Earl Hines

1.2 Early career

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 inuential gures 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]

With his fathers approval, the 17-year-old Hines moved

away from home to take a job playing piano with Lois
Deppe & his Symphonian Serenaders in the Liederhaus, a Pittsburgh nightclub. He got his board, two meals
a day[14] and $15 a week.[15][16] Deppe, a well-known
baritone concert-artist who sang both classical and popular numbers, also used the young Hines as his concert accompanist and took Hines on his concert trips to
New York. In 1921 Hines and Deppe became the rst
African Americans ever to perform on radio[17] and, still
in the very early days of recordings, Hines rst recordings were accompanying Deppe four sides recorded
with Gennett Records in 1923.[18] Only two of these were
issued, one of which was a Hines composition, Congaine, a keen snappy foxtrot,[19] which also featured
a Hines solo. Hines entered the studio again with Deppe
a month later to record spirituals and popular songs, including "Sometimes I Feel Like a Motherless Child"[20]
and For the Last Time Call Me Sweetheart.

Trumpeter Dizzy Gillespie, a member of the Earl Hines

big-band along with Charlie Parker, wrote, The piano is
the basis of modern harmony. This little guy came out of
Chicago, Earl Hines. He changed the style of the piano.
You can nd the roots of Bud Powell, Herbie Hancock,
all the guys who came after that. If it hadn't been for Earl
Hines blazing the path for the next generation to come,
its no telling where or how they would be playing now.
There were individual variations but the style of ... the
modern piano came from Earl Hines.[2]

Pianist Lennie Tristano said, Earl Hines is the only one

of us capable of creating real jazz and real swing when
playing all alone. Horace Silver said, He has a completely unique style. No one can get that sound, no other
pianist.[3] Erroll Garner said, When you talk about In 1925, after much family debate, Hines moved to
Chicago, Illinois. The city was then the worlds jazz
greatness, you talk about Art Tatum and Earl Hines.[4]
capital, home to Jelly Roll Morton and King Oliver.
Count Basie said that Hines was, The greatest piano Hines started in The Elite no. 2 Club but soon joined
player in the world.[5]
Carroll Dickerson's band, with whom he also toured on
the Pantages Theatre Circuit to Los Angeles and back.

Then, in the poolroom at Chicagos Black Musicians

Union, Local 208 on State & 39th, Hines met Louis Armstrong.[10] Hines was 21, Armstrong 24. They played
together at the Union piano.[21][nb 4] Armstrong was as1.1 Early life
tounded by Hiness avant-garde trumpet-style pianoplaying, often using dazzlingly fast octaves so that on
Earl Hines was born in Duquesne, Pennsylvania, 12 none-too-perfect upright pianos (and with no amplicamiles from Pittsburgh city center, in 1903. His father, tion) they could hear me out front.[10][16] Richard Cook
Joseph Hines,[nb 3] played cornet and was leader of Pitts- writes in the Jazz Encyclopedia that:
burghs Eureka Brass Band,[6] his stepmother a church
organist.[7] Hines intended to follow his father on cor... [Hines] most dramatic departure from
net but blowing hurt him behind the ears while the piwhat
other pianists were then playing was his
[8][9][10]
The young Hines took classical piano did not.
approach
to the underlying pulse: he would
[11]
ano lessons
and by the age of eleven he was playing
charge
against
the metre of the piece be[12]
the organ in his local Baptist church but he also had a
ing
played,
accent
o-beats, introduce sudden
good ear and a good memory and could re-play songs
stops
and
brief
silences.
In other hands this
[13]
and numbers he heard in theaters and park 'concerts:
might
sound
clumsy
or
all
over the place but
I'd be playing songs from these shows months before the
Hines
could
keep
his
bearings
with uncanny
song copies came out. That astonished a lot of people and
[22]
resilience.
they'd ask where I heard these numbers and I'd tell them
at the theatre where my parents had taken me. Later,
Hines said that he was playing piano around Pittsburgh Armstrong and Hines became good friends and shared a
car. Armstrong joined Hines in Carroll Dickerson's band
before the word 'jazz' was even invented.[10]

Biography

1 BIOGRAPHY

at the Sunset Cafe. In 1927, this became Armstrongs

band under the musical direction of Hines.[23] Later that
year, Armstrong revamped his Okeh Records recordingonly band, Louis Armstrongs Hot Five and replaced his
wife Lil Hardin Armstrong on piano with Hines.

& Soul" in 1935. They stayed together till 1940 when

Hines divorced her to marry Ann Jones Reed, but this
was soon indenitely postponed.[28] Hines then married
Janie Moses in 1947 and they had two daughters, Janear
(born 1950) and Tosca. Both of Hines daughters died
Armstrong and Hines then recorded what are often re- before him: Tosca in 1976 and Janear in 1981. Janie digarded as some of the most important jazz records ever vorced him on June 14, 1979.
made.
... with Earl Hines arriving on piano,
Armstrong was already approaching the stature
of a concerto soloist, a role he would play
more or less throughout the next decade, which
makes these nal small-group sessions something like a reluctant farewell to jazzs rst
golden age. Since Hines is also magnicent on these discs (and their insouciant exuberance is a marvel on the duet showstopper
Weather Bird) the results seem like eavesdropping on great men speaking almost quietly among themselves. There is nothing in
jazz ner or more moving than the playing on
"West End Blues", Tight Like This, Beau
Koo Jack and "Muggles".[24]
The Sunset Cafe closed in 1927.[nb 5] Hines, Armstrong
and drummer Zutty Singleton agreed that they would become The Unholy Three they would stick together
and not play for anyone unless the three of us were
hired.[25] But as 'Louis Armstrong and his Stompers
(with Hines as musical director and the premises rented
in Hines name), they ran into diculties trying to establish their own venue, the Warwick Hall Club. Hines
went briey to New York and returned to nd that Armstrong and Singleton had re-joined their now-rival Carroll
Dickersons band at the new The Savoy Ballroom in his
absence,[nb 6] leaving Hines feeling warm. When Armstrong and Singleton later asked him to join them with
Dickerson at The Savoy Ballroom, Hines said, No, you
guys left me in the rain and broke the little corporation
we had.[26]
Hines joined clarinetist Jimmie Noone at The Apex, an
after-hours speakeasy, playing from midnight to 6am,
seven nights a week. In 1928, he recorded with Noone
(14 sides), then again with Armstrong (for a total of 38
sides with Armstrong), and recorded his rst piano solos
late in 1928: eight for QRS Records in New York then
seven for Okeh Records in Chicago, all except two his
own compositions.
Hines moved in with Kathryn Perry (with whom he had
recorded Sadie Green The Vamp of New Orleans).
Hines said of Perry that, She'd been at The Sunset too,
in a dance act. She was a very charming, pretty girl. She
had a good voice and played the violin. I had been divorced and she became my common-law wife. We lived
in a big apartment and her parents stayed with us.[27]
Perry recorded several times with Hines, including "Body

