Subject: I have found a CD that I think you would enjoy
|Earl Fatha Hines|
Earl Hines 1928-1932
This CD presents Earl Hines's earliest recordings as a solo pianist and bandleader, from a period when he was defining the possibilities of the piano in jazz and engaging in some wonderful collaborations with Louis Armstro... more »
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This CD presents Earl Hines's earliest recordings as a solo pianist and bandleader, from a period when he was defining the possibilities of the piano in jazz and engaging in some wonderful collaborations with Louis Armstrong. The first 12 tracks are all solo piano, and there's much of Armstrong's approach to the trumpet in Hines's playing, from the clarion single-note and octave lines of his right hand to the keen sense of architecture apparent in every solo. The pieces are marked by Hines's tremendous rhythmic energy and invention, almost every one filled with sudden shifts and turns in the pianist's bass parts that will trigger a new series of inventions in the right hand. The second version of "A Monday Date," one of Hines's most famous compositions, and "Fifty-Seven Varieties" are particularly noteworthy, with every chorus signaling a major change in direction. Hines was transforming the already traditional elements of blues and ragtime, adding ringing, bell-like high notes to "Chimes in Blues" and slyly dislodging rhythmic expectations in "Panther Rag." The band tracks feature the group that Hines led at Chicago's Grand Terrace beginning in 1928, with recording sessions from 1929 and 1932. A well-rehearsed, hard-swinging group, it was a fine foil for Hines's own brilliant piano, with other notable performances by cornetist George Mitchell and clarinetists Darnell Howard and Omer Simeon. --Stuart Broomer
A Really Great Disc of Classic Jazz Piano Music.
(5 out of 5 stars)
"This fabulous disc features mostly piano solos by the great Earl "Fatha" Hines. Hines backed-up Billie Holiday on some tracks in the 1940s, but these cuts show his early talent. Hines superseded earlier stride pianist James P. Johnson, and also the likes of Thomas "Fats" Waller, Willie "The Lion" Smith, and F. L. "Jelly Roll" Morton. How so? Well, he took stride to the next level, while avoiding getting locked into boogie-woogie like Pete Johnson, Albert Ammons, and Meade Lux Lewis (the latter who, by the way, was also a great slow bluesman). Hines took jazz piano to the next level of evolution which started with Scott Joplin--and after Hines--continued with Oscar Peterson and Errol Garner. Really Hines was a sui generis artist like Art Tatum. Hines is the first truly modern jazz pianist: one who can stand alone, without any back-up. I highly recommend this disc, and all Fatha's work. P.S.: All the above mentioned artists can be found on the excellent Chronological Classics, and are highly recommended."