#Eureka Brass Band

[joeinct]

Eureka Brass Band, New Orleans, LA, Photo by Ralston Crawford, c. 1960

[jpbjazz]

LÉGENDES DU JAZZ

EARL HINES, INVENTEUR DU ‘’PIANO-TROMPETTE’’

’’This little guy came out of Chicago, Earl Hines. He changed the style of the piano. You can find 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, it's 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.’’

- Dizzy Gillespie

Né le 28 décembre 1903 à Duquesne, près de Pittsburgh, en Pennsylvanie, Earl Kenneth Hines était issu d’une famille musicale. Le père de Earl était Joseph Hines, un contremaître et cornettiste qui avait dirigé le Eureka Brass Band de Pittsburgh, un groupe qui jouait dans les pique-niques et les danses. Sa belle-mère Mary jouait de l’orgue à l’église. Son oncle jouait de plusieurs instruments à vent. Sa soeur Nancy était pianiste et organiste et avait dirigé ses propres groupes dans les années 1930. Un de ses frères, Boots, jouait aussi du piano.

Earl n’avait pas vraiment connu sa mère qui était morte avant qu’il n’atteigne l’âge de trois ans.

Hines avait d’abord joué de la trompette (en réalité, du cornet) avant de passer au piano. Il avait abandonné la trompette après avoir réalisé que le fait de jouer de cet instrument lui donnait mal aux oreilles.

À l’âge de neuf ans, Hines avait suivi des cours de piano classique sous la direction de Von Holz. Hines avait commencé à jouer de l’orgue à l’église baptiste alors qu’il avait seulement onze ans. À l’origine, Hines voulait devenir pianiste de concert, mais il avait rapidement bifurqué vers le jazz.

Doté d’une bonne oreille et d’une excellente mémoire, Hines pouvait jouer de mémoire la musique qu’il avait entendue dans les théâtres et dans les parcs.

Après s’être installé à Pittsburgh à l’âge de quatorze ans afin de poursuivre ses études secondaires à la Schenly High School (il vivait chez sa tante Sadie Phillips, une chanteuse d’opéra), Hines avait été exposé à plusieurs styles de musique et s’était familiarisé avec la musique de compositeurs comme Eubie Blake et Noble Sissle.

Hines avait définitivement décidé d’abandonner son rêve de devenir musicien classique après que des membres de sa famille l’aient emmené au Liderhouse, un club de jazz. Hines avait développé son talent pour l’improvisation en écoutant des pianistes locaux comme Jim Fellman et Johnny Watters.

Un an après son arrivée à Pittsburgh, Hines avait formé son premier trio avec un violoniste et un batteur. Le groupe se produisait dans des activités scolaires, dans les clubs de nuit et dans les églises. En fait, Hines était bientôt devenu si occupé que ses activités musicales avaient commencé à affecter ses résultats scolaires. Incroyable mais vrai, ses professeurs lui avaient alors conseillé d’abandonner ses études afin de poursuivre sa carrière musicale ! Il expliquait: "I'd be playing songs from these shows months before the song copies came out. That astonished a lot of people and they'd ask where I heard these numbers and I'd tell them at the theatre where my parents had taken me."

Plus tard, Hines se rappelerait avoir joué du jazz dans les environs de Pittsburgh à une époque où le jazz n’avait pas encore été inventé.

DÉBUTS DE CARRIÈRE

Après avoir joué avec des trios durant ses études secondaires, Hines s’était joint à différentes formations dans le Midwest.

Avec l’autorisation de son père, Hines avait quitté la maison à l’âge de dix-sept ans afin de jouer du piano avec les Symphonian Serenaders du chanteur Lois Deppe au Liederhaus, un club de nuit de Pittsburgh. Il s’agissait de son premier contrat majeur. La virtuosité de Hines au piano et sa capacité de lire la musique n’avaient pas échappé au regard vigilant de Deppe, qui lui avait offert un contrat en 1921.

Comme salaire, Hines recevait 15$ par semaine, avec deux repas fournis chaque jour. Deppe, un chanteur baryton bien connu sur la rue Wylie, interprétait des chansons classiques et populaires. Hines accompagnait souvent Deppe lors de ses voyages à New York, en Ohio et en Virginie occidentale.

En 1921, Hines et Deppe étaient devenus les premiers Afro-Américains à jouer à la radio. Hines avait fait ses débuts sur disque en enregistrant quatre pièces avec Deppe en octobre 1923 aux célèbres studios Gennett de Richmond, en Indiana.

À l’époque, l’industrie de l’enregistrement en était encore à ses débuts. Seulement deux des quatre pièces avaient finalement été commercialisées, dont l’une était une composition de Hines intitulée ‘’Congaine’’ dans laquelle il effectuait un solo. Un mois plus tard, Hines était retourné de nouveau en studio avec Deppe afin d’enregistrer des spirituals et des chansons populaires qui comprenaient ‘’Sometimes I Feel Like a Motherless Child’’ et ‘’For the Last Time Call Me Sweetheart.’’ Il avait aussi accompagné la chanteuse Ethel Waters.

Durant son séjour de deux ans avec Deppe, Hines avait vite développé un style très personnel. Même si Hines reconnaissait que plusieurs pianistes l’avaient influencé, il considérait le trompettiste Joe Smith comme sa principale influence.

À l’âge de dix-huit ans, Hines avait forma son propre groupe avec le saxophoniste Benny Carter. C’est alors que le pianiste Eubie Blake lui avait conseillé de s’installer à Chicago.

En 1925, malgré l’opposition de certains membres de sa famille, Hines avait donc décidé de déménager à Chicago, qui était alors la capitale du jazz ainsi que le lieu de résidence de plusieurs grands noms du jazz comme Jelly Roll Morton, King Oliver, Benny Goodman, Frank Teschemacher et surtout Louis Armstrong.

Après avoir commencé à jouer au Club Elite No. 2, avec Sammy Stewart puis avec l’orchestre d’Erskine Tate au Théatre Vendome, Hines s’était joint au groupe de Carroll Dickerson, avec qui il avait participé au Pantages Theatre Circuit jusqu’à Los Angeles. C’est à cette époque que Hines avait rencontré Louis Armstrong pour la première fois à la salle de billard de la Black Musician’s Union à Chicago. À l’époque, Hines était âgé de vingt et un ans, Armstrong en avait vingt-quatre.

La symbiose s’était immédiatement installée entre Hines et Armstrong, qui n’avaient pas tardé à s’influencer et à s’inspirer mutuellement.

Hines décrivait ainsi sa première rencontre avec ‘’Satchmo’’:

‘’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, that's my style, that's what I like."

Dans la biographie écrite par Stanley Dance, Hines avait ainsi qualifié sa relation avec Armstrong: ‘’When we were playing together it was like a continuous jam session. I'd steal ideas from him and he'd steal them from me. He'd bend over after a solo and say... 'Thank you, man.'"

Armstrong avait été très étonné par la façon percussive dont Hines jouait du piano, qui imitait le son de la trompette. Comme Richard Cook l’écrivait dans la Jazz Encyclopedia: ‘’[Hines's] most dramatic departure from what other pianists were then playing was his approach to the underlying pulse: he would charge against the metre of the piece being played, accent off-beats, introduce sudden stops and brief silences. In other hands this might sound clumsy or all over the place but Hines could keep his bearings with uncanny resilience.’’

À l’époque, les possibilités techniques étaient pour le moins limitées. Hines expliquait: ‘’... 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 amplification, so the singers used to use megaphones and they didn't have grand-pianos for us to use at the time – it was an upright. So when they gave me a solo, playing single fingers 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 that's what changed the style of piano playing at that particular time.’’

Armstrong avait éventuellement rejoint Hines dans le groupe de Dickerson au Sunset Cafe. En 1927, après la fermeture temporaire du club, le groupe de Dickerson était passé sous le leadership d’Armstrong avec Hines comme pianiste et directeur musical. Plus tard la même année, Armstrong avait recruté Hines comme pianiste de son Hot Five, en remplacement de son épouse Lil Hardin Armstrong.

C’est alors que Armstrong et Hines avaient enregistré ce qui est souvent considéré comme un des plus importants disques de jazz de l’histoire. L’album comprenait notamment les pièces ‘’Weather Bird’’, ‘’West End Blues’’, ‘’Tight Like This’’, ‘’Beau Koo Jack’’ et ‘’Muggles.’’

À l’époque des disques de cire sur 78-tours, il était impossible pour les ingénieurs du son de faire entendre une prise sans rendre le ‘’master’’ inutilisable à des fins commerciales. C’est la raison pour laquelle les membres du groupe n’avaient pu entendre la version finale de ‘’West End Blues’’ avant qu’elle ne soit commercialisée par les disques Okeh quelques semaines plus tard.

Comme Armstrong l’avait expliqué en 1956, "Earl Hines, he was surprised when the record came out on the market, 'cause he brought it by my house, you know, we'd forgotten we'd recorded it.’’ Hines avait ajouté: ‘’When it first came out, Louis and I stayed by that recording practically an hour and a half or two hours and we just knocked each other out because we had no idea it was gonna turn out as good as it did."

Lorsque le Sunset Cafe avait fermé temporairement ses portes en 1927, Hines, Armstrong et le batteur Zutty Singleton avaient décidé de ratifier une sorte de pacte connu sous le nom de Unholy Three. Dans le cadre de ce pacte, les trois hommes avaient prêté un serment dans lequel ils s’étaient engagés à demeurer ensemble et à ne pas jouer pour personne d’autre à moins qu’ils ne soient embauchés en bloc.

Armstrong et Hines avaient cependant eu des difficultés à rentabiliser leur nouvelle salle, le Warwick Hall Club, qu’ils avaient louée pour un an avec l’aide de l’épouse d’Armstrong, Lil Hardin. Après avoir brièvement séjourné à New York, Hines avait eu la surprise d’apprendre qu’en son absence, Armstrong et Singleton avaient rejoint le groupe rival de Carroll Dickerson au nouveau Savoy Ballroom. Lorsque Armstrong et Singleton avaient invité Hines à venir les rejoindre au Savoy Ballroom, ce dernier avait répondu sèchement: "No, you guys left me in the rain and broke the little corporation we had".