1.3 Chicago years

On December 28, 1928 (so on his 25th birthday and
six weeks before the Saint Valentines Day massacre)
the always-immaculate Hines opened at Chicagos Grand
Terrace Cafe leading his own big band, the pinnacle of
jazz ambition at the time. All America was dancing,
Hines said,[10] and for the next 12 years and through the
worst of the Great Depression and Prohibition, Hines
band was The Orchestra at The Grand Terrace. The
Hines Orchestra or 'Organization' as Hines preferred
it had up to 28 musicians and did three shows a night
at The Grand Terrace, four shows every Saturday and
sometimes Sundays. According to Stanley Dance, Earl
Hines and The Grand Terrace were to Chicago what Duke
Ellington and The Cotton Club were to New York - but
erier.[29]
The Grand Terrace was controlled by Al Capone, so
Hines became Capones Mr Piano Man with the Grand
Terrace upright piano soon replaced by a white $3,000
Bechstein grand.[30] Talking about those days Hines later
said:
... Al [Capone] came in there one night and
called the whole band and show together and
said, Now we want to let you know our position. We just want you people just to attend
to your own business. We'll give you all the
Protection in the world but we want you to be
like the 3 monkeys: you hear nothing and you
see nothing and you say nothing. And thats
what we did. And I used to hear many of the
things that they were going to do but I never
did tell anyone. Sometimes the Police used to
come in ... looking for a fall guy and say, Earl
what were they talking about?" ... but I said,
I don't know - no, you're not going to pin that
on me, because they had a habit of putting the
pictures of dierent people that would bring
information in the newspaper and the next day
you would nd them out there in the lake somewhere swimming around with some chains attached to their feet if you know what I mean.[10]
From The Grand Terrace, Hines and his band broadcast
on open mikes over many years, sometimes seven nights
a week, coast-to-coast across America Chicago being
well placed to deal with the U.S. live-broadcasting timezone problem. Hines became the most broadcast band

1.4

The birth of bebop

in America.[10][31] Among his listeners were a young Nat

King Cole[32] and Jay McShann in Kansas City, who
said his real education came from Earl Hines. When
'Fatha' went o the air, I went to bed. But Hines most
signicant student was Art Tatum.[33]
The Hines band usually comprised 15-20 musicians on
stage, occasionally up to 28. Among the bands many
members were Wallace Bishop, Alvin Burroughs, Scoops
Carry, Oliver Coleman, Bob Crowder, Thomas Crump,
George Dixon, Julian Draper, Streamline Ewing, Ed
Fant, Milton Fletcher, Walter Fuller, Dizzy Gillespie,
Leroy Harris, Woogy Harris, Darnell Howard, Cecil Irwin, Harry 'Pee Wee' Jackson, Warren Jeerson, Budd
Johnson, Jimmy Mundy, Ray Nance, Charlie Parker,
Willie Randall, Omer Simeon, Cli Smalls, Leon Washington, Freddie Webster, Quinn Wilson and Trummy
Young.
Occasionally, Hines allowed other pianists to play as relief piano player which better allowed Hines to conduct
his whole Organization. Jess Stacy[34] was one, Nat
King Cole and Teddy Wilson were others (though Cli
Smalls was his favorite).[35]
Each summer, Hines toured his whole band for three
months, including through the South the rst black bigband to do so.[36] He explained, "[when] we traveled by
train through the South, they would send a porter back to
our car to let us know when the dining room was cleared,
and then we would all go in together. We couldn't eat
when we wanted to. We had to eat when they were ready
for us.[37]
In Duke Ellington's America, Harvey G Cohen writes:

... In 1931, Earl Hines and his Orchestra

were the rst big Negro band to travel extensively through the South. Hines referred to
it as an invasion rather than a tour. Between a bomb exploding under their bandstage
in Alabama (" ...we didn't none of us get hurt
but we didn't play so well after that either) and
numerous threatening encounters with the Police, the experience proved so harrowing that
Hines in the 1960s recalled that, You could
call us the rst Freedom Riders". For the most
part, any contact with whites, even fans, was
viewed as dangerous. Finding places to eat or
stay overnight entailed a constant struggle. The
only non-musical 'victory' that Hines claimed
was winning the respect of a clothing-store
owner who initially treated Hines with derision until it became clear that Hines planned to
spend $85 on shirts, which changed his whole
attitude.[38]

Hines in 1947
(photograph by William P. Gottlieb)

1.4 The birth of bebop

It was from Hines that saxophonist Charlie Parker gained
his big break, until he was red for his time-keeping
by which Hines meant Parkers inability to show up
on time despite Parker resorting to sleeping under the
band stage in his attempts to do so.[39] The Grand Terrace Cafe had closed suddenly in December 1940 with the
manager, Cigar-pung Ed Fox, 'not to be found'.[40]
The 37-year-old Hines, always famously good to work
for,[41] took his band on the road full-time for the next
8 years,[nb 7] resisting renewed oers from Benny Goodman to join his band as piano-player.[40]
Several of the Hines band members were drafted to ght
in World War II a major problem.[42][nb 8] Six members were drafted in 1943 alone. As a result, on 19 August 1943, Hines had to cancel the rest of his Southern tour.[43] He went to New York and hired a 'draftproof' 12-piece all-women group,[43][44] which lasted two
months.[45] Next, Hines expanded it into a 28-piece band
(17 men, 11 women)[43] including strings and French
horn. Despite these war-time diculties, Hines toured
his bands coast-to-coast across America[46] but was still
able to take time out from his own band to front the Duke
Ellington Orchestra in 1944 when Ellington fell ill.
It was during this time (and especially during the 1942
44 musicians strike recording ban) that members of the
Hines bands late-night jam-sessions laid the seeds for
the emerging new style in jazz, bebop. Ellington later
said that, the seeds of bop were in Earl Hiness piano

1 BIOGRAPHY

style,[47] while Charlie Parkers biographer Ross Russell 1.5

wrote:

