Fred Wesley & The Swing 'N Jazz All-Stars

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b. Earl Kenneth Hines, 28 December 1903, Dusquesne, Pennsylvania, USA, d. 22 April 1983, Oakland, California, USA. An outstanding musician and a major figure in the evolution of jazz piano playing, Hines…
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Artist Biography by

b. Earl Kenneth Hines, 28 December 1903, Dusquesne, Pennsylvania, USA, d. 22 April 1983, Oakland, California, USA. An outstanding musician and a major figure in the evolution of jazz piano playing, Hines began his professional career in 1918. By that time he had already played cornet in brass bands in his home-town. By 1923, the year in which he moved to Chicago, Hines had played in several bands around Pittsburgh and had been musical director for singer Lois Deppe. He performed in bands in Chicago and also toured theatre circuits based on the city. Among the bands with which he played were those led by Carroll Dickerson and Erskine Tate. In 1927 he teamed up with Louis Armstrong, playing piano, acting as musical director and, briefly, as Armstrong’s partner in a nightclub (the third partner was Zutty Singleton). With Armstrong, Hines made a series of recordings in the late 20s which became and have remained classics: these were principally Hot Five, Hot Seven or Savoy Ballroom Five tracks but also included the acclaimed duet ‘Weather Bird’, one of the peaks of early jazz.

Also in 1927 Hines was with Jimmy Noone’s band and the following year was invited to form a band for a residency at Chicago’s Grand Terrace. Although enormously popular at this engagement, the long residency, which lasted throughout the 30s, had an adverse effect upon the band’s standing in big band history. Less well-known than the bands that toured the USA during the swing era, it was only through records and occasional radio broadcasts from live venues that the majority of big band fans could hear what Hines was doing. With outstanding arrangers such as Jimmy Mundy and top-flight session men including Trummy Young, Darnell Howard and Omer Simeon, the band was in fact advancing musically at a speed which outstripped many of its better-known contemporaries. This was particularly so after 1937 when arranger Budd Johnson arrived, bringing an advanced approach to big band styling which foreshadowed later developments in bebop. The reason why Hines stayed at the Grand Terrace for so long is open to question, but some who were there have suggested that he had little choice: the Grand Terrace was run by mobsters and, as Jo Jones remarked, ‘Earl had to play with a knife at his throat and a gun at his back the whole time he was in Chicago’.

In the early 40s Hines hired several musicians who modernized the band’s sound still further, including Dizzy Gillespie, Charlie Parker and Wardell Gray, which led to Duke Ellington dubbing the band ‘the incubator of bebop’. Hines also hired singers Billy Eckstine and Sarah Vaughan; but he eventually folded the big band in 1947 and the following year joined Louis Armstrong’s All Stars, where he remained until 1951. He then led his own small groups, holding a long residency at the Club Hangover in San Francisco. In 1957 he toured Europe as co-leader, with Jack Teagarden, of an all-star band modelled on the Armstrong All Stars.

For all this activity, however, Hines’ career in the 50s and early 60s was decidedly low-profile and many thought his great days were over. A series of concerts in New York in 1964, organized by writer Stanley Dance, changed all that. A succession of fine recording sessions capitalized upon the enormous success of the concerts and from that point until his death Hines toured and recorded extensively. Despite the heavy schedule he set himself the standard of his performances was seldom less than excellent and was often beyond praise. If, in later years, his accompanying musicians were of a very different calibre to their leader, his own inventiveness and command were at their peak and some of his performances from the 70s rank with his groundbreaking work from half a century before.

A brilliant and dynamic player, Hines had an astonishing technique which employed a dramatic tremolo. As indicated, as a soloist his powers of invention were phenomenal. However, he was initially an ensemble player who later developed into a great solo artist, unlike many pianists who began as soloists and had to adapt their style to suit a role within a band. Hines adopted an innovative style for the piano in jazz in which he clearly articulated the melody, used single note lines played in octaves, and employed his distinctive tremolo in a manner that resembled that of a wind player’s vibrato. All this helped to land his technique with the potentially misleading term, ‘trumpet style’. The number of pianists Hines influenced is impossible to determine: it is not too extravagant to suggest that everyone who played jazz piano after 1927 was in some way following the paths he signposted. Certainly his playing was influential upon Nat ‘King’ Cole, Mary Lou Williams, Billy Kyle and even the much less flamboyant Teddy Wilson, who were themselves important innovators of the 30s. During this period, perhaps only Art Tatum can be cited as following his own star.