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Black And Blue Fatha Blows Best. Decca DL New York, Marzo Plays Evergreen. Minnie H. LRC Master Jazz Piano — Vol. At Home. Delmark DS San Francisco, Boogie Woogie St. Prestige MPP Berkeley, Quintessential Recording Session.
Chiaroscuro CR At The Party. Delmark San Francisco, 13 Maggio Live At Overseas Press Club. Earl Hines p Maxine Sullivan vc. New York, Novembre In Paris. America AM Parigi, Dicembre Master Jazz Piano Vol. My Tribute To Louis. Audiophile AP Milwaukee, Wisconsin, Hines Does Hoagy. Hines Comes In Handy. New York. Tribute To Louis. CBS San Remo, Earl Hines pian o solo. Earl Hines piano s olo. New World NW New York, e MPS 20 Solo Walk In Tokyo. Biograph BLP Tokyo, New Orleans To Chicago.
Swaggie Rec. S Melbourne, Hines Plays Hines. S Sidney, Waltzing Matilda. Tour De Force. Earl Hines Plays Ellington. Tour De Force Encore. Black Lion BL Live And In Living Jazz. Quicksilver QS Live, Detroit, Master Jazz Piano, Vol. Due brani non identificati. Quintessential Recording Continued. New York, Febbraio-Marzo Back On The Street.
Live At New School. Swaggie Records S Earl Hines Plays Gershwin. S New York, Earl Hines Plays George Gershwin. Milano, Black Lion BLP An Evening With. Chiaroscuro CR New York, Earl Hines Quartet. This Is Marva Josie. Earl Hines Plays Duke Ellington vol. MJR One For My Baby. Vol 2. Earl Hines Plays Cole Porter. S Montreux Jazz Festival. West Side Story. Montreux, The Giants. Earl Hines p Stephane Grappelli viol. Black Lion Rec.
BLP Ray Nance corn-viol-vc Earl Hines vc-p. Hot Club Of Orange. Earl Hines p-vc. Hot Club of Orange, Parigi, Nizza, Valauris, Francia, At Sundown. Valaurais, Francia The Dirty Old Men. Grande Parade Du Jazz.
Giants In Nice. Tribute To Louis Armstorng. Piano Portrait Of Australia. Concert In Argentina. Halcyon HAL Buenos Aires, Novembre Master Jazz Rec.
Live At Buffalo. Improv Buffalo, Catalyst CAT New York, Marzo, Louis blues. Earl Hines In New Orleans. New Orleans, Earl Meets Harry. Earl Hines p Harry Edison tp. Berna, Earl Meets Sweets And Jaws. Philips Plays Waller. We Love You Fats. New York, Luglio Real Time Rec. RT Beverly Hills, California, Eric And Earl. Gatemotuth Voolivre Sao Paolo, Dicembre Portland, Oregon.
Ha iniziato a studiare il clarinetto a undici anni ed il sax alto nel Nel lasciata la scuola ha iniziato a lavorare nelle territorial band. Ha registrato anche con Buck Clayton. Oltre a suonare i diversi sassofoni ha anche suonato il flauto e i vari tipi di clarinetto.
Tokyo, Giappone. Ha collaborato spesso anche con il fratello. Sailing Stone. Ha impara a suonare la tromba a nove anni e a tredici ha suonato nella base militare americana di stanza a Tokyo. Terumasa Hino tp altri non identificati. Speak To Loneliness. EW Live In Concert. East Wind May Dance. JVC Hino-Kikuchi Quintet. Terumasa Hino tp-flic Masabumi Kikuchi p altri nonn identificati.
And Pretty. City Connection. A curious title since the "Fatha", being Hines, was most certainly a piano player! Sold Out - 'Request Next' to get an email if it comes back into stock. Discuss this item. Heard drums, front l aminated flipback picture sleeve. The sleeve shows a little light ringwear, but has no splits; the vinyl is MINT! As he had wished, his Steinway was auctioned for the benefit of gifted low-income music students, still bearing its silver plaque:.
Hines was buried in Evergreen Cemetery in Oakland, California. The Oxford Companion to Jazz describes Hines as "the most important pianist in the transition from stride to swing " and continues:. As he matured through the s, he simplified the stride "orchestral piano", eventually arriving at a prototypical swing style. The right hand no longer developed syncopated patterns around pivot notes as in ragtime or between-the-hands figuration as in stride but instead focused on a more directed melodic line, often doubled at the octave with phrase-ending tremolos.
This line was called the "trumpet" right hand because of its markedly hornlike character but in fact the general trend toward a more linear style can be traced back through stride and Jelly Roll Morton to late ragtime from to Louis looked at me so peculiar. So I said, "Am I making the wrong chords? So I said, "Well, I wanted to play trumpet but it used to hurt me behind my ears so I played on the piano what I wanted to play on the trumpet".