Rediscovery

... The Earl Hines Orchestra of 1942

had been inltrated by the jazz revolutionaries. Each section had its cell of insurgents. The
bands sonority bristled with atted fths, o
triplets and other material of the new sound
scheme. Fellow bandleaders of a more conservative bent warned Hines that he had recruited much too well and was sitting on a powder keg.[48]
As early as 1940, saxophone player and arranger Budd
Johnson had re-written the book[28] for the Hines band
in a more modern style. Johnson and Billy Eckstine,
Hines vocalist between 1939 and 1943, have been credited with helping to bring modern players into the Hines
band in the transition between swing and bebop. Apart
from Parker and Gillespie, other Hines 'modernists included Gene Ammons, Gail Brockman, Scoops Carry,
Goon Gardner, Wardell Gray, Bennie Green, Benny Harris, Harry 'Pee-Wee' Jackson, Shorty McConnell, Cli
Smalls, Shadow Wilson and Sarah Vaughan, who replaced Eckstine as the band singer in 1943 and stayed
for a year.
Dizzy Gillespie, in the Hines band at the time, said:
... People talk about the Hines band being 'the incubator of bop' and the leading exponents of that music ended up in the Hines band.
But people also have the erroneous impression
that the music was new. It was not. The music evolved from what went before. It was the
same basic music. The dierence was in how
you got from here to here to here ... naturally
each age has got its own shit.[49]

From left: Jack Teagarden, Sandy DeSantis, Velma Middleton,

Fraser MacPherson, Cozy Cole, Arvell Shaw, Earl Hines, Barney
Bigard. At the Palomar Supper Club, Vancouver, B.C., March
17, 1951.

In early 1948, Hines joined up again with Armstrong in

what became the "Louis Armstrong and his All-Stars"
'small-band'. It was not without its strains for Hines. A
year later, Armstrong became the rst jazz musician to
appear on the cover of Time Magazine (on February 21,
1949). Armstrong was by then on his way to becoming
an American icon, leaving Hines to feel he was now being
used as only a sideman in comparison to his old friend.
Armstrong said of the diculties, mainly over billing,
Hines and his ego, ego, ego .... but after 3 years and
to Armstrongs annoyance,[57] in 1951 Hines left the AllStars.

Next, back as leader again, Hines took his own small

combos around the States. He started with a markedly
more modern line-up than the ageing All Stars": Bennie
Green, Art Blakey, Tommy Potter, Etta Jones. In 1954,
he toured his then seven-piece group nationwide with the
Harlem Globetrotters, but, at the start of the jazz-lean
1960s and old enough to retire,[58] Hines settled home
The links to bebop remained close. Parkers discogra- in Oakland, California, with his wife and two young
pher, among others,[50] has argued that "Yardbird Suite",
daughters, Janear and Tosca, opened a tobacconists, and
which Parker recorded with Miles Davis in March 1946, came close to giving up the profession.
was in fact based on Hines Rosetta, which nightly
Then, in 1964, thanks to Stanley Dance, Hines deterserved as the Hines band theme-tune.[51]
mined friend and unocial manager, Hines was sudDizzy Gillespie described the Hines band, saying, We denly rediscovered following a series of recitals at The
had a beautiful, beautiful band with Earl Hines. Hes a Little Theatre in New York that Dance had cajoled him
master and you learn a lot from him, self-discipline and into. They were the rst piano recitals Hines had ever
organization.[52]
given; they caused a sensation. What is there left to
In July 1946, Hines received serious head injuries in a hear after you've heard Earl Hines?", asked The New York
car crash near Houston which, despite an operation, af- Timess John Wilson.[59] Hines then won the 1966 Interfected his eyesight for the rest of his life.[53] Back on the national Critics Poll for Down Beat Magazines Hall of
road again four months later, he continued to lead his Fame. Down Beat also elected him the worlds No. 1
big band for two more years.[54] In 1947, Hines bought Jazz Pianist in 1966 (and did so again ve further times).
the biggest nightclub in Chicago, The El Grotto,[55] but Jazz Journal awarded his LPs of the year rst and second
it soon foundered with Hines losing $30,000 ($362,816 in their overall poll and rst, second and third in their pitoday).[56] The big-band era was over Hines had had his ano category.[60] Jazz voted him Jazzman of the Year,
for 20 years.
voted him their no. 1 and no. 2 in their piano record-

1.6

Final years

ings category and he was on Johnny Carson's and Mike

Douglas' TV shows.
From then until his death twenty years later, Hines
recorded endlessly both solo and with contemporaries
like Cat Anderson, Harold Ashby, Barney Bigard,
Lawrence Brown, Dave Brubeck (they recorded duets in
1975), Jaki Byard (duets in 1972), Benny Carter, Buck
Clayton, Cozy Cole, Wallace Davenport, Eddie Lockjaw Davis, Vic Dickenson, Roy Eldridge, Duke Ellington (duets in 1966), Ella Fitzgerald, Panama Francis,
Bud Freeman, Stan Getz,[nb 9] Dizzy Gillespie, Paul Gonsalves, Stephane Grappelli, Sonny Greer, Lionel Hampton, Coleman Hawkins, Johnny Hodges, Peanuts Hucko,
Helen Humes, Budd Johnson, Jonah Jones, Max Kaminsky, Gene Krupa, Ellis Larkins, Shelly Manne, Marian
McPartland (duets in 1970), Gerry Mulligan, Ray Nance,
Oscar Peterson (duets in 1968), Russell Procope, Pee
Wee Russell, Jimmy Rushing, Stu Smith, Rex Stewart, Maxine Sullivan, Buddy Tate, Jack Teagarden, Clark
Terry, Sarah Vaughan, Joe Venuti, Earle Warren, Ben
Webster, Teddy Wilson (duets in 1965 & 1970), Jimmy
Witherspoon, Jimmy Woode and Lester Young. Possibly
more surprising were Alvin Batiste, Tony Bennett, Art
Blakey, Teresa Brewer, Richard Davis, Elvin Jones, Etta
Jones, The Ink Spots, Peggy Lee, Helen Merrill, Charles
Mingus, Oscar Pettiford, Vi Redd, Betty Roch, Caterina
Valente, Dinah Washington, and Ditty Wah Ditty with
Ry Cooder.