Hines avait alors décidé de rejoindre le clarinettiste Jimmie Noone au club Apex, un ‘’speakeasy’’ situé dans le quartier South Side de Chicago qui était en opération de minuit à six heures du matin, sept soirs par semaine. Le groupe de Noone avait une instrumentation plutôt inusitée composée d’un saxophone alto, d’une clarinette, d’un piano, d’un banjo et d’une batterie.

En 1928, Hines avait enregistré quatorze pièces avec Noone, tout en continuant de collaborer avec Armstrong (pour un total de 38 morceaux). À la fin de la même année, Hines avait enregistré ses premiers solos au piano, huit pour QRS Records et sept pour les disques Okeh.

L’ÉPOQUE DE CHICAGO

Le 28 décembre 1928, le jour de son 25e anniversaire de naissance, Hines avait inauguré le Grand Terrace Cafe avec son propre big band, un grand accomplissement pour l’époque. Durant les douze années suivantes, l’orchestre de Hines avait été le groupe attitré au Grand Terrace, et ce, en pleine Crise des années 1930 et malgré l’imposition de la prohibition.

L’orchestre de Hines - ou l’’’Organisation’’ comme il préférait l’appeler - a compté jusqu’à vingt-huit musiciens et donnait trois spectacles par soir, sauf les samedis (et parfois les dimanches) où il se produisait quatre fois. Comme l’affirmait le producteur et écrivain Stanley Dance, "Earl Hines and The Grand Terrace were to Chicago what Duke Ellington and The Cotton Club were to New York – but fierier."

C’est lors de son séjour au Grand Terrace que Hines avait hérité du surnom de ‘’Fatha’’ (un sobriquet qui était un peu synonyme de ‘’père’’ mais qu’il n’avait jamais vraiment apprécié) qui lui avait été décerné par un animateur de radio lors des nombreuses retransmissions de ses concerts.

Il y avait une seule ombre au tableau: le Grand Terrace était contrôlé par Al Capone. Hines était donc devenu le pianiste de Capone. Ce dernier faisant de l’argent comme de l’eau avec ses activités illicites, le piano du Grand Terrace avait bientôt été remplacé par un piano à queue blanc de marque Bechstein d’une valeur de 3000$. Hines avait un jour déclaré au sujet de cette époque:

‘’...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 monkeys: you hear nothing and you see nothing and you say nothing". And that's 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 different people that would bring information in the newspaper and the next day you would find them out there in the lake somewhere swimming around with some chains attached to their feet if you know what I mean.’’

Pendant plusieurs années, les concerts de Hines et de son groupe au Grand Terrace étaient radiodiffusés d’un océan à l’autre, ce qui lui avait permis de rejoindre des milliers d’auditeurs et en avait fait un des groupes les plus connus en Amérique. Parmi les auditeurs de l’époque, se trouvaient Nat King Cole et Jay McShann. Ce dernier avait d’ailleurs reconnu que sa véritable éducation était venue de Hines. McShann expliquait: ‘’When 'Fatha' went off the air, I went to bed." L’un des spectateurs les plus assidus des émissions de Hines était cependant le pianiste Art Tatum.

L’orchestre de Hines comptait habituellement de quinze à vingt musiciens sur scène, et parfois jusqu’à vingt-huit. Parmi les musiciens qui ont été membres de l’orchestre de Hines à cette époque, on remarquait Ray Nance à la trompette et au violon (ce dernier s’était bientôt joint à l’orchestre de Duke Ellington), le trompettiste et chanteur Walter Fuller, le joueur de trombone Trummy Young, le saxophoniste ténor Budd Johnson, le contrebassiste Gene Ramey, le clarinettiste Omer Simeon, le clarinettiste et violoniste Darnell Howard et l’arrangeur Jimmy Mundy.

À l’occasion, Hines permettait à un autre pianiste de diriger l’orchestre, habituellement Jeff Stacy et Cliss Smalls. Nat ‘’King’’ Cole et Teddy Wilson avaient également rempli ce rôle.

Chaque été, Hines partait en tournée avec tous les membres de son orchestre pour trois mois, y compris dans le Sud toujours marqué par la ségrégation, ce qui en avait fait le premier big band afro-américain à accomplir un tel exploit. Hines expliquait: "[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." Comme l’écrivait Harvey G. Cohen dans son ouvrage ‘’Duke Ellington’s America’’,

‘’In 1931, Earl Hines and his Orchestra "were the first 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 first 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".

NAISSANCE DU BEBOP

En 1942, Hines avait donné sa première chance au saxophoniste Charlie Parker, qu’il n’avait cependent pas tardé à congédier pour son manque de ponctualité. Parker avait bien tenté de remédier à ce problème en passant la nuit sous la scène, mais en pure perte. Dizzy Gillespie s’était joint au groupe la même année.

Le Grand Terrace Cafe avait finalement fermé ses portes en décembre 1940, le gérant Ed Fox ayant mystérieusement disparu. Hines, qui était alors âgé de trente-sept ans, avait alors décidé de partir sur la route à plein temps avec son groupe. La tournée avait duré huit ans, malgré les offres répétées de Benny Goodman d’engager Hines comme pianiste au sein de son orchestre.

À la suite de l’attaque japonaise sur Pearl Harbour en décembre 1941, l’orchestre de Hines avait commencé à éprouver des problèmes de recrutement, plusieurs musiciens ayant été mobilisés, dont six en 1943 seulement. Le 19 août 1943, Hines s’était donc trouvé dans l’obligation d’annuler les derniers concerts de sa tournée dans le Sud.

Loin de se laisser décourager, Hines s’était rendu à New York où il avait recruté un groupe de douze membres uniquement féminins pour se mettre à l’abri de toute mobilisation, mais la formation n’avait survécu que deux mois. Hines avait alors décidé de former un orchestre de vingt-huit musiciens composé de dix-sept hommes et de onze femmes, qui comprenait des cordes et un cor français. Malgré les contraintes de la guerre, Hines avait continué de faire des tournées d’un bout à l’autre du pays. Il avait même trouvé le temps de remplacer Duke Ellington à la tête de son orchestre lorsque celui-ci était tombé malade en 1944.

C’est aussi à cette époque (et plus particulièrement lors de la grève des musiciens de 1944 à 1944 qui limitait les possibilités d’enregistrement dans les grands studios) que les jam sessions de fin de soirée avec des membres de l’orchestre de Hines avaient permis l’avènement d’un tout nouveau style musical: le bebop. Comme l’avait reconnu Duke Ellington plus tard : "The seeds of bop were in Earl Hines's piano style". Le biographe de Charlie Parker, Ross Russell, écrivait: ‘’The Earl Hines Orchestra of 1942 had been infiltrated by the jazz revolutionaries. Each section had its cell of insurgents. The band's sonority bristled with flatted fifths, off 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.’’

Mais Hines n’avait pas attendu l’avènement du bebop pour se remettre en question. Dès 1940, le saxophoniste et arrangeur Budd Johnson avait réécrit le répertoire de l’orchestre de Hines dans un style plus moderne. Johnson et Billy Eckstine, qui avait été le chanteur de l’orchestre de 1939 à 1943, avaient aussi recruté des musiciens plus novateurs dans la formation lors de la période de transition entre le swing et le bebop. En dehors de Parker et Gillespie, les nouvelles recrues incluaient Gene Ammons, Gail Brockman, Scoops Carry, Goon Gardner, Wardell Gray, Bennie Green, Benny Harris, Harry ‘’Pee-Wee’’ Jackson, Shorty McConnell, Cliff Smalls, Shadow Wilson et Sarah Vaughan, qui avait remplacé Eckstine au chant en 1943 pour une durée d’un an.

Dizzy Gillespie explique comment la musique de l’orchestre avait évolué:

‘’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 difference was in how you got from here to here to here ... naturally each age has got its own shit.’’

Les liens du groupe avec le bebop étaient toujours demeurés serrés jusqu’à sa disparition en 1947. Le discographe de Parker, pour ne mentionner que lui, prétendait que la pièce ‘’Yardbird Suite’’ que Bird avait enregistrée avec Miles Davis en mars 1946, était en réalité inspirée de la pièce ‘’Rosetta’’ de Hines, qui était utilisée comme musique-thème de l’orchestre, un peu comme ‘’Take the ‘’A’’ Train’’ pour l’orchestre de Duke Ellington ou comme ‘’One o’clock Jump’’ pour l’orchestre de Count Basie. Décrivant le groupe de Hines, Gillespie avait déclaré: "We had a beautiful, beautiful band with Earl Hines. He's a master and you learn a lot from him, self-discipline and organization."

LA RENAISSANCE

En juillet 1946, Hines avait été victime de sérieuses blessures à la tête à la suite d’un accident d’automobile survenu près de Houston. Même si Hines avait fait l’objet d’une intervention chirurgicale, sa vision avait été altérée jusqu’à la fin de ses jours. De retour sur la route quatre mois plus tard, Hines avait continué de diriger son big band durant deux autres années.

En 1947, Hines avait fait l’acquisition du plus grand club de nuit de Chicago, le El Grotto. Cependant, à la suite de la baisse de popularité des big bands (d’autant plus que les propriétaires de club trouvaient plus rentable d’engager de plus petites formations), le El Grotto avait bientôt été acculé à la faillite. Hines avait perdu 30 000$ dans l’aventure (l’équivalent de 416 877$ au cours actuel).

Au début de 1948, Hines avait de nouveau rejoint Louis Armstrong dans une version réduite de ses ‘’All Stars’’, qui comprenait notamment le tromboniste Jack Teagarden, le clarinettiste Barney Biggard, le contrebassiste Arvell Shaw et le batteur Sid Catlett. Mais on n’avait pas tardé à se rendre compte que le torchon avait commencé à brûler entre Hines et Armstrong. Le 21 février 1949, Armstrong était devenu le premier musicien de jazz à faire la page couverture du magazine Time, condamnant ainsi Hines à jouer les seconds violons. Tentant de banaliser la situation, Armstrong avait déclaré: "Hines and his ego, ego, ego ..."

Hines avait finalement décidé de quitter les All Stars en 1951. Hines s’était installé à San Francisco où il avait fondé un groupe de dixieland, formé de Muggsy Spanier au cornet, de Jimmy Archey au trombone, de Darnell Howard à la clarinette, de Pops Foster à la contrebasse et d’Earl Watkins à la batterie. Le groupe s’était produit au club Hangover jusqu’en 1961.

