  |
|
|
 |
| An Evening with Earl Hines - Live at Dinklers Motor Inn [ ÉLŐ ] |
| Earl Hines |
| első megjelenés éve: 1973 |
|
| (2003)
|
|
2 x CD |
| 8.525 Ft
|
|
| 1. CD tartalma: |
| 1. | Perdido
|
| 2. | Boogie Woogie on St. Louis Blues
|
| 3. | I Got It Bad (And That Ain't Good)
|
| 4. | All of Me
|
| 5. | Things Ain't What They Used to Be
|
| 6. | Lil Darlin'
|
| 7. | James Street Blues
|
| 8. | Prelude to a Kiss/Prisoner of Love
|
| 9. | My Ship
|
| 10. | Rosetta
|
| 11. | Here's That Rainy Day/Polka Dots and Moonbeams
|
| 12. | Lester Leaps In
|
| 13. | Who?
|
| 14. | Closing
|
| |
| 2. CD tartalma: |
| 1. | I Ain't Got Nobody
|
| 2. | Marie
|
| 3. | Dinkler Boogie
|
| 4. | I Wish You Love
|
| 5. | Second Balcony Jump
|
| 6. | Shiny Stockings
|
| 7. | Show Boat Medley
|
| 8. | Watermelon Man
|
| 9. | Time on My Hands
|
| 10. | Memories of You
|
| 11. | Street of Dreams/It's a Pity to Say Goodnight
|
Jazz / Classic Jazz
Earl Hines, piano
Tiny Grimes, guitar / Hank Young, bass / Bert Dahlander, drums / Marva Josie, vocals
Earl Hines remains one of the most legendary performers in Jazz history.
The only recording available featuring the unimitable Tiny Grimes on guitar with the Earl Hines Quartet.
Three highly acclaimed LPs of music combined into a 2-CD set.
Digitally remastered and reissued for the first time since this incredible music was first released 30 years ago!
Producer: Hank O'Neal
Mastered By: Jon Bates/Mix Masters
Cover Design: Leo Meiersdorff
This double LP is valuable as documentation of Earl Hines and his band on a typical gig in 1973. Marva Josie has a few vocals and Tiny Grimes contributes some guitar solos but the leader/pianist is easily the main star, romping on such tunes as "Perdido," "Boogie Woogie on the St. Louis Blues" and "Lester Leaps In." Swinging (if not essential) music. ~ Scott Yanow, All Music Guide
Earl Hines
Active Decades: '20s, '30s, '40s, '50s, '60s, '70s and '80s
Born: Dec 28, 1903 in Duquesne, PA
Died: Apr 22, 1983 in Oakland, CA
Genre: Jazz
Styles: Big Band, Swing, Classic Jazz
Once called "the first modern jazz pianist," Earl Hines differed from the stride pianists of the 1920s by breaking up the stride rhythms with unusual accents from his left hand. While his right hand often played octaves so as to ring clearly over ensembles, Hines had the trickiest left hand in the business, often suspending time recklessly but without ever losing the beat. One of the all-time great pianists, Hines was a major influence on Teddy Wilson, Jess Stacy, Joe Sullivan, Nat King Cole, and even to an extent on Art Tatum. He was also an underrated composer responsible for "Rosetta," "My Monday Date," and "You Can Depend on Me," among others.
Earl Hines played trumpet briefly as a youth before switching to piano. His first major job was accompanying vocalist Lois Deppe, and he made his first recordings with Deppe and his orchestra in 1922. The following year, Hines moved to Chicago where he worked with Sammy Stewart and Erskine Tate's Vendome Theatre Orchestra. He started teaming up with Louis Armstrong in 1926, and the two masterful musicians consistently inspired each other. Hines worked briefly in Armstrong's big band (formerly headed by Carroll Dickerson), and they unsuccessfully tried to manage their own club. 1928 was one of Hines' most significant years. He recorded his first ten piano solos, including versions of "A Monday Date," "Blues in Thirds," and "57 Varieties." Hines worked much of the year with Jimmy Noone's Apex Club Orchestra, and their recordings are also considered classic. Hines cut brilliant (and futuristic) sides with Louis Armstrong's Hot Five, resulting in such timeless gems as "West End Blues," "Fireworks," "Basin Street Blues," and their remarkable trumpet-piano duet "Weather Bird." And on his birthday on December 28, Hines debuted with his big band at Chicago's Grand Terrace.
A brilliant ensemble player as well as soloist, Earl Hines would lead big bands for the next 20 years. Among the key players in his band through the 1930s would be trumpeter/vocalist Walter Fuller, Ray Nance on trumpet and violin (prior to joining Duke Ellington), trombonist Trummy Young, tenor saxophonist Budd Johnson, Omer Simeon and Darnell Howard on reeds, and arranger Jimmy Mundy. In 1940, Billy Eckstine became the band's popular singer, and in 1943 (unfortunately during the musicians' recording strike), Hines welcomed such modernists as Charlie Parker (on tenor), trumpeter Dizzy Gillespie, and singer Sarah Vaughan in what was the first bebop orchestra. By the time the strike ended, Eckstine, Parker, Gillespie, and Vaughan were gone, but tenor Wardell Gray was still around to star with the group during 1945-1946.
In 1948, the economic situation forced Hines to break up his orchestra. He joined the Louis Armstrong All-Stars, but three years of playing second fiddle to his old friend were difficult to take. After leaving Armstrong in 1951, Hines moved to Los Angeles and later San Francisco, heading a Dixieland band. Although his style was much more modern, Hines kept the group working throughout the 1950s, at times featuring Muggsy Spanier, Jimmy Archey, and Darnell Howard. Hines did record on a few occasions, but was largely forgotten in the jazz world by the early '60s. Then, in 1964, jazz writer Stanley Dance arranged for him to play three concerts at New York's Little Theater, both solo and in a quartet with Budd Johnson. The New York critics were amazed by Hines' continuing creativity and vitality, and he had a major comeback that lasted through the rest of his career. Hines traveled the world with his quartet, recorded dozens of albums, and remained famous and renowned up until his death at the age of 79. Most of the many recordings from his career are currently available on CD.
---Scott Yanow, All Music Guide |
|
CD bolt, zenei DVD, SACD, BLU-RAY lemez vásárlás és rendelés - Klasszikus zenei CD-k és DVD-különlegességek |  | | Webdesign - Forfour Design |
|
|
