Earl Hines's Biography
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. 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.
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 Theater, 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. Hines traveled the world with his quartet, recorded dozens of albums, and remained famous and renowned up until his death at the age of 79. Most of the many recordings from his career are currently available on CD. ~ Scott Yanow, All Music Guide
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. 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.
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 Theater, 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. Hines traveled the world with his quartet, recorded dozens of albums, and remained famous and renowned up until his death at the age of 79. Most of the many recordings from his career are currently available on CD. ~ Scott Yanow, All Music Guide
Earl Hines's Albums
- Here Comes Earl "Fatha" Hines [Red Baron]
- Jazz Is His Old Lady and My Old Man (2003)
- In Orange (2003)
- Here Comes Earl "Fatha" Hines [BMG Japan] (2002)
- Paris One Night Stand (2002)
- Live (2002)
- '65 Piano Solo (2002)
- The Real Earl Hines: Recorded Live in Concert (2001)
- Jazz in Paris: Paris One Night Stand (2001)
- In Paris [Bonus Track] (2001)
- Live at Ratso's (2000)
- All Stars at the Olympia Paris 1957 (1999)
- At Club Hangover 1955 (1999)
- Chicago Dates (1998)
- Do It Yourself (1998)
- At Club Hangover 1954 (1998)
- One for My Baby (1995)
- Evergreens (1994)
- Live at the Crescendo, Vol. 2 (1992)
- Giants of Jazz (1981)
- The Incomparable Earl Fatha Hines (1979)
- Linger Awhile [Classic Jazz] (1979)
- Live and in Living Jazz (1979)
- Earl Hines at Saralee's (1978)
- Honor Thy Fatha (1978)
- Fatha' Plays Hits He Missed (1978)
- Texas Ruby Red (1977)
- Earl Hines in New Orleans (1977)
- Lionel Hampton Presents Earl Fatha Hines (1977)
- The Father of Modern Jazz Piano (1977)
- Fatha [1977] (1977)
- Live at Buffalo (1976)
- Hines (1974) (1974)
- Live in Orange (1974)
- Earl Hines/Budd Johnson (1974)
- Earl Hines and Budd Johnson (1974)
- At Sundown (1974)
- West Side Story (1974)
- Earl Hines Plays Cole Porter (1974)
- Live at the New School, Vol. 2 (1974)
- Piano Solos (1974)
- Swingin' Away (1973)
- Earl Hines Plays George Gershwin (1973)
- Live at the New School (1973)
- An Evening with Earl Hines (1973)
- Quintessential '74 (1973)
- Earl Hines Quartet (1973)
- Quintessential Continued (1973)
- Tour de Force Encore (1972)
- Tour de Force (1972)
- Hines Plays Hines (1972)
- Partners in Jazz (1972)
- Earl Hines Plays Duke Ellington, Vol. 2 (1971)
- Comes in Handy (1971)
- Four Jazz Giants (1971)
- My Tribute to Louis (1971)
- Hines Does Hoagy (1971)
- It Don't Mean a Thing If It Ain't Got That Swing! (1970)
- Fatha and His Flock on Tour (1970)
- Earl Hines and Maxine Sullivan (1970)
- At the Party (1970)
- The Quintessential Recording Session (1970)
- Hines Rhythm (1969)
- Boogie Woogie on St. Louis Blues (1969)
- Earl Hines at Home (1969)
- A Night at Johnnie's (1968)
- Fatha Blows Best (1968)
- Jazz Heritage: Rhythm Sundae (1968) (1968)
- Blues & Things (1967)
- Life with Fatha (1967)
- Dinah (1966)
- Here Comes Earl "Fatha" Hines (1966)
- Once Upon a Time (1966)
- Blues So Low (1966)
- Hines Shines (1965)
- Hine's Tune (1965)
- At the Village Vanguard (1965)
- Paris Session (1965)
- The Grand Terrace Band (1965)
