Earl Hines

Lore & Background

Earl Hines worked with pianist Earl Hines, who had a similar impact on his instrument as Armstrong had on trumpet. Hines' melodic, horn-like conception of playing deviated from the contemporary conventions in jazz piano centered on building rhythmic patterns around "pivot notes." His approaches to rhythm and phrasing were also free and daring, exploring ideas that would define swing playing. His approach to rhythm often used accents on the lead-in instead of the main beat, and mixed meters, to build a sense of anticipation to the rhythm and make his playing swing. He also used "stops" or musical silences to build tension in his phrasing. Hines' style was a seminal influence on the styles of swing-era pianists Teddy Wilson, Art Tatum, Jess Stacy, Nat "King" Cole, Erroll Garner, Mary Lou Williams, and Jay McShann. In 1927 Armstrong worked with pianist Earl Hines. Starting in 1928, the Earl Hines Orchestra was broadcast throughout much of the Midwest from the Grand Terrace Cafe in Chicago, where Hines had the opportunity to expound upon his new approaches to rhythm and phrasing with a big band. Hines' arranger Jimmy Mundy would later contribute to the catalog of the Benny Goodman Orchestra. Big band leaders of the swing era include Benny Goodman, Duke Ellington, Count Basie, Jimmie Lunceford, Cab Calloway, Benny Carter, Jimmy Dorsey, Tommy Dorsey, Earl Hines, Bunny Berigan, Harry James, Lionel Hampton, Glenn Miller, and Artie Shaw.

Reader's Guide

Earl Hines is a key figure in the development of swing music. His piano style broke from the conventions of his time: instead of building patterns around pivot notes, he played with a melodic, horn-like conception. He accented lead-in notes, mixed meters, and used sudden stops to create tension and make his playing swing. This approach was a seminal influence on later swing-era pianists such as Teddy Wilson, Art Tatum, Jess Stacy, Nat "King" Cole, Erroll Garner, Mary Lou Williams, and Jay McShann. In 1927, he collaborated with Louis Armstrong, and from 1928 he led his own big band at Chicago's Grand Terrace Cafe, where his orchestra was broadcast throughout the Midwest. Hines is listed among the major big band leaders of the swing era, alongside Benny Goodman, Duke Ellington, Count Basie, and others.

Did You Know?

• Earl Hines' arranger Jimmy Mundy later contributed to the catalog of the Benny Goodman Orchestra.
• Starting in 1928, the Earl Hines Orchestra was broadcast throughout much of the Midwest from the Grand Terrace Cafe in Chicago.
• Hines used 'stops' or musical silences to build tension in his phrasing.
• Hines' style was a seminal influence on swing-era pianists including Teddy Wilson, Art Tatum, and Nat 'King' Cole.

A New Voice for the Piano

Earl Hines' melodic, horn-like conception of playing deviated from the contemporary conventions in jazz piano centered on building rhythmic patterns around "pivot notes." His approaches to rhythm and phrasing were free and daring, exploring ideas that would define swing playing.

Rhythm as Drama

Hines' approach to rhythm often used accents on the lead-in instead of the main beat, and mixed meters, to build a sense of anticipation to the rhythm and make his playing swing. He also used "stops" or musical silences to build tension in his phrasing.

The 1927 Partnership with Louis Armstrong

In 1927 Armstrong worked with pianist Earl Hines, who had a similar impact on his instrument as Armstrong had on trumpet.

A Seminal Influence on a Generation of Pianists

Hines' style was a seminal influence on the styles of swing-era pianists Teddy Wilson, Art Tatum, Jess Stacy, Nat "King" Cole, Erroll Garner, Mary Lou Williams, and Jay McShann. Big band leaders of the swing era include Earl Hines.