Armstrong was by then on his way to becoming an American icon, leaving Hines to feel he was now being used as only a sideman in comparison to his old friend. Armstrong said of the difficulties, mainly over billing, "Hines and his ego, ego, ego Next, back as leader again, Hines took his own small combos around the States. They were the first piano recitals Hines had ever given; they caused a sensation.
Down Beat also elected him the world's "No. Play audio file. But the most highly regarded recordings of this period are his solo performances, "a whole orchestra by himself".
It unfolds in orchestral layers and it demands intense listening. Despite the sheer mass of notes he now uses, his playing is never fatty. Hines may go along like this in a medium tempo blues. He will play the first two choruses softly and out of tempo, unreeling placid chords that safely hold the kernel of the melody. By the third chorus, he will have slid into a steady but implied beat and raised his volume.
Then, using steady tenths in his left hand, he will stamp out a whole chorus of right-hand chords in between beats. He will vault into the upper register in the next chorus and wind through irregularly placed notes, while his left hand plays descending, on-the-beat, chords that pass through a forest of harmonic changes. There are so many push-me, pull-you contrasts going on in such a chorus that it is impossible to grasp it one time through. In the next chorus—bang!
But these choruses, which may be followed by eight or ten more before Hines has finished what he has to say, are irresistible in other ways. Each is a complete creation in itself, and yet each is lashed tightly to the next. In , now in his seventies, Hines recorded sixteen LPs. Within the industry, he became legendary for going into a studio and coming out an hour-and-a-half later having recorded an unplanned solo LP. From on, Hines often toured Europe, especially France.
Neither Did I". In the film, Hines said, "The way I like to play is that I'm an explorer, if I might use that expression, I'm looking for something all the time Of this acclaim, Hines said, "Usually they give people credit when they're dead.
I got my flowers while I was living". Hines' last show took place in San Francisco a few days before he died in Oakland. As he had wished, his Steinway was auctioned for the benefit of gifted low-income music students, still bearing its silver plaque:. As he matured through the s, he simplified the stride "orchestral piano", eventually arriving at a prototypical swing style.
Hines himself described meeting Armstrong:. In , after much family debate,  Hines moved to Chicago , Illinois, then the world's " jazz " capital, home at the time to Jelly Roll Morton and King Oliver.
He started in The Elite no. They played together at the Union piano. Richard Cook 's Jazz Encyclopedia says In other hands this might sound clumsy or all over the place but Hines could keep his bearings with uncanny resilience. Armstrong and Hines became good friends,  shared a car,  and Armstrong joined Hines in Carroll Dickerson 's band at the Sunset Cafe.
Armstrong and Hines then recorded what are often regarded as some of the most important jazz records ever made,including their trumpet and piano duet Weatherbird Since Hines is also magnificent on these discs and their insouciant exuberance is a marvel on the duet showstopper "Weather Bird" the results seem like eavesdropping on great men speaking almost quietly among themselves.
The Sunset Cafe closed in Hines went briefly to New York to return to find that in his absence Armstrong and Singleton had re-joined their now-rival Carroll Dickerson's band at the new The Savoy Ballroom  — a fact which left Hines "warm". Hines recorded with Noone,  again with Armstrong  and late in  recorded his first piano solos, eight for QRS Records in New York then seven for Okeh Records in Chicago, all except two his own compositions.
At 24 his big break was about to come. On December 28, so on his 25th birthday and six weeks before The Saint Valentine's Day massacre the always-immaculate  Hines opened at Chicago's Grand Terrace Cafe leading his own big band , the pinnacle of jazz ambition at the time. The Hines Orchestra [or 'Organization' as Hines preferred it - it had up to 28 musicians] did three shows a night in The Grand Terrace, four shows every Saturday and sometimes did Sundays.
Al [Capone] came in there one night and called the whole band and show together and said, "Now we want to let you know our position.
We just want you people just to attend to your own business. And that's what we did. And I used to hear many of the things that they were going to do but I never did tell anyone. Sometimes the Police used to come in From The Grand Terrace, Hines and his band broadcast on "open mikes" over many years, sometimes seven nights a week, coast-to-coast across America — Chicago being well placed to deal with the U.
