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Earl Kenneth Hines, best known as Earl ' Fatha ' Hines (Duquesne (Pennsylvania), 1903 - december 28, Oakland (California), april 22, 1983) was an American jazz pianist and big band leader. He has been called the first modern jazz pianist called and has the jazz in the twentieth century shaping.
- 2 Louis Armstrong
- 3 big band
- 4 the 1950s and comeback
- 5 discography (selection)
- 6 see also
- 7 Literature
His parents were musical: his father played cornet in a brass band in Pittsburgh and his mother was kerkorganiste. Like his father tried Earl cornet to play but then switched over to the piano and took lessons. When he was 17, he went to play in Lois Deppe & his Serenaders, who acted in a nightclub in Pittsburgh. Hines ' first recordings were with this band: four recordings for Gennett Records in 1923, including a composition by Hines ' hand, ' Congaine '. Two appeared there on record. A month later, the Orchestra again in the record studio for recordings.
In 1925, he moved to Chicago, where jazz capital then Jelly Roll Morton and King Oliver were active. Hines played with Sammy Stewart band and Erskine Tate and then at the Carroll DickersonOrchestra, with which he made a long tour. In this Orchestra he became acquainted with trumpeter Louis Armstrong, whom he greatly admired. Hines and Armstrong went with Dickersons band playing at the Sunset Café and became friends. The band headed by Armstrong, who was very impressed by Hines ' avant-garde piano playing: he played piano in the manner of a trumpet. In 1927 Armstrong blew his Louis Armstrong's Hot Five in new life, popped up a year later with this band and Earl Hines with the pianist in the studio and made some famous recordings which are among the most important in the history of jazz are done: "Weather Bird ', ' West End Blues ' and, for example, ' Tight Like This '. About his musical collaboration with Armstrong Hines would later say: "if we played together, it was like a continuous jam-session".
That same year, Hines also different solos on, including ' My Monday Date ' and ' 57 Varieties '. When Sunset Café closed, did Armstrong in Savoy Theatre play. Hines joined Jimmy Noones band, who worked in Apex Club. With Noone were also made recordings, among other things ' Apex Blues '.
On his birthday, a big band that began in 1928 for ten years, the Hines ' House Orchestra ' would be of Grand Terrace Cafe, a club of gangster Al Capone. From this club played the Earl Hines Orchestra (or ' Organisation ', such as Hines liked called it) from 1934 regular ' live ' for the radio, coast to coast, sometimes as many as seven times a week. By these broadcasts got Hines great fame and he became a role model for the black community.
Jess Stacy played In the Orchestra or Nat King Cole every now and then as Hines ' replacement on the piano. Charlie Parker had his first job here, not dismissed him because the saxophonist to Hines often appeared on time. The late 1920s and in the 1930s made many recordings Hines: in 1929 for Victor, in the period 1932-1934 for Brunswick, for Decca in 1934 and 1935, Vocalion (1937-1938) and in the years 1939 to 1942 forBluebird. The recordings are among the best of the black jazz from those years. In the period 1942-1945 there were no recordings are made, but members of the band laid during nightly jam sessions the germ for the forthcoming beboprevolution. In 1942 made next to Parker also trumpet player Dizzy Gillespie part of the band, as well as singer Billy Eckstine who became a bop-big band would start. In addition to Eckstine band also launched the other vocalists: Sarah Vaughan and Johnny Hartman. Hines led his big band until 1947, when in fact the big band era was over.
Closed In 1948 Hines joined Louis Armstrong's ' The All Stars ', for the most part consisting of famous leaders of big bands, but Hines was now no more than a ' sideman '. He was not so lucky and remained until 1951. In the years after Hines had his own combos with which he toured, among other things in Europe. In the early 1960s, when jazz was going through off, he settled in Oakland and opened a tobacco shop. He remembered a veil. Thanks friend and manager Stanley Dance played Hines in 1964 a series of recitals at the Little Theatre in New York, which caused great excitement. Hines finished high in polls in several jazz sheets (downbeat include no. 1 jazz pianist, 1966; Jazz: Jazz musician of the year) and appeared several times on television. He played solo, but also had another group, a Quartet with tenor saxophonist Budd Johnson. Hines was back and played in the following years with countless musicians and made with them (but also solo) many plates. Some names: Duke Ellington (duets in 1966), Ella Fitzgerald, Dizzy Gillespie, Lionel Hampton, Coleman Hawkins, Oscar Peterson, Sarah Vaughan,Ben Webster, Lester Young , Teddy Wilsonand Ry Cooder. His most prized recordings are his inventive solo recordings in the 1970s, including tributes to Ellington, Armstrong and George Gershwin. Between his comeback in 1964 and his death made Hines 90 plates. Most solo recordings, there were at one time on. Pianist Lennie Tristano: "Earl Hines is the only one of us who makes real jazz and swings if he only plays". Count Basie called him the best pianist in the world.
In 1968 Hines toured in South America, Europe, Asia, Australia, Japan and the Soviet Union (six weeks). In 1975, he played for British cameras an hour long in a nightclub in Washington. The New York Herald Tribune called it the best jazz film of all time. Hines played solo in the White House and for the Pope. A few days before his death, he performed in a show.
On his tombstone is the inscription: "piano man".
- Earl Hines Trio, Dial, 1952
- Earl Hines All Stars, Dial, 1953
- Earl Hines Plays Fats Waller, Brunswick, 1953
- Eearl Hines With Billy Eckstine, RCA, 1953
- Earl's Pearls, MGM, 1960
- A Sunday's Date, Riverside, 1961
- Linger Awhile, Bluebird, 1964
- Spontaneous Explorations, Contact, 1964
- Grand Reunion, Verve, 1965
- Earl Hines & Budd Johnson, Black and Blue, 1974
- Once Upon A Time, Impulse!, 1966