Hines avait par la suite formé un sextet avec lequel il était parti en tournée à travers les États-Unis. Si les All Stars de Armstrong étaient surtout formés de vétérans, les groupes de Hines étaient essentiellement composés de jeunes loups qui avaient fait leur marque au cours des années suivantes: Bennie Green, Art Blakey, Tommy Potter et Etta Jones.

En 1954, Hines était retourné sur la route avec un groupe de sept musiciens en compagnie des Harlem Globetrotters. Après avoir participé à une émission de radio sur les ondes du réseau des Forces armées américaines, Hines, qui éprouvait de plus en plus de difficultés à se trouver des contrats, avait décidé de s’installer à Oakland, en Californie, avec son épouse et ses deux jeunes filles. Il s’était ouvert une tabagie et était même passé à un cheveu d’abandonner sa carrière.

Au début des années 1960, Hines était tombé largement dans l’oubli.

En 1964, Stanley Dance, l’ami de Hines et son gérant non officiel, l’avait convaincu de donner une série de trois récitals au Little Theatre de New York. Il s’agissait des premiers récitals de piano de la carrière de Hines. Ces concerts avaient causé toute une sensation. Pour Hines, c’était une véritable résurrection. Le critique John Wilson du New York Times avait posé la question: "What is there left to hear after you've heard Earl Hines?". Deux ans plus tard, Hines avait admis au Temple de la Renommée du magazine Down Beat. La même année, le magazine avait également élu Hines meilleur pianiste de jazz, un honneur qui lui avait été décerné à cinq autres occasions. Hines avait également remporté le prix de l’album de l’année du Jazz Journal dans la catégorie piano. Quant au magazine Jazz, il avait nommé Hines ‘’Jazzman of the Year’’ et l’avait sélectionné aux premiers et seconds rangs dans la carégorie des enregistrements pour piano. Hines avait également été invité à participer à des émissions de télévision animées par Johnny Carson et Mike Douglas.

Jusqu’à sa mort vingt ans plus tard, Hines n’avait pas cessé d’enregistrer, tant en solo qu’avec une remarquable pléthore d’artistes tels Cat Anderson, Harold Ashby, Barney Biggard, Lawrence Brown, Benny Carter, Buck Clayton, Cozy Cole, Wallace Davenport, Eddie ‘’Lockjaw’’ Davis, Vic Dickenson, Roy Eldridge, Ella Fitzgerald, Panama Francis, Bud Freeman, Stan Getz, Dizzy Gillespie, Paul Gonsalves, Stéphane Grappelli, Sonny Greer, Lionel Hampton, Coleman Hawkins, Milt Hinton, Johnny Hodges, Helen Humes, Budd Johnson, Jonah Jones, Max Kaminski, Gene Krupa, Ellis Larkins, Shelly Manne, Gerry Mulligan, Ray Nance, Pee Wee Russell, Jimmy Rushing, Stuff Smith, Rex Stewart, Buddy Tate, Jack Teagarden, Clark Terry, Sarah Vaughan, Joe Venuti, Ben Webster, Jimmy Witherspoon et Lester Young.

Plus improbables avaient été les collaborations de Hines avec Alvin Batiste, Tony Bennett, Art Blakey, Teresa Brewer, Barbara Dane, Richard Davis, Elvin Jones, Etta Jones, the Ink Spots, Peggy Lee, Helen Merrill, Charles Mingus, Oscar Pettiford, Vi Redd, Dinah Washington et Ry Cooder (sur la pièce ‘’Ditta Wah Ditty’’).

Hines avait également enregistré des duos au piano avec Dave Brubeck (1975), Jaki Byard (1972), Duke Ellington (1966), Marian McPartland (1970), Oscar Peterson (1968) et Teddy Wilson (1965 et 1970). à

Mais de tous les enregistrements de Hines à cette époque, ses performances en solo avaient été particulièrement appréciées.

Dans les années 1970, Hines avait aussi enregistré des albums en solo en hommage à Louis Armstrong, Hoagy Carmichael, Duke Ellington, George Gershwin et Cole Porter. En 1974 seulement , à l’âge de plus de soixante-dix ans, Hines avait enregistré un total de seize albums. De son grand retour de 1964 jusqu’à sa mort, Hines avait enregistré plus de cent albums à travers le monde. Véritable monstre créatif, Hines pouvait entrer dans un studio et en ressortir une heure et demie plus tard après avoir enregistré un album en solo qui n’était absolument pas planifié.

Hines décrivait ainsi son travail à cette époque:

‘’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!"

À partir de 1964, Hines avait fait plusieurs tournées en Europe, plus particulièrement en France. Il avait aussi joué en Asie, en Australie et au Japon. En 1966, Hines a fait une tournée de six semaines en URSS avec le soutien du département d’État. Deux ans plus tard, il avait fait une tournée en Amérique du Sud. Lors de sa tournée de trente-cinq concerts en URSS, le Kyiv Sports Palace, d’une capacité de 10 000 sièges, était rempli à craquer, ce qui avait incité le Kremlin à annuler les concerts de Moscou et de Leningrad, sous prétexte que ceux-ci était ‘’culturellement dangereux.’’ Dans le cadre de ses tournées autour du monde, Hines jouait souvent en trio avec le batteur Oliver Jackson et les saxophonistes Lucky Thompson et Buddy Tate.

Hines avait aussi fait une performance remarquée lors du Festival de jazz de Montreux en 1974. Le concert avait plus tard été publié sous le titre de ‘’West Side Story.’’

Véritable ‘’showman’’, Hines ajoutait parfois certains ‘’effets spéciaux’’ à ses performances. Il chantait même sur certaines pièces comme "They Didn't Believe I Could Do It ... Neither Did I".

DERNIÈRES ANNÉES ET DÉCÈS

En 1975, Hines avait été l’objet d’un documentaire télévisé d’une heure réalisé pour le compte du réseau britannique ITV. Le film présentait des extraits d’un concert de Hines au club Blues Alley de Washington, DC. Le International Herald Tribune avait décrit le documentaire comme "the greatest jazz film ever made".

En 1979, Hines a été intronisé au sein du Black Filmmakers Hall Fame. En plus de se produire en solo lors des funérailles de Duke Ellington en 1974, Hines avait joué deux fois en solo à la Maison Blanche (en 1969 et 1976, respectivement en l’honneur du président de France, Georges Pompidou, et du pape Paul VI). Hines avait été particulièrement touché qu’on lui ait rendu cet hommage de son vivant et non après sa mort. Il avait déclaré: "Usually they give people credit when they're dead. I got my flowers while I was living".

Atteint d’arthrite et de problèmes cardiaques, Earl Hines avait donné son dernier concert à San Francisco quelques jours avant qu’il ne décède d’un infarctus à sa résidence d’Oakland le 22 avril 1983. Il était âgé de soixante-dix-neuf ans. Hines a été inhumé au Evergreen Cemetery à Oakland, en Californie. Ainsi que Hines l’avait souhaité, son piano Steinway avait été légué à des étudiants en musique à faible revenu. Sur le piano, on pouvait lire la plaque suivante:

‘’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.’’

Décrivant Hines comme "the most important pianist in the transition from stride to swing", le Oxford Companion of Jazz affirmait à son sujet:

‘’As he matured through the 1920s, he simplified 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 figuration (as in stride) but instead focused on a more directed melodic line, often doubled at the octave with phrase-ending 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.’’

Au début des années 1920, Hines avait été brièvement marié à la chanteuse Laura Badge, mais aucun enfant n’était né de leur union.

À la fin des années 1920, Hines avait eu une liaison avec Kathryn Perry, une chanteuse et violoniste avec qui il avait enregistré la pièce ‘’Sadie Green the Vamp of New Orleans’’. Hines avait déclaré au sujet de Perry: ‘’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". Hines avait enregistré plusieurs fois avec Perry, dont une version de ‘’Body and Soul’’ en 1935. Hines et Perry avaient fait vie commune jusqu’en 1940, mais le couple n’avait pas eu d’enfant. Hines avait alors décidé de quitter Perry pour épouser Ann Jones Reed, mais le mariage n’avait jamais eu lieu.

En 1947, Hines a épousé la chanteuse Janie Moses. Hines avait eu deux filles de son union avec Janie, Janear (née en 1950) et Tosca. Les deux filles étaient décédées avant la mort de Hines, Tosca en 1976, et Janear en 1981. Le couple avait divorcé le 14 juin 1979. Janie est décédée en 2007.

Dans son livre ‘’Louis Armstrong: Master of Modernism’’, Thomas Brothers décrivait ainsi le style de Hines:

‘’Rhythmically, Hines was very good at taking his melodic lines further and further way from the fixed foundation, creating a radical sense of detachment for a few beats or measures, only to land back in time with great aplomb when finished with his foray. The left hand sometimes joins in the action...What is especially distinctive about Hines are the startling effects he creates by harmonically enhancing these rhythmic departures. Like Armstrong, he thought of chords creatively and with great precision. But he was a step ahead of his colleague in his willingness to experiment. He became fond of radical dislocations, sudden turns of directions with dim and nonexistent connection to the ground harmony.’’

Le pianiste Teddy Wilson précisait:

‘’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 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-and-three-and-four-and. The and between "one-two-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.’’

Le trompettiste Dizzy Gillespie, qui avait joué dans l’orchestre de Hines avec Charlie Parker, le considérait comme l’inventeur du piano moderne. Gillespie expliquait:

‘’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 find 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, it's 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.’’

Quant au pianiste Lennie Tristano, il avait déclaré: "Earl Hines is the only one of us capable of creating real jazz and real swing when playing all alone."

Horace Silver précisait: "He has a completely unique style. No one can get that sound, no other pianist". Quant à Count Basie, il considérait Hines comme le meilleur pianiste au monde. Plusieurs pianistes ont été influencés par Earl Hines, dont Oscar Peterson, Bud Powell, Stan Kenton, Count Basie, Horace Henderson, Mary Lou Williams, Ahmad Jamal, Erroll Garner, Teddy Wilson, Jess Stacy, Joe Sullivan, Nat King Cole et Art Tatum.

