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Biography Earl Fatha Hines

[Summary]Earl Hines Early 1920s–1983 Earl Kenneth Hines, universally known as Earl "Fatha"[nb 1]Hines (December 28, 1903[nb 2] – April 22, 1983), was an American jazz pianist and bandleader. He was one of the most influential figures in the development o

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Earl Hines

Early 1920s–1983

Earl Kenneth Hines, universally known as Earl "Fatha"[nb 1]Hines (December 28, 1903[nb 2] – April 22, 1983), was an American jazz pianist and bandleader. He was one of the most influential figures in the development of jazz piano and, according to one major source, is "one of a small number of pianists whose playing shaped the history of jazz".[1]

Earl 'Fatha' Hines

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Earl Hines

Biography Earl Fatha Hines
Earl Hines has been called the first modern jazz pianist. His style differed from other pianists of the Twenties in his use of what were then considered unusual rhythms and accents. Jelly Roll Morton had set the direction of Jazz piano in the early part of the decade, but after 1926 Hines was at the forefront of the Hot Jazz style. Hines started playing professionally around 1921 in Pittsburgh. In 1923 Hines moved to Chicago where he worked with Deppe's Seranaders, Erskine Tate's Vendome Orchestra and with Carroll Dickerson. He met Louis Armstrong in 1926, at the local musician's union hall and the two became friends. Hines worked briefly in Louis Armstrong's Stompers and along with Zutty Singleton and Armstrong tried unsuccessfully to manage their own club together in Chicago. 1928 was a productive year for Hines. 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 Jimmie Noone's Apex Club Orchestra. Hines joined Louis Armstrong on the Hot Five and Hot Seven recording sessions, playing on the classic "West End Blues," "Fireworks," "Basin Street Blues" and composing " A Monday Date." On his birthday that year, Hines debuted with his first big band. Biography Earl Fatha Hines
Earl would continue to lead his own big bands until 1948. In 1940 Billy Eckstine became the band's popular singer and in 1943 both Dizzy Gillespie and Charlie Parker were added. In 1948 Hines joined the Louis Armstrong's All-Stars and played with them for three years. In 1951, Hines moved to California and formed a Hot Jazz band to cash in on the Dixieland revival that was going on at the time. He continued the Dixieland band throughout the Fifties, but by the early Sixties, Hines was pretty much out of the Jazz mainstream and forgotten. In 1964 he staged a major comeback that lasted through the rest of his career.

Earl "Fatha" Hines Biography

Born Earl Kenneth Hines, December 28, 1905, in Duquesne, PA; died April 22, 1983, in Oakland, CA; father, Joseph, was a cornetist; stepmother, Mary, played organ. Education: Studied classical music with Von Holz.

With his muscled arms and compact, powerful hands, Earl Hines embraced nearly every era of jazz pianism. Credited by many with transforming the idiom with his "trumpet style" keyboard approach, Hines served as a beacon for such followers as Teddy Wilson, Art Tatum, Erroll Garner, Nat Cole, Bud Powell, Stan Kenton, and Oscar Peterson. While he led the band at Chicago's Grand Terrace Cafe his career paralleled that of Duke Ellington in New York's Cotton Club; his swinging ensemble pre-dated Benny Goodman's "King of Swing" orchestra of 1935.

Earl Hines

Biography Earl Fatha Hines

American jazz pianist, born 28 December 1903 in Duquesne, Pennsylvania, USA, died 22 April 1983 in Oakland, California, USA. Universally known as Earl "Fatha" Hines. He is recognized as being one of the most important pianists in the history of jazz.

Earl Hines biography | birthday, trivia | American Bandleader | Who2

Earl "Fatha" Hines played piano in Chicago clubs in the 1920s, first as a soloist and later as a bandleader. He made several recordings with Louis Armstrong in the ’20s and ’30s, then joined Armstrong again in the late 1940s to tour with the All Stars. He made scores of recordings, including "Stormy Monday Blues" and "Second Balcony Jump," toured the world and made records into the 1970s. Known for his great technique and talent for improvisation, Hines’ horn-like phrasing and rhythm influenced popular jazz through the swing era and into bebop.

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