5
a-half run that may make several sweeps up
and down the keyboard and that are punctuated by obeat single notes in the left hand.
Then he will throw in several fast descending
two-ngered glissandos, go abruptly into an arrhythmic swirl of chords and short, broken,
runs and, as abruptly as he began it all, ease into
an interlude of relaxed chords and poling single
notes. But these choruses, which may be followed by eight or ten more before Hines has nished what he has to say, are irresistible in other
ways. Each is a complete creation in itself, and
yet each is lashed tightly to the next.[62]

Solo tributes to Armstrong, Hoagy Carmichael, Ellington, George Gershwin and Cole Porter were all put on
record in the 1970s, sometimes on the 1904 12-legged
Steinway given to him in 1969 by Scott Newhall, managing editor of the San Francisco Chronicle. In 1974, now
in his seventies, Hines recorded sixteen LPs. A spate
of solo recording meant that, in his old age, Hines was
being comprehensively documented at last, and he rose
to the challenge with consistent inspirational force.[63]
Between his 1964 come-back and up to when he died,
Hines recorded over 100 LPs all over the world. Within
the industry, he became legendary for going into a studio
and coming out an hour-and-a-half later having recorded
an unplanned solo LP.[64] Retakes were almost unheard
of except when Hines wanted to try a tune again in some,
But the most highly regarded recordings of this period are
often completely, other way.[65]
[61]
his solo performances, a whole orchestra by himself.
Whitney Balliett wrote of his solo recordings and perfor- From 1964 on, Hines often toured Europe, especially
France. He toured South America in 1968 and then
mances of this time:
added Asia, Australia, Japan and, in 1966, the Soviet
Union to his list of State Department-funded destinations.
... Hines will be sixty-seven this year and
During his 6-week and 35-concert[66] Soviet Union tour,
his style has become involuted, rococo, and
the 10,000-seat Kiev Sports Palace was sold out. As a
subtle to the point of elusiveness. It unfolds in
result, the Kremlin cancelled his Moscow and Leningrad
orchestral layers and it demands intense listenconcerts[67] as being too culturally dangerous.[68]
ing. Despite the sheer mass of notes he now
uses, his playing is never fatty. Hines may go
along like this in a medium tempo blues. He
1.6 Final years
will play the rst two choruses softly and out
of tempo, unreeling placid chords that safely
Arguably still playing as well as he ever had,[nb 10]
hold the kernel of the melody. By the third
Hines displayed individualistic quirks (including grunts)
chorus, he will have slid into a steady but imin these performances. He sometimes sang as he played,
plied beat and raised his volume. Then, usespecially his own, They Didn't Believe I Could Do
ing steady tenths in his left hand, he will stamp
It ... Neither Did I.[10] In 1975, Hines was the subject of an hour-long television documentary lm[69] made
out a whole chorus of right-hand chords in beby ATV (for Britains commercial ITV channel), out-oftween beats. He will vault into the upper regishours at the Blues Alley nightclub in Washington, DC.
ter in the next chorus and wind through irreguThe International Herald Tribune described it as The
larly placed notes, while his left hand plays degreatest jazz lm ever made. In the lm, Hines said,
scending, on-the-beat, chords that pass through
The way I like to play is that ... I'm an explorer, if I might
a forest of harmonic changes. (There are so
use that expression, I'm looking for something all the time
many push-me, pull-you contrasts going on in
... almost like I'm trying to talk.[10] He played solo at
such a chorus that it is impossible to grasp
Duke Ellingtons funeral, twice in the White House, for
it one time through.) In the next chorus
the President of France and for The Pope. Of this acbang!up goes the volume again and Hines
claim, Hines said, Usually they give people credit when
breaks into a crazy-legged double-time-and-

they're dead. I got my owers while I was living.[70]

Hines last show took place in San Francisco a few days
before he died in Oakland. As he had wished, his Steinway was auctioned for the benet of gifted low-income
music students, still bearing its silver plaque:
presented by jazz lovers from all over the
world. this piano is the only one of its kind
in the world and expresses the great genius of
a man who has never played a melancholy note
in his lifetime on a planet that has often succumbed to despair.[71][72]
Hines was buried in Evergreen Cemetery in Oakland,
California. On his tombstone[73] is the inscription: Piano Man.

Style

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 1920s, he
simplied 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 guration (as in stride) but
instead focused on a more directed melodic
line, often doubled at the octave with phraseending 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 1915 to 1920.[74]
Hines himself described meeting Armstrong:
... Louis looked at me so peculiar. So I
said, Am I making the wrong chords?" And
he said, No, but your style is like mine. 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, thats my style, thats what I
like.
Hines continued:
... 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 amplication, so the singers used

STYLE

to use megaphones and they didn't have grandpianos for us to use at the time it was an upright. So when they gave me a solo, playing
single ngers 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 thats what
changed the style of piano playing at that particular time.[10]
The 2009 book Jazz says of the Hines style of the 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 mans
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 ngers surgically
removed.[75]
Pianist Teddy Wilson wrote of Hines 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. When I say eccentric,
I mean getting away from straight 4/4 rhythm.
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-andthree-and-four-and. The and between onetwo-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 2,000
dancing people just like a trumpet or a saxophone could.[76]
Oliver Jackson was Hines frequent drummer [as well as
drummer for Oscar Peterson, Benny Goodman, Lionel

7
Hampton, Duke Ellington, Teddy Wilson and many others]:
... 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 dicult to accompany.
Why? They could play in like two or three
dierent tempos at one time The left hand
would be in one meter and the right hand would
be in another meter and then you have to watch
their pedal technique because they would hit
the sustaining pedal and notes are ringing here
and thats one tempo going on when he puts
the sustaining pedal on, and then this hand is
moving, his left hand is moving, maybe playing tenths, and this hand is playing like quarternote triplets or sixteenth notes. So you got
this whole conglomeration of all these dierent tempos going on.[77]
Of Hines later style, The Biographical Encyclopedia of
Jazz says of Hines 1965 style:
... [Hines] uses his left hand sometimes for
accents and gures that would only come from
a full trumpet section. Sometimes he will play
chords that would have been written and played
by ve 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.[78]

Louis Armstrong & Earl Hines: inc. Weatherbird,

Muggles, Tight Like This, West End Blues:
Columbia 1928: reissued many times inc. as The
Smithsonian Collection MLP 2012
Jimmie Noone & Earl Hines: At the Apex Club:
Decca Volume 1 1928: reissued 1967 : Decca Jazz
Heritage Series
Earl Hines Solo: 14 of his own compositions: QRS
& OKeh: 1928/9: reissued many times (see below)
Earl Hines Collection: Piano Solos 1928-40:
OKeh/Brunswick/Bluebird: Collectors Classics
Thats a Plenty, Quadromania series 1928-1947
Membran, four CDs, 2006, an easily available collection
Deep Forest, ca. 1932-1933: HEP
'Swingin' Down, 1932-1934: HEP
Harlem Lament, 1933-1934, 1937-1938: Columbia
Earl Hines - South Side Swing 1934-1935: Decca
Earl Hines - The Grand Terrace Band: RCA Victor
Vintage Series