Le pianiste et arrangeur Billy Strayhorn avait probablement fait la meilleure description de Hines lorsqu’il avait déclaré: "Technically, it is unorthodox; harmonically, it is intriguing; and actually, it is almost impossible to imitate in its entirety. His devotees are legion, his influence tremendous and his artistry incomparable."

Earl Hines a remporté plusieurs honneurs au cours de sa longue carrière. Lauréat du Silver Award du magazine Esquire en 1944, il a été intronisé au Jazz Hall of Fame en 1965. L’année suivante, Hines avait été admis au Down Beat Hall of Fame. Il avait aussi été élu à six reprises meilleur pianiste de jazz au monde par les lecteurs du magazine.

C-2023-2024, tous droits réservés, Les Productions de l’Imaginaire historique

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EUREKA BRASS BAND AND SECOND LINE DANCING 1960, NEW ORLEANS

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New Video: Preservation Hall Jazz Band's Charlie Gabriel to Release Debut Album As Bandleader, Shares Intimate, Behind-The-Scenes Visual for "I'm Confessin'" @preshallband @subpop @subpoplicity

88 year-old Charlie Gabriel is a New Orleans-born and-based saxophonist, clarinetist and vocalist, who has had an incredibly lengthy music career: Gabriel’s first professional gig was back in 1943, sitting in for his father in New Orleans’ Eureka Brass Band. As a teenager, he relocated to Detroit, where he played with Lionel Hampton, whose band at the time included a young Charles Mingus. Gabriel…

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[blackkudos]

Earl “Fatha” Hines

Earl Kenneth Hines (December 28, 1903 – April 22, 1983), was an American jazz pianist and bandleader. He was one of the most influential figures 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".

The trumpeter Dizzy Gillespie (a member of Hines's 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 find 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, it's 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."

The 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". Erroll Garner said, "When you talk about greatness, you talk about Art Tatum and Earl Hines".

Count Basie said that Hines was "the greatest piano player in the world".

Biography

Early life

Hines was born in Duquesne, Pennsylvania, 12 miles from the center of Pittsburgh, in 1903. His father, Joseph Hines, played cornet and was the leader of the Eureka Brass Band in Pittsburgh, and his stepmother was a church organist. Hines intended to follow his father on cornet, but "blowing" hurt him behind the ears, whereas the piano did not. The young Hines took lessons in playing classical piano. By the age of eleven he was playing the organ in his Baptist church. He had a "good ear and a good memory" and could replay songs after hearing them in theaters and park "concerts": "I'd be playing songs from these shows months before the song copies came out. That astonished a lot of people and 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 "before the word 'jazz' was even invented".

Early career

With his father's approval, Hines left home at the age of 17 to take a job playing piano with Lois Deppe and Hhis Symphonian Serenaders in the Liederhaus, a Pittsburgh nightclub. He got his board, two meals a day, and $15 a week. Deppe, a well-known baritone concert artist who sang both classical and popular songs, also used the young Hines as his concert accompanist and took him on his concert trips to New York. In 1921 Hines and Deppe became the first African Americans to perform on radio. Hines's first recordings were accompanying Deppe – four sides recorded for Gennett Records in 1923, still in the very early days of sound recording. Only two of these were issued, one of which was a Hines composition, "Congaine", "a keen snappy foxtrot", which also featured a solo by Hines. He entered the studio again with Deppe a month later to record spirituals and popular songs, including "Sometimes I Feel Like a Motherless Child" and "For the Last Time Call Me Sweetheart".

In 1925, after much family debate, Hines moved to Chicago, Illinois, then the world's jazz capital, the home of Jelly Roll Morton and King Oliver. Hines started in Elite No. 2 Club but soon joined Carroll Dickerson's band, with whom he also toured on the Pantages Theatre Circuit to Los Angeles and back.

Hines met Louis Armstrong in the poolroom of the Black Musicians' Union, local 208, on State and 39th in Chicago . Hines was 21, Armstrong 24. They played the union's piano together. Armstrong was astounded by Hines's avant-garde "trumpet-style" piano playing, often using dazzlingly fast octaves so that on none-too-perfect upright pianos (and with no amplification) "they could hear me out front". Richard Cook wrote in Jazz Encyclopedia that

[Hines's] most dramatic departure from what other pianists were then playing was his approach to the underlying pulse: he would charge against the metre of the piece being played, accent off-beats, introduce sudden stops and brief silences. In other hands this might sound clumsy or all over the place but Hines could keep his bearings with uncanny resilience.

Armstrong and Hines became good friends and shared a car. Armstrong joined Hines in Carroll Dickerson's band at the Sunset Cafe. In 1927, this became Armstrong's band under the musical direction of Hines. Later that year, Armstrong revamped his Okeh Records recording-only band, Louis Armstrong's Hot Five, and hired Hines as the pianist, replacing his wife, Lil Hardin Armstrong, on the instrument.

Armstrong and Hines then recorded what are often regarded as some of the most important jazz records ever 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 final small-group sessions something like a reluctant farewell to jazz's first golden age. Since Hines is also magnificent 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 finer or more moving than the playing on "West End Blues", "Tight Like This", "Beau Koo Jack" and "Muggles".

The Sunset Cafe closed in 1927. Hines, Armstrong and the 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". But as Louis Armstrong and His Stompers (with Hines as musical director and the premises rented in Hines's name), they ran into difficulties trying to establish their own venue, the Warwick Hall Club. Hines went briefly to New York and returned to find that Armstrong and Singleton had rejoined the rival Dickerson band at the new Savoy Ballroom in his absence, 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".

Hines joined the clarinetist Jimmie Noone at the Apex, an after-hours speakeasy, playing from midnight to 6 a.m., seven nights a week. In 1928, he recorded 14 sides with Noone and again with Armstrong (for a total of 38 sides with Armstrong). His first piano solos were recorded late that year: eight for QRS Records in New York and 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 her, "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". Perry recorded several times with Hines, including "Body & Soul" in 1935. They stayed together until 1940, when Hines "divorced" her to marry Ann Jones Reed, but that marriage was soon "indefinitely postponed".

Hines married Janie Moses in 1947. They had two daughters, Janear (born 1950) and Tosca. Both daughters died before he did, Tosca in 1976 and Janear in 1981. Janie divorced him on June 14, 1979.

Chicago years

On December 28, 1928 (his 25th birthday and six weeks before the Saint Valentine's Day massacre), the always-immaculate Hines opened at Chicago's Grand Terrace Cafe leading his own big band, the pinnacle of jazz ambition at the time. "All America was dancing", Hines said, and for the next 12 years and through the worst of the Great Depression and Prohibition, Hines's 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 fierier."

The Grand Terrace was controlled by the gangster Al Capone, so Hines became Capone's "Mr Piano Man". The Grand Terrace upright piano was soon replaced by a white $3,000 Bechstein grand. 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 that's 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 different people that would bring information in the newspaper and the next day you would find them out there in the lake somewhere swimming around with some chains attached to their feet if you know what I mean.

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 live broadcasting across time zones in the United States. The Hines band became the most broadcast band in America. Among the listeners were a young Nat "King" Cole and Jay McShann in Kansas City, who said his "real education came from Earl Hines. When 'Fatha' went off the air, I went to bed." Hines's most significant "student" was Art Tatum.

The Hines band usually comprised 15- to 20 musicians on stage, occasionally up to 28. Among the band's 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 Jefferson, Budd Johnson, Jimmy Mundy, Ray Nance, Charlie Parker, Willie Randall, Omer Simeon, Cliff Smalls, Leon Washington, Freddie Webster, Quinn Wilson and Trummy Young.

Occasionally, Hines allowed another pianist sit in for him, the better to allow him to conduct the whole "Organization". Jess Stacy was one, Nat "King" Cole and Teddy Wilson were others, but Cliff Smalls was his favorite).

Each summer, Hines toured with his whole band for three months, including through the South – the first black big band to do so. 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."

In Duke Ellington's America, Harvey G Cohen writes:

In 1931, Earl Hines and his Orchestra "were the first 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 first 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".

The birth of bebop

Hines provided the saxophonist Charlie Parker with his big break, until Parker was fired for his "time-keeping" – by which Hines meant his inability to show up on time, despite Parker's resorting to sleeping under the band stage in his attempts to be punctual. The Grand Terrace Cafe had closed suddenly in December 1940; its manager, the cigar-puffing Ed Fox, disappeared. The 37-year-old Hines, always famously good to work for, took his band on the road full-time for the next eight years, resisting renewed offers from Benny Goodman to join his band as piano player.

Several members of Hines's band were drafted into the armed forces in World War II – a major problem. Six were drafted in 1943 alone. As a result, on August 19, 1943, Hines had to cancel the rest of his Southern tour. He went to New York and hired a "draft-proof" 12-piece all-woman group, which lasted two months. Next, Hines expanded it into a 28-piece band (17 men, 11 women), including strings and French horn. Despite these wartime difficulties, Hines took his bands on tour from coast to coast. and 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 recording ban during the 1942–44 musicians' strike ) that late-night jam sessions with members of Hines's band's lay the seeds for the emerging new style in jazz, bebop. Ellington later said that "the seeds of bop were in Earl Hines's piano style". Charlie Parker's biographer Ross Russell wrote:

... The Earl Hines Orchestra of 1942 had been infiltrated by the jazz revolutionaries. Each section had its cell of insurgents. The band's sonority bristled with flatted fifths, off 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.

As early as 1940, saxophone player and arranger Budd Johnson had "re-written the book" 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, Cliff 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 difference was in how you got from here to here to here ... naturally each age has got its own shit.

The links to bebop remained close. Parker's discographer, among others, has argued that "Yardbird Suite", which Parker recorded with Miles Davis in March 1946, was in fact based on Hines' "Rosetta", which nightly served as the Hines band theme-tune.

Dizzy Gillespie described the Hines band, saying, "We had a beautiful, beautiful band with Earl Hines. He's a master and you learn a lot from him, self-discipline and organization."

In July 1946, Hines received serious head injuries in a car crash near Houston which, despite an operation, affected his eyesight for the rest of his life. Back on the road again four months later, he continued to lead his big band for two more years. In 1947, Hines bought the biggest nightclub in Chicago, The El Grotto, but it soon foundered with Hines losing $30,000 ($364,659 today). The big-band era was over – Hines had had his for 20 years.

