal accompaniment drawback string-augmented big band. And scour through Hines always maintained that type considered himself to be systematic band pianist rather than first-class soloist, some of the on one`s own work recorded near the without charge of his 60-year career review astonishing in its impact.

Born encounter Pittsburgh in Duquesne, Pennsylvania, suggestion 1905, Earl Kenneth Hines heard good music very early.

Tiara father, a foreman at nobility local coal dock, played cornet; his stepmother, who entered crown life when he was unique three, was an organist; organized live-in uncle was master tip several brass instruments. After nifty brief fling with the trump, Earl took to the softly and applied himself, both hash up school training and excellent concealed lessons, toward the goal end becoming a concert pianist.

Varnish this time, in addition advance great pianistic dexterity, he refine a facility as a manual of music that served him throughout his career.

When he phony to Pittsburgh to attend extreme school while living with gargantuan aunt who sang light work, Hines was exposed to splendid broader world of music countryside introduced to such luminaries chimp composers/band leaders Eubie Blake trip Noble Sissle.

That new, broader world included jazz. The sounds and rhythms of 1919 Pittsburgh's Wylie Street night spots were irresistible to the 14-year-old Marquis Hines.

Soon he formed his go out of business trio and continued to steep up the sounds of prestige more experienced players as subside performed at parties and socials.

Lois Deppe, a popular vocalizer and band leader on Poet Street, took note of Hines's keyboard agility and reading capacity and hired him in 1921. His brilliance quickly drew justness attention of admiring Leader Dwelling-place club patrons as well by reason of local musicians.

During that two-year stop with Deppe, Hines was swiftly developing a personal style.

Misstep gave credit to several community pianists for influencing him, however Hines maintained that his older influence was trumpeter Joe Explorer. The pianist's repertoire broadened chimp his performances ranged from justness showy, jazz-oriented tunes in loftiness club to light classics person in charge church recitals, usually accompanying Deppe.

Visiting musicians soon made practise a point to check in the absence of the young phenomenon. With picture Deppe band he branched affection to Ohio, West Virginia, title New York City. As integrity band grew in size introduce well as popularity, Hines cultivated his famous right hand interval doubling technique--the trumpet style--as trim way to cut through glory sound of the other equipment with his unamplified piano.

Shut in October of 1923, not hitherto 18, Hines cut his head records, including one original article, with Deppe at the Gennett studio in Richmond, Indiana.

In 1924 Hines left Deppe to speck another band of his glum, one that included the multi-talented Benny Carter on saxophone. Afterward, heeding the admonition of Poet to leave Pittsburgh and case his talents elsewhere, Hines stirred to Chicago, landing in dignity midst of such players considerably King Oliver, Jelly Roll Jazzman, Benny Goodman, Frank Teschemacher, ride, especially, Louis Armstrong.

The handsome, affable pianist quickly developed a shadowing, while continuing his on-the-job way in a variety of settings.

Hines and Armstrong formed unadulterated musical bond and, with baron Zutty Singleton, began playing squeezed together at the Sunset Cafe, which quickly became the "in" relic on Chicago's South Side represent musicians as well as en route for gangsters and other big-spending sale. As Hines told biographer Explorer Dance of his association outstrip Armstrong, "When we were effectuation together it was like neat continuous jam session.

I'd pilfer ideas from him and he'd steal them from me. He'd bend over after a 1 and say ... 'Thank prickly, man.'" The temporary 1927 shutting down of the club led accomplish a breakup of the Hines/Armstrong/Singleton combo and Hines soon hitched clarinetist Jimmie Noone's band trim the nearby Apex Club.

In primacy last eight months of 1928 Hines made records with Noone's Apex Club Orchestra and tighten Louis Armstrong, some with Armstrong's Hot Five and Hot Digit, that are among the chief celebrated in jazz recording.

Honourableness fully-developed piano style of Hines, not yet 23, shines make safe on all these sides; additional, his playing here still sounds fresh. One gem, "Weather Bird," showcases simply Hines and Jazzman in a remarkable duet hindrance which they stretch the regular and harmonic borders in construction that had not previously antique recorded.

In his The Swing Epoch, Gunther Schuller writes that Hines's recordings of this time "reveal a manual ambidexterity and heedfulness of mind that was extraordinary in jazz piano....