[Besides the piano solos Hines recorded for QRS (1928)

and OKeh (1928), in 1929 Hines signed to Victor and
recorded a number of sides in 1929. In 1932, he signed
with Brunswick and recorded with them through mid1934 when he signed with Decca. He recorded 3 sessions for Decca in 1934 and early 1935. He did not record
again until February, 1937 when he signed with Vocalion,
for whom he recorded 4 sessions through March 1938.
After another gap, he signed with Victors Bluebird label
Later still, then in his seventies and after a host of recent in July 1939 and recorded prolically right up the recordsolo recordings, Hines himself said:
ing ban in mid-1942]
... 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. And after you hear the recording, it
makes you a little bit happy too because you
say, Oh, I didn't know I could do THAT!"[10]

Swing to bebop transition years, 1939-1945:

(Big bands were particularly aected by the 1942-1944
American Federation of Musicians recording ban which
also severely curtailed the recording of early bebop)
The Indispensable Earl Hines: Vols 1, 2, 1939-1940,
Jazz Tribune/BMG
The Indispensable Earl Hines: Vols 3, 4, 1939-1942,
1945, Jazz Tribune/BMG
Earl Hines & The Dukes Men: (with Ellington sidemen) (1st 1944): reissued Delmark 1994

Selected discography

Hines rst-ever recording was, apparently, made on October 3, 1923 at Richmond, Indiana, when he was aged
19.[79] Records commercially available as new, as of
March 2012, are shown emboldened in the lists below.
The 1930s, classic jazz and the swing era:

Piano man: Earl Hines, his piano and his orchestra:

1939-1942, RCA Bluebird
The Indispensable Earl Hines: Vols. 5, 6, 1944,
1964, 1966, Jazz Tribune/BMG
Earl Fatha Hines and His Orchestra: 1945-1951,
Limelight 15 766

4 NOTES
Classics, 1947-1949 (includes Eddie South) Classics
Records

After 1948 - and therefore after Big Band era:

Louis Armstrong All Stars: Live in Zurich 18 October
1949: Montreux Jazz Label
Louis Armstrong & The All Stars: Decca 1950 &
1951: reissued
Earl Hines: Paris One Night Stand: Verve/Emarcy
France 1957

Earl Hines: The Quintessential Recording Session:

solo: Chiaroscuro 1973 (remakes of his eight 1928
solo QRS piano recordings)
Earl Hines: The Quintessential Continued: solo:
Chiaroscuro 1973 (remakes of his seven 1928/9 solo
OKEH piano recordings)
Earl Hines/Stephane Grappelli duets, The Giants:
Black Lion Records 1974
Earl Hines/Joe Venuti duets:
Chiaroscuro 1975

Hot Sonatas:

The Real Earl Hines: (1st Rediscovery concert at

Little Theatre, NY, 1964) Focus & Collectibles Jazz
Classics: reissued

Earl 'Fatha' Hines: The Father of Modern Jazz Piano (ve LPs boxed): three LPs solo (on Schiedmeyer grand) and two LPs with Budd Johnson, Bill
Pemberton, Oliver Jackson: MF Productions 1977

Earl Hines: The Legendary Little Theatre Concert

(2nd Rediscovery concert): Muse 1964

Earl Hines: In New Orleans: solo: Chiarascuro

1977

Earl Hines: Blues in Thirds: solo: Black Lion 1965

An Evening With Earl Hines: with Tiny Grimes,

Hank Young, Bert Dahlander and Marva Josie:
Vogue VDJ-534, 1977

Earl Hines: '65 Solo - The Denitive Black & Blue

Sessions: Black & Blue 1965
Earl Hines: Fathas Hands - Americans Swinging in
Paris EMI 1965

Earl 'Fatha' Hines plays Hits he Missed: (inc Monk,

Zawinul, Silver): Direct to Disc M & K RealTime
1978

Earl Hines: Hines Tune: (live in France with Ben

Webster, Don Byas, Roy Eldridge, Stu Smith, (It would seem that Hines last-ever recording was on DeJimmy Woode & Kenny Clarke): Wotre Mu- cember 29, 1981.)[80]
sic/Esoldun 1965: reissued
On anthologies:
Once Upon a Time (with Ellington side-men):
The Complete Master Jazz Piano Series: 13 Hines
Verve 1966
solo numbers: Mosaic MD4 140 (with Jay Mc Jazz from a Swinging Era (with All-Star group in
Shann, Teddy Wilson, Cli Smalls, etc.) 1969Paris): Fontana 1967
1972
Earl Hines & Jimmy Rushing: Blues & Things 1967
Earl Hines: At Home: solo (on his own Steinway):
Delmark 1969
Earl Hines: My Tribute to Louis: solo: Audiophile
1971 (recorded two weeks after Armstrongs death)

As sideman:
With Benny Carter: Swingin' the '20s: Contemporary
1958

Earl Hines plays Duke Ellington: vols 1 & 2: solo:

New World 1971-1975

4 Notes

Earl Hines: Hines plays Hines: The Australian Sessions: solo: Swaggie 1972

4.1 Footnotes

Duet!: (with Jaki Byard), Verve/MPS 1972

Earl Hines: Tour de Force & Tour de Force Encore:
solo: Black Lion 1972
Earl Hines: Live at the New School: solo: Chiarascuro 1973
Earl Hines: A Monday Date: reissues of Hines 15
1928/1929 QRS & OKEH solo recordings: Milestone 1973

[1] Controversy persists over the origins of the name Fatha.

The most common account is that a radio announcer
(some say Ted Pearson), possibly after Hines had accused him of being drunk, announced, slurringly, Here
comes 'Fatha' Hines thru the deep forest with his children, Deep Forest being the bands signature tune.
(Cook 2005) Others have suggested it was because Hines
had "... given birth to a style more than a style, a virtual
language of jazz piano. (Epstein 1999)
[2] Hines quotes his year of birth as 1905. (Dance 1983, p.
7) Most sources agree 1903 is correct.