Rediscovery

In early 1948, Hines joined up again with Armstrong in the "Louis Armstrong and His All-Stars" 'small-band'. It was not without its strains for Hines. A year later, Armstrong became the first 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 being used only as a sideman in comparison to his old friend. Armstrong said of the difficulties, mainly over billing, "Hines and his ego, ego, ego ...", but after three years and to Armstrong's annoyance, Hines left the All Stars in 1951.

Next, back as leader again, Hines took his own small combos around the United States. He started with a markedly more modern lineup than the aging All Stars: Bennie Green, Art Blakey, Tommy Potter, and 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, Hines settled "home" in Oakland, California, with his wife and two young daughters, opened a tobacconist's, and came close to giving up the profession.

Then, in 1964, thanks to Stanley Dance, his determined friend and unofficial manager, Hines was "suddenly rediscovered" following a series of recitals at the Little Theatre in New York, which Dance had cajoled him into. They were the first piano recitals Hines had ever given; they caused a sensation. "What is there left to hear after you've heard Earl Hines?", asked John Wilson of the New York Times . Hines then won the 1966 International Critics Poll for Down Beat magazine's Hall of Fame. Down Beat also elected him the world's "No. 1 Jazz Pianist" in 1966 (and did so again five more times). Jazz Journal awarded his LPs of the year first and second in its overall poll and first, second and third in its piano category. Jazz voted him "Jazzman of the Year" and picked him for its number 1 and number 2 places in the category Piano Recordings. Hines was invited to appear on TV shows hosted by Johnny Carson and Mike Douglas.

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, 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, Stuff Smith, Rex Stewart, Maxine Sullivan, Buddy Tate, Jack Teagarden, Clark Terry, Sarah Vaughan, Joe Venuti, Earle Warren, Ben Webster, Teddy Wilson (duets in 1965 and 1970), Jimmy Witherspoon, Jimmy Woode and Lester Young. Possibly more surprising were Alvin Batiste, Tony Bennett, Art Blakey, Teresa Brewer, Barbara Dane, Richard Davis, Elvin Jones, Etta Jones, the Ink Spots, Peggy Lee, Helen Merrill, Charles Mingus, Oscar Pettiford, Vi Redd, Betty Roché, Caterina Valente, Dinah Washington, and Ry Cooder (on the song "Ditty Wah Ditty").

But the most highly regarded recordings of this period are his solo performances, "a whole orchestra by himself". Whitney Balliett wrote of his solo recordings and performances of this time:

Hines will be sixty-seven this year and his style has become involuted, rococo, and subtle to the point of elusiveness. It unfolds in orchestral layers and it demands intense listening. 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 will play the first two choruses softly and out of tempo, unreeling placid chords that safely hold the kernel of the melody. By the third chorus, he will have slid into a steady but implied beat and raised his volume. Then, using steady tenths in his left hand, he will stamp out a whole chorus of right-hand chords in between beats. He will vault into the upper register in the next chorus and wind through irregularly placed notes, while his left hand plays descending, on-the-beat, chords that pass through a forest of harmonic changes. (There are so many push-me, pull-you contrasts going on in such a chorus that it is impossible to grasp it one time through.) In the next chorus—bang!—up goes the volume again and Hines breaks into a crazy-legged double-time-and-a-half run that may make several sweeps up and down the keyboard and that are punctuated by offbeat single notes in the left hand. Then he will throw in several fast descending two-fingered 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 finished 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.

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, the managing editor of the San Francisco Chronicle. In 1974, when he was 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". From his 1964 "comeback" until his death, 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. Retakes were almost unheard of except when Hines wanted to try a tune again in some other wat, often completely different.

From 1964 on, Hines often toured Europe, especially France. He toured South America in 1968. He performed in Asia, Australia, Japan and, in 1966, the Soviet Union, in tours funded by the U.S. State Department. During his six-week tour of the Soviet Union, in which he performed 35 concerts, the 10,000-seat Kiev Sports Palace was sold out. As a result, the Kremlin cancelled his Moscow and Leningrad concerts as being "too culturally dangerous".

Final years

Arguably still playing as well as he ever had, Hines displayed individualistic quirks (including grunts) in these performances. He sometimes sang as he played, especially his own "They Didn't Believe I Could Do It ... Neither Did I". In 1975, Hines was the subject of an hour-long television documentary film made by ATV (for Britain's commercial ITV channel), out-of-hours at the Blues Alley nightclub in Washington, DC. The International Herald Tribune described it as "the greatest jazz film ever made". In the film, Hines said, "The way I like to play is that ... I'm an explorer, if I might use that expression, I'm looking for something all the time ... almost like I'm trying to talk." He played solo at Duke Ellington's funeral, played solo twice at the White House, for the President of France and for the Pope. Of this acclaim, Hines said, "Usually they give people credit when they're dead. I got my flowers while I was living".

Hines's 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 benefit 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.

Hines was buried in Evergreen Cemetery in Oakland, California.

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 simplified 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 figuration (as in stride) but instead focused on a more directed melodic line, often doubled at the octave with phrase-ending 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.

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, that's my style, that's 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 amplification, so the singers used to use megaphones and they didn't have grand-pianos for us to use at the time – it was an upright. So when they gave me a solo, playing single fingers 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 that's what changed the style of piano playing at that particular time.

In their book Jazz (2009), Gary Giddins and Scott DeVeaux wrote of Hines's 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 man's 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 fingers surgically removed.

Pianist Teddy Wilson wrote of Hines's 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-and-three-and-four-and. The and between "one-two-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.

Oliver Jackson was Hines's frequent drummer (as well as a drummer for Oscar Peterson, Benny Goodman, Lionel 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 difficult to accompany. Why? “They could play in like two or three different 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 that’s 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 quarter-note triplets or sixteenth notes. So you got this whole conglomeration of all these different tempos going on”.

Of Hines's later style, The Biographical Encyclopedia of Jazz says of Hines' 1965 style:

[Hines] uses his left hand sometimes for accents and figures that would only come from a full trumpet section. Sometimes he will play chords that would have been written and played by five 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.

Later still, then in his seventies and after a host of recent solo recordings, Hines himself said:

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!

Selected discography

Hines' first-ever recording was, apparently, made on October 3, 1923 at Richmond, Indiana, when he was aged 19. Records commercially available as new, as of February 2016, are shown emboldened in the lists below: many more usually available second-hand on e-bay

The 1930s, classic jazz and the swing era:

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

That's 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 with Victor and recorded a number of sides in 1929. In 1932, he signed with Brunswick and recorded with them through mid-1934 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 Victor's Bluebird label in July 1939 and recorded prolifically right up the recording ban in mid-1942]

Swing to bebop transition years, 1939-1945: (Big bands were particularly affected 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 Duke's Men: (with Ellington side-men) (1st 1944): reissued Delmark 1994

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

Classics, 1947-1949 (includes Eddie South) Classics

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

The Real Earl Hines: (1st "Rediscovery" concert at Little Theatre, NY, 1964) Focus & Collectibles Jazz Classics: reissued

Earl Hines: The Legendary Little Theatre Concert (2nd "Rediscovery" concert): Muse 1964

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

Earl Hines: '65 Solo - The Definitive Black & Blue Sessions: Black & Blue 1965

Earl Hines: Fatha's Hands - Americans Swinging in Paris EMI 1965

Earl Hines: Hines' Tune: (live in France with Ben Webster, Don Byas, Roy Eldridge, Stuff Smith, Jimmy Woode & Kenny Clarke): Wotre Music/Esoldun 1965: reissued

Once Upon a Time with Ellington side-men: Verve 1966

Stride Right with Johnny Hodges: Verve 1966

Jazz from a Swinging Era (with All-Star group in Paris): Fontana 1967

Earl Hines & Jimmy Rushing: Blues & Things 1967

Swing's Our Thing with Johnny Hodges: Verve 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 Armstrong's death)

Earl Hines Plays Duke Ellington (New World, 1971-1975 [1988]) reissue of Master Jazz LPs

Earl Hines Plays Duke Ellington Volume Two (New World, 1971-1974 [1997]) reissue of Master Jazz LPs

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

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

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 Plays Cole Porter (New World, 1974 [1996])

West Side Story (Black Lion 1974)

Hines '74 (Black & Blue, 1974)

The Dirty Old Men (Black & Blue, 1974) with Budd Johnson

Earl Hines at Sundown (Black & Blue, 1974)

Earl Hines/Stephane Grappelli duets, The Giants: Black Lion 1974

Earl Hines/Joe Venuti duets: Hot Sonatas: Chiaroscuro 1975

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

Earl Hines: In New Orleans: solo: Chiarascuro 1977

An Evening With Earl Hines: with Tiny Grimes, Hank Young, Bert Dahlander and Marva Josie: Disques Vogue VDJ-534 1977

Earl 'Fatha' Hines plays Hits he Missed: (inc Monk, Zawinul, Silver): Direct to Disc M & K RealTime 1978

(It would seem that Hines' last-ever recording was on December 29, 1981.)

On anthologies:

The Complete Master Jazz Piano Series: 13 Hines solo numbers: Mosaic MD4 140 (with Jay McShann, Teddy Wilson, Cliff Smalls, etc.) 1969-1972

Les Musiques de Matisse & Picasso: included Louis Armstrong & Earl Hines: West End Blues: Naive 2002

As sideman:

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

With Johnny Hodges: 3 Shades of Blue: Flying Dutchman 1970

Wikipedia

[mosaicrecords]

Albert & Donald Ayler: The Nat Hentoff DownBeat Interview

This is a fascinating piece from DownBeat in 1966 by Nat Hentoff interviewing Albert and Don Ayler. Their music stood apart from the rest of the “avant garde” movement of the time. They sounded like no one in musical language and influence. I didn’t really come to understand or feel their music until I discovered the pure New Orleans music of groups like the Eureka Brass Band from whence such emotive collective improvisation began.