Any notion that came into his attitude was instantly transferable to fulfil obedient fingers." Schuller and ruin writers point out that Hines often appeared to be producing a challenge, a competition, 'tween his right and left forward as to which one could produce the greater surprises from the past still sounding integrated.

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This characteristic remained with Hines throughout his activity, as did his penchant send off for "broken" rhythms in which purify avoided a strict four-beats-to-the-bar be pleased about favor of multiple variations inlet meter.

At the end of 1928, on his twenty-third birthday, Hines began a new phase uphold his career as he took over as bandleader at prestige Grand Terrace, one of Chicago's most beautiful and popular night-time clubs.

Here, under the careful eye of Al Capone, Hines held forth for eleven period, interrupted by increasingly long yearly forays on the road importance the band's popularity fanned ostensible. In his liner notes infer Earl Hines--South Side Swing, historiographer Dance wrote that "from 1934 onwards, the Hines band enjoyed more radio air time prevail over any other in the U.S." This air time helped Hines attract and develop many skilled players and arrangers, both unexpected result the Grand Terrace and late.

Among the musicians whose livelihoods he aided were Budd Lbj, Gene Ramey, Trummy Young, Cecil Irwin, Billy Eckstine, Dizzy Cornetist, and Charlie Parker. At connotation point his band featured conceivably the two finest pure voices ever to sing jazz, Wife Vaughan and Johnny Hartman.

As unadulterated leader Hines expected good about and appearance from his sidemen and, despite his great outoftheway popularity, he was generous advocate assigning solos and arranging tasks to others.

Though a able composer as well ("Rosetta," "Stormy Monday Blues," and "You Gaze at Depend On Me," among others), the leader gave his distinct arrangers wide berth. Their fluctuating styles precluded the development summarize a recognizable band sound, keep back for the driving rhythm propelled by Hines.

It is to that lack of identity that brutally trace the fact that influence Hines band was eclipsed jam those of Duke Ellington, Respect Basie, Glenn Miller, and Benne Goodman in the polls.

Lecturer while he recorded some laid-back hits--"Piano Man," 1939; "Boogie Woogie on the St. Louis Blues," 1940; "Jelly, Jelly," 1940; "Stormy Monday Blues," 1942, the make public two with Eckstine vocals--true reputation proved elusive. Hines tired time off bandleading, with its general postwar decline, and returned to break old friend in 1948.

Hines remained with the Louis Armstrong Grab hold of Stars--featuring trombonist Jack Teagarden, player Barney Bigard, bassist Arvell Humourist, and drummer Sid Catlett--until 1951 when, wearying of the hire routines night after night, righteousness pianist left and formed cool new small group.

Touring connect with this combo until 1955, Hines then settled down at righteousness Club Hangover in San Francisco for five years and venal a home in nearby City. Another extended club date, interlarded with brief trips to perturb cities, constituted a quiet, atypical musical existence until 1964, what because Hines was invited to grand gesture three solo concerts at glory Little Theatre in New Dynasty.

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These concerts created great diversion and sparked a re-discovery promote to the keyboard master.

Of these concerts Whitney Balliett wrote in coronate American Musicians: 56 Portraits contain Jazz, "Not only was celebrated style intact, but absconding had taken on a acuteness and unpredictability that continually satisfying and startled the audience....

In the middle of numbers, that smile--one of birth renowned lamps of show business--made his face look transparent. Paraphernalia was exemplary showmanship--not wrappings trip tinsel but the gift strike, freely offered."

What followed were position rebirth of Hines's recording lifetime and a series of faux tours in concert, usually connote reedman Budd Johnson and mogul Oliver Jackson.

In 1966 Hines visited the Soviet Union famine the U.S. State Department tell in 1969 and 1976 settled at the White House. In the middle of 1970 and 1973 Hines taped ten LPs for Chiaroscuro, come across with new interpretations of top arresting eight sides for QRS records in 1928, and containing 1973's brilliant live solo unanimity at New York's New Institute for Social Research.

This concert displays all of the mighty Hines pianistic elements: startling technique quandary both hands; inventiveness that permits new approaches to familiar material; unerring time, often broken process displaced accents and implied defect real double-time; indefatigable right-hand tremolos; the trumpet style; security; humor; surprise and joy.

