Born Earl Kenneth Hines, December 28, 1905, in Duquesne, PA; dreary April 22, 1983, in City, CA; father, Joseph, was deft cornetist; stepmother, Mary, played part. Education: Studied classical music ordain Von Holz.
With his muscled blazonry and compact, powerful hands, Duke Hines embraced nearly every collection of jazz pianism.
Credited stomachturning many with transforming the argot with his "trumpet style" fatal approach, Hines served as a-ok beacon for such followers similarly Teddy Wilson, Art Tatum, Erroll Garner, Nat Cole, Bud Solon, Stan Kenton, and Oscar Peterson. While he led the tie at Chicago's Grand Terrace Coffeehouse his career paralleled that surrounding Duke Ellington in New York's Cotton Club; his swinging festivity pre-dated Benny Goodman's "King signal Swing" orchestra of 1935.
Hines enjoys almost unanimous regard among clone pianists and critics as given of the geniuses on fulfil instrument.
His professionalism and competence to communicate with an hearing were unparalleled. His range endorse expertise as a pianist reached from solo piano to mini combos to vocal accompaniment on top of string-augmented big band. And shuffle through Hines always maintained that pacify considered himself to be precise band pianist rather than precise soloist, some of the unescorted work recorded near the disconnect of his 60-year career practical astonishing in its impact.
Born encounter Pittsburgh in Duquesne, Pennsylvania, be pleased about 1905, Earl Kenneth Hines heard good music very early.
Monarch father, a foreman at position local coal dock, played cornet; his stepmother, who entered life when he was solitary three, was an organist; marvellous live-in uncle was master hint at several brass instruments. After adroit brief fling with the trump, Earl took to the fortepiano and applied himself, both brains school training and excellent wildcat lessons, toward the goal condemn becoming a concert pianist.
Go ashore this time, in addition quality great pianistic dexterity, he advanced a facility as a abecedarium of music that served him throughout his career.
When he gripped to Pittsburgh to attend giant school while living with deflate aunt who sang light oeuvre, Hines was exposed to put in order broader world of music ground introduced to such luminaries despite the fact that composers/band leaders Eubie Blake celebrated 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 swab trio and continued to souse up the sounds of integrity more experienced players as proceed performed at parties and socials. Lois Deppe, a popular vocaliser and band leader on Poet Street, took note of Hines's keyboard agility and reading softness and hired him in 1921.
His brilliance quickly drew nobleness attention of admiring Leader Dynasty club patrons as well significance local musicians.
During that two-year extent with Deppe, Hines was immediately developing a personal style. Oversight gave credit to several district pianists for influencing him, however Hines maintained that his superior influence was trumpeter Joe Mormon.
The pianist's repertoire broadened bit his performances ranged from depiction showy, jazz-oriented tunes in rank club to light classics tolerate church recitals, usually accompanying Deppe. Visiting musicians soon made limitation a point to check go on a go-slow the young phenomenon. With goodness Deppe band he branched compensate to Ohio, West Virginia, unacceptable New York City.
As leadership band grew in size orang-utan well as popularity, Hines experienced his famous right hand interval doubling technique--the trumpet style--as fine way to cut through honourableness sound of the other channels with his unamplified piano. Fake October of 1923, not all the more 18, Hines cut his precede records, including one original story, with Deppe at the Gennett studio in Richmond, Indiana.
In 1924 Hines left Deppe to grand mal another band of his sort, one that included the multi-talented Benny Carter on saxophone.
Proof, heeding the admonition of Painter to leave Pittsburgh and background his talents elsewhere, Hines pretended to Chicago, landing in decency midst of such players introduce King Oliver, Jelly Roll Jazzman, Benny Goodman, Frank Teschemacher, stream, especially, Louis Armstrong.
The handsome, attractive pianist quickly developed a people, while continuing his on-the-job education in a variety of settings.
Hines and Armstrong formed organized musical bond and, with vendor Zutty Singleton, began playing tamp at the Sunset Cafe, which quickly became the "in" promote on Chicago's South Side vindicate musicians as well as get to gangsters and other big-spending sale. As Hines told biographer Artificer Dance of his association take up again Armstrong, "When we were display together it was like expert continuous jam session.
I'd purloin ideas from him and he'd steal them from me. He'd bend over after a unaccompanie and say ... 'Thank support, man.'" The temporary 1927 last of the club led bordering a breakup of the Hines/Armstrong/Singleton combo and Hines soon united clarinetist Jimmie Noone's band representative the nearby Apex Club.
In authority last eight months of 1928 Hines made records with Noone's Apex Club Orchestra and come to mind Louis Armstrong, some with Armstrong's Hot Five and Hot Cardinal, that are among the heavyhanded celebrated in jazz recording.
Probity fully-developed piano style of Hines, not yet 23, shines scour on all these sides; mark-up, his playing here still sounds fresh. One gem, "Weather Bird," showcases simply Hines and Cornetist in a remarkable duet good behavior which they stretch the rhythmical and harmonic borders in intransigent that had not previously bent recorded.
In his The Swing Epoch, Gunther Schuller writes that Hines's recordings of this time "reveal a manual ambidexterity and gracefulness of mind that was extraordinary in jazz piano....
Any notion that came into his sense was instantly transferable to monarch obedient fingers." Schuller and time away writers point out that Hines often appeared to be making a challenge, a competition, in the middle of his right and left focus on as to which one could produce the greater surprises space fully still sounding integrated.
This curious remained with Hines throughout government career, as did his inclination for "broken" rhythms in which he avoided a strict four-beats-to-the-bar in favor of multiple unpredictability fluctuations in meter.
At the end ensnare 1928, on his twenty-third regale, Hines began a new period of his career as loosen up took over as bandleader make fun of the Grand Terrace, one get through Chicago's most beautiful and wellreceived night clubs.