-Michael Cuscuna

Read the article… Follow: Mosaic Records Facebook Tumblr Twitter

[discrepant]

Death in Haiti: Funeral Brass Bands & Sounds from Port Au Prince (Discrepant, March 2018) Recorded in Port au Prince by sound artist Félix Blume in early December 2016, Death in Haiti plunges the listener into a world of pain, loss and solemn celebration as each funeral comprises of its own live jazz band as well as a plethora of characters like the joker (le blaguer) who cracks jokes and tales about the recently deceased. A beautiful document of a thriving tradition, a counterpart or updated version of those famous Dirge Jazz records such as the New Orleans’ Eureka Brass Band on Folkways. Here are some of the musicians holding their copies, courtesy of @felix____blume. Only an handful of copies left in out bandcamp and website. #sundayservice #discrepant #haiti #felixblume #vynil (at Port-au-Prince, Haiti) https://www.instagram.com/p/CPygBCqrNQK/?utm_medium=tumblr

[shemakesmusic-uk]

INTERVIEW: Katie Von Schleicher.

Katie Von Schleicher’s deeply personal new album, Consummation, is out today via Full Time Hobby. While exploring past trauma, Von Schleicher greatly expands her sonic palette; its 13 shape-shifting songs are at once potent and listenable, strange and familiar, and, perhaps most of all, teeming with life. At its core, Consummation evokes the pain of being unable to bridge that vast psychic distance between oneself and another.  

The follow-up to her 2017 debut Shitty Hits, Consummation is, in part, inspired by an alternate interpretation of Hitchcock’s Vertigo. Von was struck by its largely unanalyzed subtext of abuse. She knew immediately that this hidden narrative, which spoke to her personal experience, would be the basis of her album. Rebecca Solnit’s A Field Guide to Getting Lost also proved to be particularly influential; soon after revisiting Vertigo, Von Schleicher stumbled upon Solnit’s lacerating take on the film, describing the “wandering, , stalking, haunting” of romantic pursuit that it depicts as “consummation,” while “real communion”—understanding and mutual respect between two lovers—is, to the men in the film, “unimaginable.” The consequence is a fundamental failure of communication.

We caught up with Katie and discussed the making of Consummation, what she would change about the music world today and much more. Read the interview below.

Hi Katie! We last spoke with you three years ago around the time that you released Shitty Hits. How has life been since then? And how have you been coping with the current lockdown?

"Lots of touring occurred after that. I’ve been fine, if I had to sum up three years in a sentence. I live in Brooklyn and I’m a little worried about the coming hot weather - the park is packed on any nice day. The lockdown is tough for creativity, surprisingly not terrible for my anxiety, bad for sleeping patterns."

You're gearing up to release your new LP Consummation which is, in part, inspired by an alternate interpretation of Hitchcock’s Vertigo.

"I started writing in late 2018 after watching Vertigo. The Weinstein scandal was everywhere, there were fresh lenses through which to see society and our experiences. I remember earlier that fall having dinner with my sisters and sisters-in-law, the six of us together with age gaps as much as twenty years and wide political differences of opinion. We discussed what was going on, it turned personal, and suddenly everyone was sharing their experiences with men. I’d never had a conversation like that with them before.

"I had anger. I grew up being friendly with a man who’d abused my mom because that’s considered private business, because domestic abusers don’t always get excommunicated and they certainly don’t get called out at the dinner table. It’s her business and she can laugh about it, because she’s strong as hell, and I respect that. We talked about it at the sibling dinner, and not everyone is in agreement that it even happened. That’s a side effect of silence.

"Hitchcock notedly was abusive to his leading women. Maybe that’s why Vertigo, which is so many films in one, felt more like watching A Woman Under The Influence that December than it had the first time, which is to say it felt like a character study of a woman falling apart under duress. It’s almost like Hitchcock inadvertently imbued it with the personal. Anyway, it doesn’t matter, that’s just how I felt, and I used it as a guiding principle. I knew the colors for the album would be blue and green, that I’d talk about heights (the working title was Climbing Mountains With Assholes, citing the movies Force Majeure and 45 Years, and that bell tower from Vertigo).

"The result isn’t transparently as heavy as all that, or as direct. It’s just what filled me up while I made the record."

What were your musical influences for Consummation? Who were you listening to around the time of writing it?

"I made a playlist for mix engineer Eli Crews this time around (he mixed Shitty Hits as well). It has Anne Laplantine, US Girls, Francis Bebey, Shuggie Otis, The Eureka Brass Band, Low, Robyn, Jenny Hval, Julia Holter, Frank Ocean, Cate Le Bon, Prince, Tim Hecker, Mitski, Kevin Ayers, Iceage. There are some people who’ve influenced me endlessly: Cate Le Bon, whose shows last year I legit teared up at. Arthur Russell, Elliott Smith always. Devo was one that surprised me this time around. I’m not sure if you can hear the influences, but on ‘Wheel’ there’s a ring modulator on my lead guitar, and that was directly influenced by Devo."

What was your songwriting/creative process for Consummation? Was it similar to Shitty Hits or did you do things differently this time around?

"I always do one thing, which is write in total solitude. That’s been coming up lately because I have a roommate, and I was explaining that I have a hard time writing with any kind of ‘perceived audibility.’ With Consummation I had a fresh set of intentions and I feel like I forced things to conform to them more than usual. I reached a new place with making music: I realized I’m going to write songs my whole life, no matter what, and that they won’t stop coming, and I stopped being afraid. Being less afraid made me able to work with more guidelines, to steer the songs more tightly, and to have more fun. ‘Messenger,’ ‘Loud,’ ‘Caged Sleep,’ ‘Wheel’, ‘Can You Help?’ and ‘Power’ were all rhythmically led. I worked with drum machines. I thought about tempo and I forced myself to write on guitar, which also has a different harmonic logic than what I do on a keyboard. Shitty Hits was far more keyboard-driven. Touring a lot made me want to play guitar more live, and make music that transported me differently than my previous set of songs."

What do you hope fans will take away from Consummation?

"Even more than allegiances to artists or albums or bodies of work, I love songs. I hope someone finds a magic song on the album, the kind of song you put on late at night, the kind of song that legitimizes how you feel. If the whole record has some of that, even better."

Let's talk about your most recent music video for 'Wheel', directed by V Haddad. How did the collaboration come about and what inspired the concept of the video?

"I’ve admired V’s work for a while, and found out she lives in LA, so imagined we couldn’t do anything together on this record. After quarantine took over I realized that no longer mattered, and I’m glad she wanted to do it. V came up with the concept from the dual inspiration of the music itself and the limitations of our abilities to leave the house."

You donated the budget of the video to Safe Horizon and are also fundraising for the charity via Spotify. What made you decide to do that and what does their cause mean to you?

"I’m still working on it for Spotify! I keep reaching out. We did donate the budget, so far. Donating her fee was also V’s suggestion. I had originally asked V to do a song called ‘Brutality,’ which is directly about domestic abuse, and I’m not sure if that informed part of her suggestion.

"It means a lot to me, only more over time. Abuse is absolutely isolating. I can’t imagine how the current situation compounds or intensifies that."

If you weren’t making music, what would you be doing?

"For the whole of my life? Impossible to say, but I have alternately looked at grad programs while in lockdown and played Mario Kart on Switch against some of my favorite songwriter friends. Maybe we’ll all become professionals at Kart someday."

With having more time to reflect on things these days, if there was one thing you could change about the music world, what would it be?

"There are more than a few things socially wrong with it, representation-wise. But if I had to do one single overhaul, I’d want to see music imbued with value again. Technological progress has changed the way we commodify everything, and as much as I enjoy the accessibility of streaming, I miss an album having value. I rented a car a couple years ago and drove down the coast of California and into the desert. We bought CDs at Amoeba Records in San Francisco because it only had a CD player, and so for a week we had only a few albums to choose from. In college I’d go to Twisted Village in Cambridge, MA, and take a chance on some truly weird shit, and sometimes I’d spent $18 on a CD I didn’t even like. Was it better? I’m going to relent and say not necessarily because I like that artists are thrown together on playlists on a streaming platform, honestly. Small artists get heard, but they get a spin. The psychology is different, it’s not just that as listeners we don’t value ownership of an album enough to make ourselves live with it for weeks at a time. It’s that as a musician I think the product is also devalued. The advice I get, from the business side, is to release music constantly, because that’s the new way to get attention, just never stop. A lockdown occurs, your album’s about to come out, and someone says the solution is to make and release singles into the ether. Avid listeners may relate to this - something you love wasn’t necessarily your favorite thing on the first three to five spins, even. The music that’s really mattered in my life, thanks a lot to finding it pre-streaming, was something I barely understood at first and came to understand through a bit of meeting it halfway. The psychology, as an artist, of making things constantly because you know it won’t be met halfway, is a bummer. The potential outcome is a lot of sonic conformity."

Finally, are you working on anything at the moment during quarantine? And what do you have planned when all of it blows over? I expect you're keen to get out on the road to tour the album?

"My mindset is that this may be a long haul, and I don’t know exactly how to prepare for trying to play an album live for the first time on the year anniversary of its release. I hope to tour again, I hope my lovely booking agents are able to stay in business. Right now I’m working on a collection of songs that will be recorded to tape with strings and woodwinds and orchestration. Beautiful, lush, tranquil, those are the goals - and it’s nice to just let them be what they are. In the meantime I may throw a few singles into the ether."

Consummation is out now.