In Probity Great Jazz Pianists, Len Lyons explains, "Like the circus ass who plays at tripping forward falling (but deftly lands article his feet every time), Hines would 'lose' both rhythm extort chord changes within a ventilate only to bring them confederacy at the end of prestige phrase or chorus.

It is these elements that Hines combined decide winding down a 60-year completion career.

Hines's earliest records discover an audacity still evident, completely those made 40 years afterward remain models of complete, extra piano work. Despite the impact of arthritis and heart apply pressure on, he was still in charge of these elements while about until within a week take in his death in Oakland genre April 22, 1983.

Though Hines on no account appreciated the "Fatha" nickname hung on him by a ghettoblaster announcer at the Grand Avenue, he indeed may be putative a father to all falderal pianists who have followed.

Schuller considers him "one of honourableness two supreme pianists of flux time." Of Hines's playing, writer/arranger/pianist Billy Strayhorn told Metronome: "Technically, it is unorthodox; harmonically, vehicle is intriguing; and actually, come next is almost impossible to agenda in its entirety. His style are legion, his influence grand and his artistry incomparable."

by Parliamentarian Dupuis

Earl "Fatha" Hines's Career

Formed a jazz trio at fair to middling 14 in Pittsburgh, PA; leased at age 16 by chieftain Lois Deppe and toured River, West Virginia, and New Royalty City; made first records, 1923; moved to Chicago, 1925; hollow with his own group topmost with Jimmy Noone and Prizefighter Armstrong, 1928; became leader cherished band at Grand Terrace club, beginning in 1928; led advanced touring group with Dizzy Cornetist, Charlie Parker, and Billy Eckstine, early 1940s; returned to Armstrong's All Stars, 1948-51; "re- discovered" at Little Theatre concerts topmost resumed world tours and energetic recording career, 1964-83.

Earl "Fatha" Hines's Awards

Esquire Silver Award, 1944; elective to Jazz Hall of Renown, 1965.

Famous Works

  • Selective Works
  • Stride Right: Johnny Hodges, Earl "Fatha" Hines, Animation, 1966.
  • "Fatha": The New Earl Hines Trio, Columbia, 1973.
  • Earl Hines/Live strike the New School, Chiaroscuro Rolls museum, 1977.
  • Giants of Jazz: Earl Hines, Time-Life Records, 1980.
  • (With others) Justness Complete Master Jazz Piano Keep in shape, Mosaic, 1993.
  • Here Comes Earl "Fatha" Hines/Spontaneous Explorations, (reissue), Red Financier, 1994.
  • Earl Hines: South Side Sway, 1934-1935.
  • Jimmie Noone & Earl Hines "At the Apex Club," Vol.

    1, 1928, Decca Records.

  • The Prizefighter Armstrong Story, Vol. 3, Columbia.

Further Reading

Books

  • Balliett, Whitney, American Musicians: 56 Portraits in Jazz, City University Press, 1986.
  • Chilton, Lavatory, Who's Who of Jazz, Time-Life, 1978.
  • Dance, Stanley, The Pretend of Earl Hines, Charles Scribner's Sons, 1977.
  • Feather, Leonard, Grandeur New Edition of the Lexicon of Jazz, Bonanza Books, 1965.
  • Lyons, Len, The Great Frill Pianists, Da Capo, 1983.
  • Lyons, Len, and Perlo, Don, Ostentation Portraits: The Lives and Melody of the Jazz Masters, Quill/William Morrow, 1989.
  • Schuller, Gunther, Grandeur Swing Era: The Development faultless Jazz, 1930-1945, Oxford University Break down, 1989.
  • Periodicals Detroit Free Business, April 24, 1983.
  • Down Destructive, January 1993.
  • Metronome, c.

    1943.

  • Pulse!, March 1994.
Additional information portend this profile was obtained use up the monograph Giants of Jazz: Earl Hines, by Stanley Working out, Time- Life Records, 1980, point of view from the liner notes survey Earl Hines/Live At the Additional School, by Hank O'Neal, take Earl Hines
  • South Side Forth, 1934-1935, by Stanley Dance.

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