Hines, Earl (Kenneth; aka Fatha)

Hines, Earl (Kenneth; aka Fatha), talented and intensely creative jazz pianist, leader, singer, composer; b. Dusquene, Pa., Dec. 28, 1903; d. Oakland, April 22, 1983. His sister, Nancy, a pianist, led her own band in Pittsburgh during the 1930s; their father, Joseph, played cornet in local brass bands; their mother, Mary, was an organist (and pianist). He began playing cornet at an early age, taking piano lesssons from the age of nine. He was interested in a classical music career, but that was closed to most blacks, and he soon gravitated to jazz. He was spotted by vocalist Lois B. Deppe who secured him a place in Arthur Rideout’s Orch. Later, Deppe organized The Pittsburgh Serenaders (which Hines directed) for residency at the Lieder House (Pittsburgh). He toured with Deppe (1923). He worked with Harry Collins’s Orch. in Pittsburgh then moved to Chicago, played a residency at the Entertainers’ Club with violinist Vernie Robinson, and later led at the same venue. He toured for almost a year with Carroll Dickerson, returned to Chicago and worked with Dickerson, Erskine Tate, and other leaders. He was musical director for Louis Armstrong’s Stompers at the Sunset Cafe (1927). Later that year, Armstrong, Hines, and Zutty Singleton ran their own short-lived club. In late 1927, Hines began working with Jimmie Noone at the Apex Club. He went to N.Y. in December 1928 to record a solo session for the Q.R.S, Company, returned to Chicago, took his own band into the Grand Terrace on Dec. 28, 1928. He continued recording with Armstrong in 1929.

Throughout the 1930s Hines and His Orch. played many residencies at the Grand Terrace. They also did regular touring including the Southern states, and occasionally played dates in N.Y. While at the Grand Terrace, radio announcer Ted Pearson used to introduce him as “Fatha Hines coming through deep forest (his theme song) with his children’” and the nickname “Fatha” stuck. Among the band’s alumni were Omer Simeon, Budd Johnson, Trummy Young, and Ray Nance. Hines temporarily disbanded early in 1940, opened his own Studio Club in Chicago, then re-formed his big band for residencies in Calif, (late 1940). Billy Eckstine sang with him, as did Sarah Vaughan. He continued to lead his own successful big bands until 1947. Many of his young sidemen went on to gain considerable fame; one temporary innovation was the introduction of an all-girl string section in September 1943. This legendary band also included Charlie Parker on tenor and Dizzy Gillespie. It is known to have made at least one radio broadcast but no recording of the band was ever found. In March 1944 Hines briefly fronted the Ellington Band while Duke was absent with tonsillitis.

Hines disbanded in 1947 and again ran his own club in Chicago. He joined the Louis Armstrong All Stars from January 1948 until autumn 1951. Late in 1948 Hines fronted his own big band, which for a time traveled with the Armstrong All Stars. He led his own sextet from late 1951, and did residencies and touring. He visited Europe with an all-star group (headed by Jack Teagarden and Earl Hines) in autumn 1957. He worked mainly in Calif. with his own band throughout the late 1950s, primarily in a Dixieland vein. He moved with his family to Oakland in 1960, did regular tours and club residencies. He played highly successful N.Y. dates in 1964 at the Little Theatre (issued on LP and often credited with revitalizing his career) and at Bird-land. From that point on he made numerous solo recordings featuring extended and freewheeling improvisations at the peak of his powers. He toured Europe in spring 1965 including Berlin, and subsequently made several visits to Europe. He toured Russia with a sextet in the summer of 1966. He did extensive engagements throughout the late 1960s and 1970s, toured Europe, Japan, and Australia. He played his last engagement in San Francisco just a week before his death.

One of the most truly improvisational artists of any generation, in unaccompanied solos he not only did not repeat himself: It takes some doing for the listener to recognize two takes of the same piece! Though raised on stride, and clearly in that tradition on his 1923 recordings, by his next sessions of 1928 (unfortunately there are none in-between), he was bursting with new and unique ideas. It was common for him to modulate into a different key, something never done, and his left hand might do anything: a bit of stride, a walking line, a chromatic scale, comping on or off the beat. He used wild dissonances, and his voice leading was often rough but attractive. He had an impact on virtually all 1930s pianists, including Teddy Wilson and, though less acknowledged, Art Tatum. His much touted “trumpet style,” consisting of little more than the time-honored technique of playing in octaves, is surely the least significant and least distinctive of his many innovations. Often said to be an imitation of Armstrong, Hines himself said he developed it earlier, simply to be heard in a band. In every way his style is truly pianistic and not in the least “trumpet-like.”

Discography

57 Varieties (1928); Deep Forest (1932); Harlem Lament (1933); Piano Man (1939); E. “Fatha” H.. (1947); E. H. and the All Stars (1950); Varieties (1952); E. H. Trio (1952); E. H. Plays FatsWaller (1953); E.’s Pearls (1960); Spontaneous Explorations (1964); Linger Awhile (1964); Legendary Little Theater Concert (1964); Grand Reunion, Vol. 1, 2 (1965); At the Village Vanguard (1965). Elvin Jones: Once Upon a Time (1966). Blues and Things (1967); E. H. at Home (1969); Quintessential Recording Session (1970); My Tribute to Louis (1971); H. Does Hoagy(1971) ; E. H. Plays Duke Ellington (1971); Comes in Handy (1971); Tour De Force (1972); Solo Walk in Tokyo (1972); Quintessential Continued (1973); E. H. Plays George Gershwin (1973); E. H. and Budd Johnson (1974); Father of Modern Jazz Piano (1977); Fatha Plays Hits He Missed (1978); Live and in Living Jazz (1979); Linger Awhile (1979).

—Lewis Porter/John Chilton ,