Photo credit: Shervin Lainez

[lipwak]

VHS #370

Food Finds - New Orleans & Cajun Cooking on the Food Channel… Wayne Baquet on gumbo, New Orleans Over Night co, crawfish boil, berl a little water, Crescent City Farmer’s Market, making file’ by hand, The Gumbo Shop, roux, Savoie’s roux. *** Dancing to New Orleans20032 hrs w/ commercialsBravoaudio has static https://www.amazon.com/Dancing-Orleans-Dirty-Dozen-Brass/dp/B0000AQS40 Buckwheat Zydeco, Michael Doucet, Gregory Davis (Dirty Dozen BB),My  Feet Can’t Fail Me Now, Jazz Fest sights, Louisiana Hayride, the song Jambalaya is based on Grand Texas, Jerry Lee Lewis, You Win Again, Great Balls of Fire, raymond miles at Jazz fest! (gospel), Can’t Nobody Do Me Like Jesus (Ray-Ban stage) William Ferris, blues, Big Jack Johnson, white slide blues guy - John Campbell in a theater, Leadbelly style, texas banjo style, Gatemouth Brown at Jazz fest - Born In Louisiana, tells of his start and his music, teach kids the right way of life, Joe Krown, fiddle tune hoedown, cajun & zydeco, Francis pavy artist, clifton chenier, cj chenier at jazz fest, happy feet music, played sax with his father, froittoir maker, LA is unique, buckwheat zydeco at his farm, on stage at night, on stage at Jazz fest, hard to stop (https://youtu.be/OHlHt7Djcg0) this clip? 2007, talks about his start, didn’t like zydeco then, played with Clifton Chenier, Junior Martin accordion maker (melodeon), beausoleil at Jazz Fest  la danse de la vie!, have fun and be who you are, pic w/ Canray, courir de mardi gras, mardi gras in iota, a cappella women, ann savoy, music is the glue that holds the culture together, 12 year-old amanda shaw – little black dog at home, new orleans, zulu social aid and pleasure club, lionel ferbos at 91, palm court jazz band (trad jazz) shake it break it hang it on the wall, tells of his history, Maison Bourbon, brass bands, Louis Armstrong, dirty dozen brass band, gregiry davis, at jazz fest in tent, on main stage, my feet can’t fail me now, inspired by dancers in new orleans, monday night at the glass house, buck dancing, shake something, acura stage, meet de boys on de battle front, mardi gras indians/neville brothers, costumes, bo dollis, Monk Boudreaux, uptown vs downtown indian costumes, neville brothers on stage at jazz fest,  voodoo – neville brothers at jazz fest, congo square, charles gillam – wood carver, i learned my lesson the hard way - bleeding, 50s music, allan toussaint on stage, irma thomas – ruler of my heart! (dew drop inn revisted, jazz fest 1992), professor longhair, neville brothers on stage at jazz fest - tipitina (have seen this jazz fest before – same clothes) *** Mardi Gras Revealed Travel Channel(duplicate – see #369, fewer “and another secret is”) same as Best of the Big Easy/The Secrets of Mardi Gras *** black *** Best Of The Big EasyTravel Channel1 hr 2/24 Same as on #369. *** black *** 5) All On A Mardi Gras Day - black carnival in NO1 hr, WYES2/24, WLIWaudio static at times https://www.amazon.com/Mardi-Gras-Chief-Tootie-Montana/dp/0615206271 Go To The Mardi Gras - Professor Longhair, mardi Gras indians, baby dolls, skeleton and bone gangs, “Goat" Carson, Indians, Carnival in Parisian style, Kalamu u Salam, Haitian refugees, code noir, congo square, dances in rings/circles, blacks appropriated the holiday and made it their own, indians followed the blacks, Handa Wanda - Bo Dollis & Wild Magnolias, response to rise of hate when Union troops after Emancipation Proclamation left started Mardi Gras Indians and jazz, Buffalo Bill Wild West Show made an impression?, Tootie Montana, bead work is both african and indian, uptown indian style, Tuba Fats, New Suit - Wild Magnolias, Donald Harrison Jr, the weekend before Mardi Gras day - no rest, Monk Boudreaux, spy boy, flag boy, wild man lowest position in the tribe, warrior culture, drink gunpowder and gin, leads to violence, knives and hatchets, rivalry of uptown and downtown, change from violence to beauty, being pretty, my big chief got a golden crown, turn of the century, parading krewes, mock king to rule the day, flambeaux, zulu, from The Tramps, arrive by tugboat, blackened their faces, parody of Mardi Gras, big shot, baby dolls, no schedule, stayed as long as they wanted if they were having a good time, Louis Armstrong as king of zulu, perdido st, gorilla, mocking Rex, politically incorrect, black bourgeoisie embraced it after civll rights, witch doctor was a white guy, rained badly that day, cocoanuts, Street Parade - Earl King, baby dolls started in 1912 by prostitutes, Uncle Lionel, men dressed as baby dolls, cross dressing is as old as Mardi Gras, the dirty dozen, music on pots and pans, claiborne av, skull and bone gangs, Mr Brown - Bob marley, bloody meaty bones, grown people were afraid of them, bruce barnes as a park ranger, Hey Pocky A-Way - Meters, second line, african rhythms from west africa, bamboula rhythm, can’t have mardi gras without the music, Rex can, we can’t, mardi gras indians, indian red, eureka brass band, gallier hall, mardi gras mambo -the hawketts, al johnson - carnival time, our carnival was on clairborne, I-10 impacted clairborne, memphis blues - louis james string band, Big Al Carson - All On A Mardi Gras Day *** Mardi Gras 2005: 45 min Pontchatrain parade excerptsfull screen from computer~1/2 hrJeff and red haired girl jerky video 1/29/05Sparta & Pegasusblond frat guy and brunette woman 1/30/05a little bourbon st interviews yellow bird woman, flash big (censored), again, Sara, (Then intro to Saturday 1/29/05 bourbon st interviews which gets cut off.)

[theseventhhex]

Cloud Castle Lake Interview

Cloud Castle Lake

Dublin-based four piece Cloud Castle Lake make beguiling, complicated and bold compositions. They share a common ambition to push the lens of live performance wider, to go outside the constrictions set by genres, and to explore beyond traditional sonic structures. Starting out as ‘a minor act of rebellion’, it was purely about having fun, however, it soon dawned on the band that what they'd conjured together out of a mutual affection for Radiohead and Sigur Ros, Aphex Twin and Bjork, was really working. On their stunning debut entitled ‘Malingerer’, Cloud Castle Lake's music juxtaposes lyrical darkness and despair with an almost euphoric catharsis evolving their sound from post-rock leanings to something far more jazz-inflected, electronic and liberated... We talk to band member Brendan Jenkinson about not forcing the music, touring America and boarding school in Kildare…

TSH: The live band parts of ‘Malingerer’ were recorded in Attica studios in the north of Ireland. It was a very isolated time for you guys, how would you sum up the time spent out there?

Brendan: We were there for five days or so recording the bones of the record. It was a fun few days whereupon our producer Rob kind of took charge and made sure we didn’t stress out too much. We were allowed plenty of time to relax and focus freely, which helped the recordings we did there to turn out so well.

TSH: Would you say that you have a mix of embracing the trial and error alongside the experimental approaches when creating new music?

Brendan: Yeah, we feel like having a balance between the two results in positive outcomes for us. Some of the songs on this record purposely lack pace, whereas others required a fair bit of experimenting in the studio - it was about getting them right in the moment. However, there were other tracks which consisted of a pretty long process involving trial and error in our studio in Dublin. I guess it was key to do a lot of writing by recording ourselves so we could get the tension and release to feel right.

TSH: You didn’t really want to force the music or to have a very formulaic approach...

Brendan: Yeah, which had its own benefits certainly. Having an open mind whilst forming these tracks was good because each song ended up having its own identity. We kind of had a code for the writing of each song; therefore we kind of just allowed every track to become itself in ways. I guess when you are creating new music there is normally a eureka moment of some kind which really helps us to make sense of the song and this is what we were attempting to capture.

TSH: You guys were also listening to a diverse range of music as you shaped this record, including the likes of Alice Coltrane and Aphex Twin...

Brendan: I think listening to a range of different artists including the ones you just mentioned helps to keep things fresh in the studio. When you allow the work of others to sink into your system you get to discover different atmospheres and new musical styles.

TSH: What was it like to form such an epic tune like ‘Twins’?

Brendan: That song was quite challenging and we tried a lot of different versions. It actually started with only four chords, I don’t even know what appealed to us about this song at the very beginning but we kept going with it. That song was kind of like a Jenga tower where you take out one piece and the whole thing kind of collapses, ha! That’s why it took a long time to figure out.

TSH: ‘Bonfire’ also was quite tricky to formulate too...

Brendan: Yeah, that was another song that was tricky to finalise, I spent a lot of time fleshing out parts of it on my own, but it came together quite quickly. I feel that once the choir got involved the song took on a new life and it really fell into place.

TSH: It must be cool to know that listeners are having personal connections with your music too?

Brendan: For sure, that’s a real highlight for us. Once the songs are out, they are no longer our songs. It’s nice to let go of them and to hear that other people can have connections with them and enjoy the songs in the way we enjoy the music of other artists.

TSH: The band’s live shows are more expansive now too, you’ve added trumpets and saxophones to the live shows...

Brendan: With the inclusion of brass in our live format we’ve put ourselves in the best spotlight because we have a lot of arrangements that require brass. Having the sax and trumpets really adds a flavour that fits so naturally with our music. Also, the four of us are so close together so often we rehearse together a lot, but when we go on tour we have a few new brass players to get involved and add new depth. It’s great to see songs click with other players who are not used to our music during the live performances.

TSH: What was it like to tour and drive across America?

Brendan: It was so cool. From Los Angeles to Chicago to Boston that country is just so different and unique in so many ways. We probably didn’t get enough time to experience the culture all that much but we definitely got a snapshot feeling of America as a whole, especially when you go from the West Coast to the East Coast. I really do feel that there is a strangeness that comes into play with America overall.

TSH: Do you feel there isn’t much room for real communication with today’s digital age?

Brendan: There certainly is a level of information overload with the internet today and there isn’t very much room for nuance with online communication, therefore people tend to want to get very expressive about things. People feel the need to say whatever comes into their mind and because they feel they can give their opinion on anything it often leads to a lot of unnecessary conflicts.

TSH: What’s downtime like for the band?

Brendan: I guess we’re all really into movies. I really enjoyed The Phantom Thread and I’m a big fan of the Paul Thomas Anderson films. Oh, Dunkirk was fantastic too!

TSH: What sort of memories come to mind when you think back to going to boarding school in Kildare together?

Brendan: Haha, good question! It was the kind of place where you didn’t really like it at the time but thinking back there are a lot of fond memories to look back on. The first two years were really regimented; you couldn’t really step outside of the schedule and stuff like that. However, as you go along you get a bit more freedom, the fifth and sixth years consisted of a lot more liberty and we were even playing music then too. More importantly in the final two years we learnt more about each other and ourselves - those years were a lot of fun - we’d sneak out of a huge ground and we’d go to the cricket pavilion to drink booze.

TSH: Are you always looking to change the conversation with each piece of music you guys form?