When 'Fatha' went off the air, I went to bed. The Hines band usually comprised musicians on stage, occasionally up to Occasionally, Hines allowed other pianists to play as "relief" piano player which better allowed Hines to conduct his whole "Organization".
Each summer, Hines toured his whole band for three months, including through the South - the first black big-band to do so. We couldn't eat when we wanted to.
We had to eat when they were ready for us. In , Earl Hines and his Orchestra "were the first big Negro band to travel extensively through the South". Hines referred to it as an "invasion" rather than a "tour". Between a bomb exploding under their bandstage in Alabama " For the most part, any contact with whites, even fans, was viewed as dangerous.
Finding places to eat or stay overnight entailed a constant struggle. It was from Hines that saxophonist Charlie Parker gained a big break,  until he was fired for his "time-keeping" — by which Hines meant Parker's inability to show up on time despite Parker resorting to sleeping under the band stage in his attempts to do so.
As a result, on 19 August Hines had to cancel the rest of his Southern tour. Despite these war-time difficulties Hines toured his bands coast-to-coast across America  but he was still able to take time out from his own band to front the Duke Ellington Orchestra in while Duke fell ill. It was during this time and especially during the —44 musicians' strike recording ban that members of the Hines' band's late-night jam-sessions laid the seeds for the emerging new style in jazz, Bebop.
Duke Ellington was later to say that, "the seeds of bop were in Earl Hines's piano style"  while Charlie Parker 's biographer Ross Russell wrote The Earl Hines Orchestra of had been infiltrated by the jazz revolutionaries.
Each section had its cell of insurgents. The band's sonority bristled with flatted fifths, off triplets and other material of the new sound scheme. Fellow bandleaders of a more conservative bent warned Hines that he had recruited much too well and was sitting on a powder keg. As early as , saxophone player and arranger Budd Johnson had "re-written the book"  for the Hines' band in a more modern style. Johnson and Billy Eckstine , Hines vocalist between and , have been credited with helping to bring modern players into the Hines band in the transition between swing and Bebop.
Composer Gunther Schuller said In I heard the great Earl Hines band which had Bird in it and all those other great musicians. They were playing all the flatted fifth chords and all the modern harmonies and substitutions and Dizzy Gillespie runs in the trumpet section work.
Two years later I read that that was 'bop' and the beginning of modern jazz Trumpeter Dizzy Gillespie , in the Hines band at the time, said People talk about the Hines band being 'the incubator of bop' and the leading exponents of that music ended up in the Hines band. But people also have the erroneous impression that the music was new.
It was not. The music evolved from what went before. It was the same basic music. The difference was in how you got from here to here to here The links to Bebop remained close. Charlie Parker 's discographer, among others,  has argued that "Yardbird Suite", which Parker recorded with Miles Davis in March , was in fact based on Hines' "Rosetta" which nightly served as the Hines band theme-tune. Dizzy Gillespie also said of that Hines band We had a beautiful, beautiful band with Earl Hines.
He's a master and you learn a lot from him, self-discipline and organization. Earl Hines was the pianist in his band and I mean he played some piano.
We used to make him play longer solos. We'd say, "Play another one, Gates". And he'd go again. They'd say, "Lay out, lay out, lay out …" and we wouldn't come in. Earl had to play again. NM is opened but in visually brand new, out-of-the-packaging clean condition. NM- is not NM! In my termino lo gy Scratches are feeler type and Scuffs are just cosmetic and usually inaudible. Due to the number of frivolous retur n s which were unwarranted , and due to the nature of sound recorded products that can be easily copied, there will no longer be a free return policy.
If item is truly defective the entire purchase amount will be refunded as long as the item is in the same condition as it was sent. Also, FCI cannot be tracked. Bidders must agree to take full responsibil i ty if they select FCI. If you want protection it is available using Priority Mail. Buck Clayton. Satin Doll.
Smiley's Blues. Swingin' the Blues. It's Magic. Secret Love. I'll Try. What Is There to Say. I Can't Get Started. Jive at Five. Track Listing - Disc 2. If I Had You.Earl Kenneth Hines, universally known as Earl "Fatha"  Hines, (December 28,  – April 22, ) was an American jazz pianist. Hines was one of the most influential figures in the development of modern jazz piano and, according to one major source, is "one of a small number of pianists whose playing shaped the history of jazz". Born: December 28, , Duquesne, Pennsylvania.