- Live: Aalborg Denmark 1965 (1965)
- Blues in Thirds (1965)
- Hines (1965) (1965)
- Reunion in Brussels (1965)
- Earl Hines & Roy Eldridge at the Village Vanguard (1965)
- Grand Reunion, Vol. 2 (1965)
- Grand Reunion (1965)
- Grand Reunion, Vol. 1 (1965)
- The New Earl Hines Trio (1964)
- Linger Awhile (1964)
- Up to Date (1964)
- In Concert (1964)
- Earl Fatha Hines (1963)
- A Sunday's Date (1961)
- A Monday Date (1961)
- Earl's Pearls (1960)
- Swingin' and Singin' (1960)
- Earl Fatha Hines Trio (1958)
- Earl's Backroom and Cozy's Caravan (1958)
- Earl Fatha Hines and His All Stars, Vol. 2 (1957)
- Earl Fatha Hines and His All-Stars, Vol. 1 (1957)
- Oh, Father! (1956)
- Earl Fatha Hines Plays Fats Waller (1955)
- Earl Hines at Club Hangover, Vol. 5 (1955)
- Esquire All Stars (1954)
- Earl Hines All-Star Session (1954)
- Earl Hines Plays Fats Waller (1953)
- Earl Hines with Billy Eckstine (1953)
- Earl Hines All Stars (1953)
- Varieties (1952)
- Earl Hines Trio (1952)
- Fats Waller Memorial Set (1951)
- Earl Hines and the All Stars (1950)
Compilations
- Classics
- Earl Hines with Billy Eckstine/Piano Solos
- 1953-1954 (2007)
- Masters of Jazz (2006)
- Lost 1971 Studio Masterpiece (2006)
- Piano Man [Definitive] (2006)
- Earl Hines with Alex Welsh (2005)
- Magicians of the Swing Piano (2005)
- Have You Ever Felt That WayNULL 1929-1933 (2004)
- The Early Years: 1923-1942 (2004)
- The Quintessence Chicago - New York - Hollywood: 1928-1946 (2004)
- Rhythm Dance/Rosetta (2004)
- The Jubilee Shows, Vol. 9: Nos. 194 & 195 (2004)
- Classic Tracks (2003)
- 1949-1952 (2003)
- Straight Life (2002)
- Piano Man [Past Perfect] (2002)
- The Earl (2002)
- Classic Years (2002)
- The Alternative Takes, Vol. 1: 1929-1941 (2001)
- Ralph Gleason's Jazz Casual: Earl Hines & Joe Sullivan (2001)
- 1947-1949 (2000)
- Rosetta [Japan] (2000)
- 1945-1947 (1999)
- Planet Jazz (1998)
- Piano Man 1928-1955 (1998)
- New Orleans 1975 (1998)
- Introduction to Earl Hines (1997)
- 1942-1945 (1996)
- 1941 (1996)
- Rossetta (1996)
- Just Friends (1996)
- Original Historic Recordings (1996)
- Rosetta (1996)
- Fatha's Blues (1996)
- Savoy Blues (1995)
- Jazz Classics (1995)
- The Earl Hines Collection 1928-1940 (1995)
- The Indispensable Earl Hines, Vol. 5-6: The Bob Thiele Sessions (1995)
- Hines Shines [LaserLight] (1993)
- Earl Fatha Hines Orchestra (1992)
- Way Down Yonder in New Orleans (1992)
- Fatha, Vol. 1 (1988)
- Solo Walk in Tokyo (1977)
- Legendary Performer (1976)
- In New Orleans (1975)
- Piano Portraits of Australia (1974)
- Masters of Jazz, Vol. 2 (1974)
- Earl Hines Plays Duke Ellington (1971)
- The Indispensable, Vol. 1: 1929-1939 (1967)
- Fatha [1965] (1965)
- The Legendary Little Theater Concert (1964)
- Another Monday Date (1955)
- Earl Hines [GNP] (1949)
- Earl "Fatha" Hines (1947)
- Earl Hines and the Duke's Men (1944)
- The Indispensable Earl Hines, Vol. 3-4 (1939)
- 1939-1940 (1939)
- The Father Jumps (1939)
- Piano Man! [ASV] (1939)
- Piano Men (1939)
- The Indispensable Earl Hines, Vol. 1-2 (1939)
- 1937-1939 (1937)
- Earl Hines & His Orchestra 1936, 1938 & 1940 (1936)
- Jazz Heritage: South Side Swing (1934-1935) (1934)
- 1934-1937 (1934)
- Masterpieces, Vol. 14 (1934)
- Harlem Lament (1933)
- 1932-1934 (1932)
- 1932-1934, 1937 (1932)
- Deep Forest (1932)
- Swingin' Down (1932)
- Earl Hines (1929)
- 57 Varieties (1928)
- 1928-1932 (1928)
- Earl Hines [BYG] (1923)
DVDs & Videos
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