4.2

Citations

[3] Hines father was a foreman in the coal-docks. His mother

had died when he was three but Hines was always very appreciative of his upbringing in a 12-room house with his
father, his stepmother ["who did a great job"], his grandparents, two cousins, two uncles and an aunt. There was
a smallholding at the back with two cows, pigs, chickens.
We needed to buy very little so far as food was concerned,
because we raised nearly everything that we ate. (Dance
1983, p. 7)
[4] Also, According to Hines, he was sitting there playing
'The One I Love Belongs to Somebody Else' when Armstrong walked in and began to play along. (Collier 1983,
p. 158)
[5] At various time Hines played much of Chicagos BrightLight district: The Elite Club, The Regal Theatre, The
Apex Club, The Platinum Lounge, The Vendome Theatre,
The Grand Terrace, The New Grand Terrace, The Sunset
Caf, The Savoy Ballroom, Warwick Hall. See key to map
of Chicago South Side jazz c.1915-1930 at University of
Chicago Jazz Archive (The Leon Lewis map).
[6] The Jazz Age Chicago described the venue:
The Savoy Ballroom opened for business on Thanksgiving Eve, November 23,
1927. With more than a half-acre of dancing space, the Savoy had a capacity of over
four thousand persons. The ballrooms name
recalled the enormously popular and highly
regarded dance palace of the same name in
New Yorks Harlem, which had opened a little more than a year earlier. ... In its review of the Savoy, the Defender, Chicagos
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 miladys makeup convenience, an ultra modern checking room
which accommodates 6,000 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. Such modern
amenities not only lent an atmosphere of renement to the ballroom that reected the
class pretensions of upwardly mobile black
Chicagoans, but also decreased the likelihood
that the Savoy would draw re from those advocating the closure of disorderly dance establishments. An adjacent 1,000-space parking lot also likely appealed to more prosperous black Chicagoans. ... The music never

stopped at the Savoy. From 1927 until 1940,

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
Savoys patrons were black, growing numbers
of white Chicagoans visited the Savoy to hear
and dance to the great jazz bands of the day.
(Savoy Ballroom. Jazz Age Chicago. Retrieved 1 June 2014.)
[7] For their astonishing coast-coast schedule over the next
eight years, see Dance 1983, pp. 299334.
[8] Hines himself was only just outside draftable age. On 5
December 1942, a Presidential Executive Order changed
the age range for the Draft from 21-45 to 18-38 (3 weeks
after the Order, on December 28 Hines was 39) and ended
voluntary enlistment. See Conscription in the United
States.
[9] Hines played on a New Orleans-Cuba cruise with Getz,
Gillespie & Ry Cooder in 1977 and performed there with
Cuban musicians in the early days of the USA & Cuba
thaw.
[10] Charles Fox writing in The Essential Jazz Records, Vol 1
said of Tour de Force (solo recording from 1972), The pianist was still at his dazzling best when he made this LP at
the age of 69. This is Hines in excelsis, sounding as good
as at any time in his long career. (p. 487) Writing about
Hines July 3, 1974 Concert at the Royal Festival Hall in
London, Derek Jewell wrote in Britains Sunday Times:
The packed house must have regarded his opening unaccompanied solo as one of the greatest jazz experiences of
their lives. Hines was then 70 years old.

4.2 Citations
[1] PBS: Ken Burns Jazz. PBS.org quoting The New Grove
Dictionary of Jazz, Oxford University Press. Retrieved
2008-03-24.
[2] Gillespie & Fraser 2009, p. 486.
[3] Pittsburg Music History: see External Links below.
[4] Obituary in The Daily Telegraph. April 23, 1983: see also
Pittsburg Music History: see External Links below.
[5] Stanley Dance: liner notes to "Earl Hines at Home": Delmark DD 212. As well as The World of Earl Hines
and The World of Duke Ellington, Dance also wrote The
World of Count Basie (Da Capo Press, 1985), ISBN 0306-80245-7: see also Pittsburg Music History: see External Links below.
[6] Balliett 1998, p. 100.
[7] Dance 1983, p. 9. Hines said he had a problem reaching
the pedals.
[8] Dance 1983, p. 20.

10

[9] Palmer, Robert (August 28, 1981). Pop Jazz; Fatha

Hines Storming and Chomping On at 75. The New York
Times. Retrieved 2 June 2014.
[10] Nairn, Charlie (Director) (1975). Earl Fatha Hines (TV
Documentary). ATV Television. See below for more details.
[11] Taylor 2005, p. xvii He took lessons from Classical piano
teacher, Mr. Von Holz.

4 NOTES

[33] Dance 1983, pp. 578. According to pianist Teddy Wilson and saxophonist Eddie Bareeld, Art Tatums favorite jazz piano player was Earl Hines. He [Tatum] used
to buy all of Earls records and would improvise on them.
He'd play the record but he'd improvise over what Earl
was doing ... course, when you heard Art play you didn't
hear nothing of anybody but Art. But he got his ideas from
Earls style of playing - but Earl never knew that.

[12] Dance 1983, p. 14.

[34] Allen, Steve. The Return of Jess Stacy. unknown newspaper, undated. Southeast Missouri State University Special Collections and Archives, The Jess Stacy Collection

[13] Dance 1983, p. 10.

[35] Dance 1983, pp. 26172, inc. photos.

[14] Dance 1983, p. 18. I remember that I really went for

their apple dumplings.

[36] Pareles, Jon. Earl Hines, 77, Father of Modern Jazz Piano, Dies. Retrieved 1 June 2014.

[15] Dance 1983, p. 133.

[37] Baldwin, James (October 16, 1977). Last of the Great

Masters. The New York Times. Retrieved 2 June 2014.

[16] Balliett 1998, p. 101.

[17] The broadcast was played over a loud speaker on Wylie
Avenue and crowds mobbed the street to listen and then
stayed to cheer Deppe and Hines when they made it back
to the Hill": Pittsburg Music History: see External Links
below.
[18] Dance 1983, p. 293.

[38] Cohen 2011, p. 130.

[39] Russell 1996, p. 150.
[40] Dance 1983, p. 298
[41] Dance 1970. See, for instance, p. 136 Ray Nance: Earl
was wonderful to work for"; p. 179 Willie Cook: Earl
used psychology. He had everybody loving that band.

[19] Starr Phonography Company ad. November 10, 1923.

[20] Lois Deppe - Sometimes I Feel Like a Motherless Child
(Boardwalk Empire)". YouTube. Retrieved 2 October
2014.
[21] Dance 1983, p. 45.
[22] Cook 2005.
[23] Dance 1983, p. 47.
[24] Cook & Morton 2004, p. 46.

[42] Father Hines Loses Plenty of Children, Variety, August

18, 1943
[43] Dance 1983, p. 301.
[44] Hines Forms New Band with 12 Girl Members. Baltimore Afro-American. September 4, 1943. p. 16.
[45] Doerschuk 2001, p. 36.
[46] See Dance 1983, pp. 298302 for detailed chronology.

[26] Dance 1983, p. 55.

[47] Dance 1983, p. 90. Ellington had a way of saying serious things about music casually but ... then I realized
[Ellington] had in mind the revolution Hines eected in
the function of the jazz pianists left hand.

[27] Dance 1983, p. 65.

[48] Russell 1996, p. 146.

[28] Dance 1983, p. 298.

[49] Dance 1983, p. 260.

[29] Dance, Stanley. Sleeve note to Earl Hines - South Side

Swing 1934/5.

