{"title":"Earl Hines","description":"\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003eBefore Earl Hines, jazz piano was largely a rhythm instrument. Hines changed that in 1928, the year he recorded solo sides for OKeh, worked nightly with Jimmie Noone's Apex Club Orchestra in Chicago, and cut a series of sessions with Louis Armstrong's Hot Five that remain among the most recorded and studied performances in the music's history. The \"Weather Bird\" duet with Armstrong, recorded that December, is the obvious landmark, but the solo recordings from that same year, especially \"A Monday Date\" and \"57 Varieties\", show a pianist already playing in a way that wouldn't sound out of place two decades later. His technique of carrying the melody in ringing right-hand octaves, bypassing stride conventions, gave jazz piano a new assertiveness that Dizzy Gillespie later said was the root of everything that followed. The 1928 legacy tends to overshadow what came after: twelve years leading the house band at Chicago's Grand Terrace, an early-1940s orchestra that incubated Charlie Parker, Gillespie, Sarah Vaughan, and Billy Eckstine before the musicians' recording strike silenced the whole experiment, and a late-career resurgence from 1964 onward that produced dozens of albums and confirmed the playing hadn't diminished at all.\u003c\/p\u003e","products":[{"product_id":"earl-hines-trio-here-comes-earl-fatha-hines-1978-japanese-flying-dutchman-vinyl-lp","title":"Earl Hines Trio - Here Comes Earl \"Fatha\" Hines (1978 Japanese Flying Dutchman Vinyl LP)","description":"\u003cp class=\"p1\"\u003e\u003cb\u003eVinyl\u003c\/b\u003e: EX\u003cbr\u003e\u003cb\u003eSleeve\u003c\/b\u003e: EX (shrink wrap)\u003cbr\u003e\u003cstrong\u003eObi:\u003c\/strong\u003e\u003cspan\u003e EX\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cspan\u003eOur grading system explained \u003c\/span\u003e\u003ca href=\"https:\/\/dpbg4u-d1.myshopify.com\/pages\/secondhand-grading-guide\"\u003e\u003cspan class=\"s1\"\u003e\u003cb\u003ehere\u003c\/b\u003e\u003c\/span\u003e\u003c\/a\u003e\u003cspan\u003e.\u003cbr\u003e\u003c\/span\u003e\u003cspan\u003ePhoto is of the actual item.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eEarl Hines Trio - \u003cem\u003eHere Comes Earl \"Fatha\" Hines\u003c\/em\u003e | Vinyl LP - 1978 Japanese Flying Dutchman (PG-82 \/ FD-10147, Jazz Grand-Prix 1500)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eEarl Hines developed the trumpet-style approach to jazz piano in the late 1920s — playing single-note lines in the right hand with the same phrasing and attack a horn player would use, rather than the block-chord or stride conventions of the period. He did this alongside Louis Armstrong, at the Grand Terrace Ballroom in Chicago, while the approach had not yet been named. By 1966, forty years later, he was sixty-two, had recently made a solo comeback after being overlooked for much of the 1950s, and was recording for Bob Thiele's Flying Dutchman imprint with Richard Davis on bass and Elvin Jones on drums.\u003c\/p\u003e\n\u003cp\u003eBoth Davis and Jones were at the centre of where jazz was in 1966 — Davis had played with Charles Mingus, Eric Dolphy and Andrew Hill; Jones had been the drummer inside the Coltrane quartet since 1960. The generational gap was considerable. Hines engaged with the rhythm section directly, and the seven tracks recorded on January 17 hold together without any visible strain between the players. \"The Stanley Steamer,\" his sole original, runs eight minutes and is the set's centrepiece. \"Bye Bye Baby\" is Leo Robin and Jule Styne's 1949 piece from \u003cem\u003eGentlemen Prefer Blondes\u003c\/em\u003e. \"Smoke Rings\" was the Glen Gray and Casa Loma Orchestra theme from 1932. \"Shoe Shine Boy\" is Sammy Cahn and Saul Chaplin's 1936 standard. \"Save It, Pretty Mama\" and \"Dream of You\" close out the material. \"Bernie's Tune\" is Bernie Miller's piece, associated with Gerry Mulligan.\u003c\/p\u003e\n\u003cp\u003eThis 1978 Japanese pressing is the Contact \/ Flying Dutchman Jazz Grand-Prix 1500 series (PG-82), with OBI and insert containing Japanese liner notes. Still in original shrink wrap.\u003c\/p\u003e","brand":"Flying Dutchman","offers":[{"title":"Default Title","offer_id":43458884206651,"sku":null,"price":45.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0630\/3203\/3339\/files\/IMG_6758.jpg?v=1777255301"}],"url":"https:\/\/lushliferecords.com.au\/collections\/earl-hines.oembed","provider":"Lush Life Records","version":"1.0","type":"link"}