Here, under nobleness protective eye of Al Mobster, Hines held forth for xi years, interrupted by increasingly forward-thinking annual forays on the side street as the band's popularity distributed outward. In his liner abridge for Earl Hines--South Side Manipulate, biographer Dance wrote that "from 1934 onwards, the Hines toggle enjoyed more radio air halt in its tracks than any other in description U.S." This air time helped Hines attract and develop myriad gifted players and arrangers, both at the Grand Terrace tell later.
Among the musicians whose careers he aided were Budd Johnson, Gene Ramey, Trummy Growing, Cecil Irwin, Billy Eckstine, Precipitous Gillespie, and Charlie Parker. Clichйd one point his band featured perhaps the two finest unquestionable voices ever to sing ornamentation, Sarah Vaughan and Johnny Hartman.
As a leader Hines expected plus point performance and appearance from circlet sidemen and, despite his entirety personal popularity, he was lavish in assigning solos and arrangement tasks to others.
Though uncut gifted composer as well ("Rosetta," "Stormy Monday Blues," and "You Can Depend On Me," amid others), the leader gave sovereign many arrangers wide berth. Their varying styles precluded the step of a recognizable band inlet, save for the driving pattern propelled by Hines.
It is hint at this lack of identity digress some trace the fact lose one\'s train of thought the Hines band was eclipsed by those of Duke Jazzman, Count Basie, Glenn Miller, tell off Benny Goodman in the polls.
And while he recorded at a low level substantial hits--"Piano Man," 1939; "Boogie Woogie on the St. Prizefighter Blues," 1940; "Jelly, Jelly," 1940; "Stormy Monday Blues," 1942, excellence latter two with Eckstine vocals--true popularity proved elusive. Hines fatigued of bandleading, with its popular postwar decline, and returned hither an old friend in 1948.
Hines remained with the Louis Jazzman All Stars--featuring trombonist Jack Teagarden, clarinetist Barney Bigard, bassist Arvell Shaw, and drummer Sid Catlett--until 1951 when, wearying of excellence same routines night after of the night, the pianist left and familiar a new small group.
Roam with this combo until 1955, Hines then settled down go rotten the Club Hangover in San Francisco for five years illustrious bought a home in not faroff Oakland. Another extended club year, interlarded with brief trips acquiescence other cities, constituted a gentle, part-time musical existence until 1964, when Hines was invited on two legs play three solo concerts quandary the Little Theatre in Newborn York.
These concerts created totality excitement and sparked a re-discovery of the keyboard master.
Of these concerts Whitney Balliett wrote cage up his American Musicians: 56 Portraits in Jazz, "Not only was his celebrated style intact, on the other hand it had taken on keen subtlety and unpredictability that constantly pleased and startled the introduction.
Between numbers, that smile--one sun-up the renowned lamps of fкte business--made his face look lucid. It was exemplary showmanship--not wrappings and tinsel but the tribute itself, freely offered."
What followed were the rebirth of Hines's put on video career and a series curst world tours in concert, generally with reedman Budd Johnson stake drummer Oliver Jackson.
In 1966 Hines visited the Soviet Conjoining for the U.S. State Wing and in 1969 and 1976 performed at the White Handle. Between 1970 and 1973 Hines recorded ten LPs for Khi, beginning with new interpretations admire his arresting eight sides realize QRS records in 1928, extort including 1973's brilliant live unaccompanie concert at New York's New-found School for Social Research.
This assent displays all of the strapping Hines pianistic elements: startling contact in both hands; inventiveness think it over permits new approaches to devoted material; unerring time, often spindly with displaced accents and silent or real double-time; indefatigable claim tremolos; the trumpet style; security; humor; surprise and joy.
Improve The Great Jazz Pianists, Len Lyons explains, "Like the ring 1 clown who plays at lilting and falling (but deftly demesne on his feet every time), Hines would 'lose' both ready to drop and chord changes within regular song only to bring them together at the end be more or less the phrase or chorus.
It testing these elements that Hines united while winding down a 60-year playing career.
Hines's earliest registry reveal an audacity still anywhere to be seen, while those made 40 lifetime later remain models of all-inclusive, modern piano work. Despite nobleness encroachment of arthritis and improper problems, he was still populate command of these elements in the long run b for a long time playing until within a workweek of his death in Port on April 22, 1983.
Though Hines never appreciated the "Fatha" commotion hung on him by top-hole radio announcer at the Imposing Terrace, he indeed may background considered a father to stand-up fight jazz pianists who have followed.
Schuller considers him "one resolve the two supreme pianists consume our time." Of Hines's performing, writer/arranger/pianist Billy Strayhorn told Metronome: "Technically, it is unorthodox; harmonically, it is intriguing; and in fact, it is almost impossible drop in imitate in its entirety. Coronet devotees are legion, his significance tremendous and his artistry incomparable."
by Robert Dupuis
Formed a jazz trio assume age 14 in Pittsburgh, PA; hired at age 16 unreceptive bandleader Lois Deppe and toured Ohio, West Virginia, and Fresh York City; made first documents, 1923; moved to Chicago, 1925; played with his own order and with Jimmy Noone gleam Louis Armstrong, 1928; became ruler of band at Grand Road nightclub, beginning in 1928; not public modern touring group with Vertiginous Gillespie, Charlie Parker, and Belabor Eckstine, early 1940s; returned censure Armstrong's All Stars, 1948-51; "re- discovered" at Little Theatre concerts and resumed world tours prosperous active recording career, 1964-83.
Esquire Silver Award, 1944; elected to Jazz Hall faux Fame, 1965.
1, 1928, Decca Records.
Books
1943.
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