Earl Hines - The Blues (2018)

ARLEN

Earl Hines

There is no more challenging role in music than that of the solo performer. To succeed in this field of creative endeavour requires a high level of confidence, prodigious technical expertise and, where jazz is concerned, a rare continuity of inspiratio
Earl Hines had all of these qualities, and more. As in the case of the other jazz masters, when you listen to the extemporisations of “Fatha” Hines, you are not simply hearing music of a most elevated order – you are listening to a virtuoso who shaped the course of jazz history, a man who single-handedly (a highly inappropri- ate metaphor in one sense) changed the role of the piano in jazz and brought his unique influence to bear on a multitude of musicians.
When Stanley Dance produced these sides in New York, Hines was in his 69th year and had more than half a century of music—making behind him. He was in ebullient form, attacking the music with all the weapons in his pianistic armoury. As the basis for his free-ranging, sometimes quixotic, improvisations, he chose six songs whose music was composed by Harold Arlen, a most gifted writer who was responsible for some of the more sophisticated popular songs of the thirties and forties.But, in truth, the real composer here is Hines himself. Where Teddy Wilson or a Tommy Flanagan would play songs like this and tailor their improvisations accord- ing to the cloth of the original composition, Hines takes up the Arlen jacket, turns it inside out, and gives it a brilliantly patterned lining, brass buttons, a velvet collar, gold braid and a florid buttonhole.

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Earl Hines

One of the greatest keyboard innovators in jazz, Earl Kenneth “Fatha” Hines was almost solely responsible for the evolution of jazz piano from the ragtime and stride era to the modern, trumpet-style, single note idiom. Although Hines’s bravura playing embraced all pianistic styles and devices, his principal claim to jazz celebrity was that he separated the functions of the right and left hands and really developed the full jazz resources of the piano.

The son of a trumpet player in the famous Eureka Brass Band, Hines was born in Duquesne, Pennsylvania on December 28, 1905. He studied piano for six years in Pittsburgh (the native city of such great keyboard exponents as Ahmad Jamal, Erroll Garner, Dodo Marmarosa, Horace Parlan and Mary Lou Williams) and dev eloped his abundant technique by diligent practice of Czerny exercises. In the late 1920s Hines worked with Jimmie Noone at the Apex Club and was made musical director of Carroll Dickerson’s band. In 1928 he recorded a score of sides with the Louis Armstrong Hot Five and made the celebrated Weatherbird duo session with Satchmo which was to become one of the classic jazz recordings of all time. 

Hines drew a good deal of his inspiration from Armstrong. In 1928 Hines formed his own big band and, in December of that year, opened at the Grand Terrace in Chicago. Hines led his big band for two decades and achieved wide acclaim for his brilliant, adventurous, two handed piano style.

In the forties, the Hines band became an “incubator” for some of the great bebop innovators. Among the major talents who cut their musical teeth with Earl’s orchestra were Walter Fuller, Dizzy Gillespie, Charlie Parker, Bennie Green, Benny Harris and Wardell Gray.

Hines, who in his later years sported one of the most aggressive toupees in jazz, suffered a period of obscurity in the early 1960s, but he re-emerged in 1964 and his career enjoyed a tremendous revival after he played three concerts in New York which drew excellent reviews. In 1965 Hines made appearances at the Newport and Monterey Festivals where the revival in his professional fortunes was consolidated and thereafter he worked steadily, making regular trips to Europe for festival engagements. He visited the Soviet Union in 1966 and Japan, Australia and South America in the late sixties and early seventies.

In addition to being a brilliantly original pianist, Hines was also a composer of merit whose most celebrated compositions were Rosette, You Can Depend On Me and My Monday Date. He died in hospital at Oakland California on April 22, 1983.

photo: from booklet

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Earl Hines - The Blues (2018)

ARLEN

Earl Hines

Digital Converters: Hapi
Editing Software: Pyramix
Mastering Engineer:

René LaFlamme, Transfer from Analog Master Tape to DSD 128

2xHD is a record label which uses its proprietary system to process music masters originally recorded in analog to DSD in order to produce a unique listening experience.
The process uses a selection from a pool of high-end audiophile components and connectors. In some cases even using battery power, so as to benefit from the cleanest power source possible. This variable equipment combination custom tailored to each project, creates the most accurate reproduction of the original recording, unveiling informaton previously masked by the use of EQ, transformers, patch bays, extended cable length etc. The selection of components is critical, as many A/D and D/A converters are unable to pierce through these filters that create a ceiling effect to the sound. The 2xHD system preserves the dynamics of the original master and provides an open feeling to the sound.

2xHD was created by producer/studio owner André Perry and audiophile sound engineer René Laflamme, two dedicated music lovers determined to experi- ence only the warmth and depth of the music without hearing the equipment.

2xHD Mastering by: René Laflamme 2xHD Executive Producer: André Perry

Producer: Stanley Dance
Recording Engineer: Fred Miller
Recording location: Recorded March 23-24, 1974 at Warp Studios, NYC
Recording Software: Merging
Recording Type & Bit Rate: Analog Tape to DSD 128

This album was recorded to Analog tape. It was then transferred to the DSD bit rate indicated above.

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2XHDST1094: Earl Hines - The Blues
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Tracks.
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Cotton Club Parade - I've Got the World on a String
ARLEN
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2.
The Wizard of Oz - Over the Rainbow
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Between the Devil and the Deep Blue Sea
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St. Louis Woman - Come Rain or Come Shine
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The Sky's the Limit - My Shining Hour
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Cotton Club Parade - As Long as I Live
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