[50] See also Williams 1989, p. 203.

[25] Dance 1983, p. 54.

[30] Dance 1983, p. 61.

[31] Dance 1983, p. 63.
[32] Epstein 1999, p. Chapter 1. Every kid pianist in the
Midwest copied Earl Hines. Little Nat Cole learned to
play jazz piano by listening to Gatemouth [Hines] on the
radio. And when the radio blew a tube the boy would
sneak out of his apartment on Prairie Avenue, run several blocks through the dark, and stand outside the Grand
Terrace nightclub, under the elevated train, and listen to
Earls piano live from there. It inspired him to precocious
mastery of jazz.

[51] Komara, Parkers discographer, says, Track 2 Yardbird

Suite (Charlie Parker): 32 measures AABA chorus, based
on the chords of Rosetta (Earl Hines): key of C 4/4 meter with a further page [p. 67] of detail. The piece dates
back to Parkers tenure with Jay McShann in 1940-1942
when it was known as What Price Love as well as Yardbird Suite. The harmonic model is Rosetta composed
by Earl Hines and Henri Woode. Of the four takes waxed
by Parker for Dial, only the rst and last survive. (Komara 1998, 122). Reissued as 'Charlie Parker on Dial':
Spotlite SPJ-CD 4-101:The Complete Sessions CD 1993
[also on LP 1970, Spotlite LP101 Vol I]
[52] Gillespie & Fraser 2009, pp. 1756.

11

[53] Dance 1983, p. 302.

[54] Earl Hines biography. allmusic.com
[55] Dance 1983, p. 304.
[56] Dance 1983, p. 99.
[57] Collier 1983, p. 313.
[58] Stanley Dance: liner notes to Earl Hines at Home: Delmark DD 212.
[59] John S. Wilson, New York Times, March 14, 1964.
[60] Spontaneous Improvisations and The Grand Terrace
Band and Spontaneous Improvisations, The Real Earl
Hines and Fatha.""
[61] Clarke, Donald (1989, 2005). Hines, Earl. MusicWeb Encyclopedia of Popular Music. Retrieved August 1, 2006.
[62] Balliett 2000, p. 361.
[63] Cook & Morton 2004, p. 781.
[64] See, for instance, producer Hank O'Neals sleeve notes
to Earl Hines in New Orleans, 1977 [solo]: Chiaroscuro
CR(D) 200.
[65] Dance 1983, p. 5. A typical example of this is the three
alternative and dramatically dierent versions of Rose
Room that Hines recorded over less than half an hour in
Paris in 1965 (all three on Earl Hines Fathas Hands).

5 References
Balliett, Whitney (1998), American Musicians II:
Seventy-Two Portraits in Jazz, New York: Oxford
University Press, ISBN 0-19-512116-3
Balliett, Whitney (2000), Collected Works: A Journal of Jazz 1954-2000, London: Granta Books,
ISBN 1-86207-465-8
Basie, Count & Murray, Albert (2002): Good
Morning Blues: The Autobiography Of Count Basie.
Da Capo Press, ISBN 0306811073/ISBN 9780306811074
Berliner, Paul F. (1994). Thinking in Jazz: The Innite Art of Improvisation. Chicago & London: University of Chicago Press, ISBN 0-226-04381-9
Cohen, Harvey G. (2011), Duke Ellingtons America, Chicago: University of Chicago Press, ISBN
0226112632
Collier, James Lincoln (1983), Louis Armstrong: An
American Genius, New York, NY: Oxford University Press, ISBN 0-19-503727-8
Cook, Richard (2005), Jazz Encyclopedia, London:
Penguin, ISBN 978-0-14-102646-6

[66] Dance 1983, p. 306.

[67] Reds Change Hines Tour. The Washington Post. July
26, 1966.
[68] Time Magazine, August 16, 1966.
[69] Earl Fatha Hines. Vimeo. Retrieved 2 October 2014.
[70] The Milwaukee Journal April 22, 1983.
[71] Rodrguez, Jos (December 8, 2009). Campus musicians receive gift from pianist Earl Hines estate (UC
Berkeley News).

Cook, Richard; Morton, Brian (2004), The Penguin

Guide to Jazz on CD (7th ed.), London: Penguin,
ISBN 0-14-101416-4
Dance, Stanley (1970), The World of Duke Ellington, New York: Da Capo Press, ISBN 0-306-810158
Dance, Stanley (1983), The World of Earl Hines,
New York: Da Capo Press, ISBN 0-306-80182-5

[72] Doerschuk 2001, p. 28.

Deaa, Chip (1992) 18 Portraits in Jazz. Lanham:

Scarecrow Press, ISBN 0-8108-2558-9

[73] Evergreen Cemetery, Oakland, Alameda County, California at ndagrave.com USA says He Enriched the World
with his Music.

Dempsey, Peter (2001). Earl Hines. Naxos Jazz

Legends. Retrieved July 23, 2006.

[74] Kirchner 2000, pp. 1712.

[75] Giddins & DeVeaux 2009, p. 154.
[76] Wilson 1996, p. 103.
[77] Deaa 1992, p. 261, 272
[78] Feather & Gitler 2007, p. 319.
[79] Falling, with Deppes Serenaders, source: Tom Lord,
The Jazz Discography
[80] At So Paulo, Brazil, when Hines was aged 78: One
O'Clock Jump with Eric Schneider and the 150 Band on
Fathas Birthday (source: Tom Lord, The Jazz Discography)

Doerschuk, Robert L. (2001), 88: The Giants of

Jazz Piano, San Francisco: Backbeat Books, ISBN
0-87930-656-4
Downbeat (2009). The Great Jazz Interviews: ed.
Frank Alkyer & Ed Enright. Hal Leonard Books,
ISBN 978-1-4234-6384-9
Epstein, Daniel Mark (1999), Nat King Cole, New
York: Farrar, Straus and Giroux, ISBN 0-37421912-5
Feather, Leonard (1960). The Encyclopedia of Jazz.
Horizon Press, ISBN 0-8180-1203-X

12
Feather, Leonard; Gitler, Ira, eds. (2007), The Biographical Encyclopedia of Jazz, New York: Oxford
University Press, ISBN 978-0195320008

EXTERNAL LINKS

Taylor, Jerey (2002). Life With Fatha. I.S.A.M.

Newsletter 30 (Fall 2000).

Giddins, Gary; DeVeaux, Scott (2009), Jazz, New

York: W.W. Norton, ISBN 978-0-393-06861-0

Taylor, Jerey (1998). Louis Armstrong, Earl Hines,

and 'Weather Bird'. The Musical Quarterly 82
(Spring 1998).

