In 1928 (on his 25th birthday) Hines began leading his own big band. For over 10 years his was "The Band" in Al Capone's Grand Terrace Cafe — Hines was Capone's "Mr Piano Man". Hines recorded for Victor in 1929, then after a gap for Brunswick from 1932-1934, Decca from 1934-1935, then after another gap, Vocalion from 1937-1938 and Bluebird from 1939-1942 (nearly all among the best Black Jazz of the era). From the Grand Terrace, The Earl Hines Orchestra (or "Organization" as he more happily referred to it) broadcast on "open mikes", sometimes five nights a week and over many years, coast to coast across America — Chicago being well placed to deal with the U.S. live-broadcasting time-zone problem. Hines's band became the most broadcast band in America. Sometimes Nat "King" Cole was Hines's relief pianist (though Cliff Smalls was his favorite) and it was here with Hines that Charlie Parker got his first professional job...until he was fired for his time-keeping — by which Hines meant Parker's inability to show up on time despite Parker resorting to sleeping under the Grand Terrace stage in his attempts to do so. Hines led his big band until 1947, taking time out to front the Duke Ellington orchestra in 1944 while Duke was ill...but the big-band era was over. (Thirty years later, Hines's 20 solo "transformative versions" of his "Earl Hines Plays Duke Ellington" recorded in the 1970s were described by Ben Ratliff in the "New York Times" as "as good an example of the jazz process as anything out there".)
At the start of 1949 Hines rejoined Armstrong in the latter's "All Stars" "small band", where Hines stayed through 1951. He then led his own small combo around the States and Europe. At the start of the jazz-lean 1960s he settled in Oakland, California, opened a tobacconist's, and came close to giving up the profession. Then, in 1964 Hines was "suddenly rediscovered" following a series of concerts in New York. He was the 1965 "Critics' Choice" for Down Beat Magazine's "Hall of Fame". From then till he died he recorded endlessly both solo and with jazz notables like Cat Anderson, Buck Clayton, Roy Eldridge, Ella Fitzgerald, Paul Gonsalves, Sonny Greer, Lionel Hampton, Coleman Hawkins, Johnny Hodges, Budd Johnson, Jimmy Rushing, Stuff Smith, Sarah Vaughan, Joe Venuti and Ben Webster. Possibly more surprising were Elvin Jones, Peggy Lee, Charles Mingus, Dinah Washington — and Ry Cooder. But his most acclaimed recordings of this period were his dazzling and endlessly inventive solo performances, which could show him at his very best, "a whole orchestra by himself".[12] Solo tributes to Louis Armstrong, Hoagy Carmichael, Duke Ellington, Cole Porter, and George Gershwin were all put on record in the 1970s. Hines also toured Europe again regularly at this time, and added Asia, Australia and the Soviet Union to his list of State Department–funded destinations. At the top of his form, Hines also displayed his endearing quirks (not to say grunts) in these performances. Sometimes he sang as he played, especially his own "They Never Believed I Could Do It - Neither Did I". In 1975 he made an hour-long "solo" film for British TV out-of-hours in a Washington nightclub: the "New York Herald Tribune" described it as "The greatest jazz-film ever made". He played solo in The White House and played solo for the Pope — and played (and sang) his last job a few days before he died in Oakland, quite likely somewhat older than he had always maintained.
Between The Devil And The Deep Blue Sea
Earl Hines Lyrics
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You've got me in between the devil and the deep blue sea
I forgive you, 'cause I can't forget you
You've got me in between the devil and the deep blue sea
[Repeat: x2]
I ought to cross you off my list
But when you come a-knocking at my door
And I come running back for more
I should hate you, but I guess I love you
You've got me in between the devil and the deep blue sea
You've got me in between the devil and the deep blue sea
The devil and the deep blue sea
The lyrics to Earl Hines's song Between The Devil And The Deep Blue Sea is a classic representation of a person who is torn between their love and hate for someone. The song begins with the singer stating that they do not want this person but also hate to lose them, which creates a feeling of confusion, putting them in a difficult position, akin to being caught between a rock and a hard place, as a phrase goes. They are in between the devil and the deep blue sea, with the devil representing a dangerous or evil situation, and the deep blue sea representing a vast and unknown space, which also signifies being caught in a dilemma.
Despite the ambiguity and the mixed feelings the singer has, they admit to forgiving the person they are talking about, even though they can't forget them. This action explains the complexity of the singer's emotions, revealing a love-hate dynamic that is responsible for their indecision. The chorus of the song is a repetition of the phrase, "You've got me in between the devil and the deep blue sea," emphasising the central message of the song, indecision, and the confused emotions the singer is going through.
Furthermore, the lyrics reveal that despite the hurt and pain that the person they are singing about may have caused them, they keep coming back for more. The phrase, "I should hate you, but I guess I love you," highlights this aspect of their relationship, showing how powerful emotions can be in clouding one's judgment. Overall, the song Between The Devil And The Deep Blue Sea is a perfect expression of the confusion and turmoil of emotions individuals experience in romantic relationships.
Line by Line Meaning
I don't want you, but I'd hate to lose you
I have mixed feelings about our relationship, I am not sure if I want to continue but I am scared of losing you
You've got me in between the devil and the deep blue sea
You have put me in a difficult situation where I have to make a tough decision
I forgive you, 'cause I can't forget you
Even though you have done something wrong, I can't let go of my feelings for you
I ought to cross you off my list
I should remove you from my life and move on
But when you come a-knocking at my door
But every time you come back into my life
Fate seems to give my heart a twist
Destiny puts me in a difficult position and makes me reconsider my choices
And I come running back for more
And I can't resist the temptation to be with you again
I should hate you, but I guess I love you
Even though I should be angry and resentful towards you, I still have deep feelings of love for you
You've got me in between the devil and the deep blue sea
You continue to put me in a difficult situation where I have to make a tough decision
The devil and the deep blue sea
Used to describe a difficult and dangerous situation with no good options
Lyrics © Sony/ATV Music Publishing LLC, Warner/Chappell Music, Inc., BMG RIGHTS MANAGEMENT US, LLC, S.A. MUSIC
Written by: HAROLD ARLEN, TED KOEHLER
Lyrics Licensed & Provided by LyricFind