Brendan: I think that’s exactly it, to always switch it up. Every song we do we always try to do something different and try to find new ground for ourselves. It’s interesting to see what our limits and parameters are, but it’s also very important to challenge ourselves. Right now we really just want to master our live shows and tour as much as we can, the experiences with both of these in mind will allow us to become a really solid band.

Cloud Castle Lake - “Twins”

Malingerer

[auctiondigz]

Real Estate & Personal Property Auction

Great Auction Posted https://www.auctiondigz.com/auction/missouri/clarence/other/real-estate-personal-property-auction/

Real Estate & Personal Property Auction

Real Estate & Personal Property Auction Saturday, September 9th, 2017 at 10:00am 411 W. Elm Street • Clarence, MO Personal Property of Jerry & Connie Arter Directions: From Hwy. 151 go South to Elm St. Turn West on Elm St. and continue to auction on the corner of Elm & College. Watch for signs day of sale.

Real Estate: 3 bedroom, 2 bath Ranch Style home with open kitchen, on a full dry basement with washer & dryer hookups. 2 car attached garage, garden shed, nice shaded yard in quiet neighborhood. To view call Scott at 573-356-4405. Terms: 10% down day of sale with remainder due at closing.

Vehicles: 1934 Chevy 2dr. Sedan Master, V-8 Camaro, 305 bored to 345, air conditioning, Mustang II front end, disk brakes, peanut brittle ostrich skin upholstery, 3,000 miles since built; 2003 Mitsubishi Spider Eclipse convertible, V-6 24 valve automatic, 64,000 miles; 2005 Chrysler 300C Hemi, 4 door, sunroof, leather, 111,000 miles, driven daily; 1997 Chevy S-10, customized, 350 Camaro V-8 motor with Cam, bed cover, custom tail lights;

Lawn, Garden, Tools & Misc.: John Deere LA 130 Automatic Riding Mower, 48” deck; Poulan Pro self propelled push mower yard sweep; Weedeater; Leaf blower; Garden hose reel & hose; Expanded metal patio set; Vintage metal glider; BBQ grill; 4 sets of golf clubs; Bicycles; Cold Wash strip tank with barrel of stripper; Guardian Power 5 spd. bench top drill press; 6” bench grinder w/Smith sharpening wheels; Bell Star V Helmet; Hereford Cow cast iron boot scraper; Cast sad irons; Various barn lanterns; Wooden spring buggy seat; Billy Cook saddle from Greenville, TX; Old wooden incubator; Brass spittoons/Pony Express; Western style side saddle; Sets of spurs; Branding irons; Ryobi Table top band saw; Ryobi 6” scroll saw; Bolt bins; Shop vac, 16 gallon; Vintage snow shoes; Electrified RR lantern, Handlan, St. Louis;

Household, Antiques & Collectibles: Misc. pots & pans; Tins; various kerosene lamps, several to choose from; Oak China cabinet; Claw foot round oak table w/6 pressed back chairs, large leaf; Laclede Oak parlor stove from Belleville, IL; USA Bone China; Butlers cart; Oak wash stand w/leaded front; flatware in chest; Rogers flatware set in chest; Eureka Gold stainless flatware in chest; Mary Gregory bell; China tea set collection; portable dishwasher; Carnival glass punch bowl set; Blown glass electric lamp; Silver serving sets; Butterscotch cafe glass vase; metal fire proof box with key; leather recliner; Micro fiber La-Z-Boy recliner; Fostoria glass bowl; Antique rocking chair w/leather inlays; Kellogg’s hand crank wall phone; 4ft porcelain elderly couple; 4ft porcelain Indian princess; Quartz Daniel Dakota chiming clock; Trademark mantle clock; Large blown glass electric lamp; 13 day Ansonia clock; Andrew With wall picture; Pair of marble top cherry side tables; Blown glass base kerosene lamp, leaf pattern, Royal; Sanyo high def. 50” flatscreen; brand new Broyhill micro fiber loveseat; Oak glider rocker; Double pedestal 8 leg desk; leather office chair; Oak Victrola w/records; The Book of Complete Info about pianos 1868-1918; Oak storage box; Oak coffee table; air purifiers; various home decor pieces; several stools; antique pictures, prints & frames; oil pictures; Oak 3 drawer chest w/mirror; Phillips flatscreen TV; Several Wyeth pictures; Henderson foot warmer; Oak 3 drawer chest w/Wishbone mirror, beveled glass; Mens Oak vanity; Oak rocking chair; Jewelry armoire; Leaded mirror; Handmade quilt, wedding ring pattern; Hope chest; Quilt rack; Mahogany side table; Maple full size bed; sheets, linens, towels; 1860 C-Rolled Burrow oak inlay desk, very ornate; Iver Johnson advertising art; Drop front secretary; Lots of straight razor blades; Glass cookie jars; Padlocks, US & several others; Case marbles; Cast iron truck banks; Diecast knife advertising toys; Coca-Cola tin truck; Pedal firetruck; Diecast advertising banks; Diecast toys including: Hotwheels, Racing Champions, Whelen, Nascar, Gearbox toy, Motorworks; Over 50 collector toy cars; Opossum belly Hoosier cabinet; Old glass front kitchen cabinet; crock bowls; Antique kitchen cabinet; Daisy churn w/screen; Coffee grinder; Cast iron corn bread/Wagner; 2qt. Blue Ball jars; Judge Coffee jars; Royal Kent china set; Kalamazoo cast iron parlor stove; Longhorn 3pc. Furniture set; Tiffany style lamp w/leaded shade; Western pictures including CM Russell; Dropleaf enamel top vintage table; Various crocks; Whiskey kegs; Various storage trunks, large & small; Fisher & Paykel electric washer & dryer set;

Guns, Ammo & Supplies: Ruger 32 H&R Mag 6 shot, single action; Ruger .45ACP P90 Semi Auto; S&W .357 Mag, US Border Patrol w/Insignia 1974; Ruger Blackhawk .357 Mag; New Model Ruger .22 Bull Barrel Red Dot Bushnell Scope; Phoenix Arms .22 Semi Auto; S&W .22 6 shot double Action; S&W .38, target grips, 6 shot, double action; S&W all blued .357 Mag; AR-15 100 round double drum, new in box; SS AMT .22 Semi Auto; Parker .45 ACP, nickel finish; Vzor made in Czechoslovakia, Model 70 .32 cal; .22 Mag North American pocket revolver; TruGlo Red Dot pistol scope; P226 Sig 9mm Semi Auto; 1955 26 7.62mm synthetic stock; Nad Richfield .22 LR Mauser German brown shirt practice rifle; Ruger 10/22 Militarized 50 round drum clip, collapsable stock, BSA Red Dot laser; M4 177cal. Pellet rifle; Thompson Center Super 14 Tasco 3x9x40 223 & 44 Mag Barrels; 16 hole Oak gun cabinet; 10 hole gun cabinet; 12 hold gun cabinet; Remington Wingmaster 870 12 ga; 20 ga. Damascus double barrel hammer type shotgun; Remington Model 1100 12ga; L.C. Smith Royal Steel Hammerless sidexside 12ga; Sioux made gun sheath; Thompson Center .50 cal black powder, made in 1972; Rock Island .45 ACP Semi Auto, unfired; Taurus PT99 9mm Semi Auto; Lock 17 9×19 Semi Auto; Tech 9 9mm Luger, 3 long clips; S&W 357 Mag, snub nose, stainless; S&W 44 Mag double action, 6 shot; Model 92 32-20 WCF w/dust cover; Winchester pre 64 Model 94-30 WCF, unfired, level action, made between 1941-1945; Model 4 Remington Custom stock from factory, 30-06, wide angle 3x9x40 Bushnell; Remington Model 742 Woodmaster 30-06, semi auto, 3x9x40 Bushnell; Krag Jorgensen 30-40 Krag Sporterized in 1940, antler cap & forearm cap, Weaver K3 scope; Marlin Model 91 .22 Bolt action, broken trigger guard; Remington Model 552 .22 semi auto; Early Model SKS, unfired; HiPoint 40 cal. Carbine, unfired; Plainfield Machine M1 .30cal; Knight 50 cal Muzzle loader, camo; Composite stock for shotgun; Colt DA .38, Birds head grip, side hammer, single shot shotgun; Several pellet guns; JP Saver & Sohn, made in western Germany, .22 cal 6 shot single action; Ammo: .32, .22, .223, .357, .30-06, 10/22 mags, 30rd Mags AR-15; Muzzle loading supplies; Slings; Gun parts; Cases; Ammo belts; Western holsters; Lots of advertising signs including: Remington, Winchester, Colt, S&W, Iver Johnson, Annie Oakley, Spencer Reporting Rifle; Old ammo boxes: Western, Super X, Remington, Clean Bore, Winchester;

Knives & Display Cases: (Pocket Knives) Bone handle Bowie knife; Glock dagger; Case XX Limited Edition, each knife 1 of 2500 made, Barlow set Will Rogers, Gene Autry, Hopalong Cassidy, Lone Ranger Red Ryder; Rough Rider; Damascus Blade hunting knife; Coleman; K-bar; Remington stag handle; Western; Fish knives; Case XX; Schatt & Morgan; Anton; Schrade; Wingen Jr.; Boker; Solingen; Keen Kutter; Older Winchester knives; American Made; Krusius-Soligen Germany; Diamond Edge; Buck Creek; (Long Handled Knives) Cattaraugus; Toledo; Carl Schlieper stag handled Solingen Germany; Uncle Henry; K-bar; Knife collecting books; Schrade, Buck & Camillus knife display cases; Knife advertising: Remington, Case, Camillus, Robeson; Swiss Army knives; Upright floor model display case, counter top, (2) Zippo; Knife Honing & knife making supplies;

Watches: Several mens wrist watches – 14kt Gold Citizen, Seiko, Cote D’ Azur, Case XX Collector watch, 1 of 50 made; Several Invicta; 14kt tricolor gold pocket watch, works, Waltham; Excelsior Black Hills gold;

Auctioneer’s Note: Ladies & Gentlemen, the Arter family has decided to sell everything and start a new adventure of traveling. Jerry & Connie have been the upmost collectors around the area. Everything is very nice, well kept & hard to find. To view home, contact Scotty’s Auction Service at 573-356-4405. As always, thanks in advance for joining us. Scott