Gillespie, Dizzy; Fraser, Al (2009), To Be, or Not ...

to Bop, Minneapolis: University of Minnesota Press,
ISBN 0816665478

Williams, Martin T. (1989), Jazz in Its Time, New

York: Oxford University Press, ISBN 0-19-5054598

Harrison, Max, Fox, Charles & Thacker, Eric

(1984). The Essential Jazz Records Vol 1. Da Capo
Press, ISBN 0-306-80326-7

Wilson, Teddy (1996), Teddy Wilson Talks Jazz,

London: Cassell, ISBN 0304336106

Earl Hines. World Book Encyclopedia. Retrieved

July 23, 2006.
Earl Fatha Hines. The Red Hot Jazz Archive. Retrieved July 23, 2006.
Kirchner, Bill, ed. (2000), The Oxford Companion
to Jazz, New York: Oxford University Press, ISBN
978-0-19-518359-7
Komara, Edward M (1998). The Dial Recordings of
Charlie Parker: A Discography. Greenwood Press,
Westport, ISBN 978-0-313-29168-5
Lester, James (1994), Too Marvelous for Words:
The Life & Genius of Art Tatum, New York: Oxford University Press, ISBN 0-19-508365-2
Palmer, Robert (1981). Pop Jazz; Fatha Hines
Stom[p]ing and Chomping on at 75. The New York
Times, August 28, 1981. Retrieved from The New
York Times, July 30, 2006, ISBN 0-8050-7068-0
Ratli, Ben (2002). The New York Times Essential
Library: Jazz. New York: Times Books, ISBN 08050-7068-0
The Rough Guide to Jazz (2004). 3rd edition. Earl
Hines, pp. 262263. Rough Guides, ISBN 184353-256-5
Russell, Ross (1996), Bird Lives! The High Life
and Hard Times of Charlie (Yardbird) Parker, New
York: Da Capo Press, ISBN 978-0-306-80679-7
Schuller, Gunther (1991). The Swing Era: The Development of Jazz, 1930-1945, pp. 263292. Oxford University Press, ISBN 0-19-507140-9
Simon, George T. (1974). The Big Bands. Macmillan.
Taylor, Jerey, ed. (2005), Earl Fatha Hines: Selected Piano Solos, 1928-41, Middleton, Wisconsin:
A-R Editions, ISBN 0-89579-580-9
Taylor, Jerey (2002). Earl Hines and 'Rosetta'.
Current Musicology: Special Issue, A Commemorative Festschrift in Honor of Mark Tucker, pp. 71
73 (Spring 2001-Spring 2002).

6 External links
Video: Earl Fatha Hines. One-hour TV documentary, produced and directed by Charlie Nairn.
Filmed at Blues Alley jazz club in Washington, D.C.
for UK ATV Television in 1975.
[Original 16mm lm, plus out-takes of additional
tunes, archived in British Film Institute Library
at BFI.org. Also at ITVStudios.com. DVD
copies available from the University of CaliforniaBerkeleys Jean Gray Hargrove Music Library
(which holds The Earl Hines Collection/Archive).
Also at University of Chicagos Hogan Jazz Archive,
Tulane University and at the Louis Armstrong
House Museum Libraries. See also jazzonfilm.
com/documentaries
Earl Hines at Music of the United States of America
(MUSA)
Earl Hines - Pittsburgh Music History
MIDI sequences of 20 piano arrangements by Earl
Hines
Earl Hines. Find a Grave. Retrieved September
2, 2010.

13

Text and image sources, contributors, and licenses

7.1

Text

Earl Hines Source: https://en.wikipedia.org/wiki/Earl_Hines?oldid=685110922 Contributors: Shsilver, KF, Infrogmation, Gabbe, Lommer, RedWolf, Flauto Dolce, Hpc, Alan W, Michael Devore, Rick Block, Gyrofrog, Cyclonezz, D6, Rich Farmbrough, David Schaich,
LindsayH, Xezbeth, Tek022, Philip Cross, Yuckfoo, Yurivict, Rjwilmsi, Fred Bradstadt, FlaBot, SchuminWeb, Nihiltres, Gareth E Kegg,
Bgwhite, YurikBot, RussBot, Gaius Cornelius, Nicke L, TheGrappler, ChrisGriswold, T. Anthony, Algae, SmackBot, Eskimbot, Chris
the speller, Ciacchi, Ww2censor, Squamate, DIDouglass, Tapered, Wspock50, Ser Amantio di Nicolao, John, Rdgambola~enwiki, Minna
Sora no Shita, RomanSpa, Special-T, CmdrObot, Cnelson23, Cydebot, Justus Nussbaum, Montrii, Doug Weller, JustAGal, RobotG, Ghmyrtle, Sluzzelin, Dogru144, Cnairn, Jazzeur, RebelRobot, Wildhartlivie, Magioladitis, Radiofreetunes, Domingo Portales, KConWiki,
Prismsplay, DrSeehas, Robotman1974, Keith D, WFinch, Mind meal, Jevansen, Jtaylor651, Martinevans123, TXiKiBoT, DISEman, Mercurywoodrose, Shalom S., Technopat, Agrinny, Logan, Barrympls, Cosprings, Swliv, Monegasque, Kumioko (renamed), Escape Orbit,
Hihitman, Kanesue, ClueBot, Binksternet, Eeekster, Sun Creator, SchreiberBike, Kakofonous, 1ForTheMoney, Carlos28, SoxBot III,
Ost316, Kbdankbot, UhOhFeeling, Addbot, Pinikadia, Jafeluv, SemoArchives, Squandermania, Tassedethe, Lightbot, CountryBot, Lentes,
Yobot, Amirobot, Ulric1313, Christianson11867, DutchmanInDisguise, 78.26, Eugene-elgato, Tomcat7, Full-date unlinking bot, Discographer, MrX, Reaper Eternal, John of Reading, GoingBatty, TeleComNasSprVen, ZroBot, Rcsprinter123, Tolesi, ClueBot NG, CactusBot,
Proscribe, Taina864, Helpful Pixie Bot, Gettingitright100, BG19bot, DPL bot, MaherEK, Rebakay, VIAFbot, Sheldontp, EddieHugh,
Manul, Sissle2013, KasparBot and Anonymous: 136

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Images

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Gnome-mime-sound-openclipart.svg License: Public domain Contributors: Own work. Based on File:Gnome-mime-audio-openclipart.
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License: Fair use Contributors: own vinyl copy of album Original artist: Earl Hines
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2.0 Contributors: Velma & Friends Original artist: Courtesy the Fraser MacPherson estate c/o Guy MacPherson

7.3

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