And he said, "No, no, that's my style, that's what I like. I was curious and wanted to know what the chords were made of. I would begin to play like the other instruments. But in those days we didn't have amplification , so the singers used to use megaphones and they didn't have grand-pianos for us to use at the time — it was an upright. So when they gave me a solo, playing single fingers like I was doing, in those great big halls they could hardly hear me.
So I had to think of something so I could cut through the big-band. So I started to use what they call 'trumpet-style' — which was octaves. Then they could hear me out front and that's what changed the style of piano playing at that particular time. To make [himself] audible, [Hines] developed an ability to improvise in tremolos the speedy alternation of two or more notes, creating a pianistic version of the brass man's vibrato and octaves or tenths: instead of hitting one note at a time with his right hand, he hit two and with vibrantly percussive force — his reach was so large that jealous competitors spread the ludicrous rumor that he had had the webbing between his fingers surgically removed.
Rhythmically, Hines was very good at taking his melodic lines further and further way from the fixed foundation, creating a radical sense of detachment for a few beats or measures, only to land back in time with great aplomb when finished with his foray. The left hand sometimes joins in the action What is especially distinctive about Hines are the startling effects he creates by harmonically enhancing these rhythmic departures. Like Armstrong, he thought of chords creatively and with great precision.
But he was a step ahead of his colleague in his willingness to experiment. He became fond of radical dislocations, sudden turns of directions with dim and nonexistent connection to the ground harmony. Pianist Teddy Wilson wrote of Hines's style:. Hines was both a great soloist and a great rhythm player.
He has a beautiful powerful rhythmic approach to the keyboard and his rhythms are more eccentric than those of Art Tatum or Fats Waller. He would play a lot of what we now call 'accent on the and beat'. It was a subtle use of syncopation , playing on the in-between beats or what I might call and beats: one- and -two- and -three- and -four- and.
The and between "one-two-three-four" is implied, When counted in music, the and becomes what are called eighth notes. So you get eight notes to a bar instead of four, although they're spaced out in the time of four. Hines would come in on those and beats with the most eccentric patterns that propelled the rhythm forward with such tremendous force that people felt an irresistible urge to dance or tap their feet or otherwise react physically to the rhythm of the music.
Hines is very intricate in his rhythm patterns: very unusual and original and there is really nobody like him. That makes him a giant of originality. He could produce improvised piano solos which could cut through to perhaps 2, dancing people just like a trumpet or a saxophone could.
Jackson says that Earl Hines and Erroll Garner whose approach to playing piano, he says, came from Hines were the two musicians he found exceptionally difficult to accompany. Sometimes he will play chords that would have been written and played by five saxophones in harmony. But he is always the virtuoso pianist with his arpeggios , his percussive attack and his fantastic ability to modulate from one song to another as if they were all one song and he just created all those melodies during his own improvisation.
Later still, then in his seventies and after a host of recent solo recordings, Hines himself said:. I'm an explorer if I might use that expression. I'm looking for something all the time. And oft-times I get lost. And people that are around me a lot know that when they see me smiling, they know I'm lost and I'm trying to get back.
But it makes it much more interesting because then you do things that surprise yourself. With more than a half-acre of dancing space, the Savoy had a capacity of over four thousand persons. The ballroom's name recalled the enormously popular and highly regarded dance palace of the same name in New York's Harlem, which had opened a little more than a year earlier. In its review of the Savoy, the Defender, Chicago's leading black newspaper, extolled the modern features of the new ballroom: "Never before have Chicagoans seen anything quite as lavish as the Savoy ballroom.
Famous artists have transformed the building into a veritable paradise, each section more beautiful than the other. The feeling of luxury and comfort one gets upon entering is quite ideal and homelike, and the desire to stay and dance and look on is generated with each moment of your visit.
Every modern convenience is provided. In addition to a house physician and a professional nurse for illness or accident, there is an ideal lounging room for ladies and gentlemen, luxuriously furnished, a boudoir room for milady's makeup convenience, an ultra modern checking room which accommodates 6, hats and coats individually hung so that if one comes in with his or her coat crushed or wrinkled it is in better condition when leaving.
An adjacent 1,space parking lot also likely appealed to more prosperous black Chicagoans. The music never stopped at the Savoy. From until , two bands were engaged every night to permit continuous dancing. When one band took a break, another was on hand to play on. During these years, the Savoy was open seven days a week, with matinees on Saturdays and Sundays.
Although most of the Savoy's patrons were black, growing numbers of white Chicagoans visited the Savoy to hear and dance to the great jazz bands of the day. Jazz Age Chicago. Archived from the original on March 24, Retrieved 1 June One-hour TV documentary, produced and directed by Charlie Nairn. Filmed at Blues Alley jazz club in Washington, D.Earl 'Fatha' Hines - US - VINYL LP more of this title EARL HINES Earl 'Fatha' Hines (s US Everest label 'Archive Of Folk & Jazz Music' series track electronic stereo vinyl LP featuring recordings made in late and July '54, housed in a pasted picture sleeve with biography and session info rmation printed on the reverse.