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.
If It
Earl Hines Lyrics
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Lives a life that isn't necessarily sunny
Likewise the man who works for fame
There's no guarantee that time won't erase his name
The fact is, the only work that really brings enjoyment
Is the kind that is for girl and boys meant
Fall in love you won't regret it
That''s the best work of all if you can get it
Holding hands at midnight
'Neath the starry sky
Nice work if you can get it
And you can get it if you try
Scrolling with the one girl
Sighing after sigh
Nice work if you can get it
And you can get it if you try
Just imagine someone waiting at the cottage door
Where two hearts become one
Who could ask for more
Loving one who loves you
And taking that vow
Nice work if you can get it
And you can get it if
Won't you tell me how?
In Earl Hines' song "Nice Work If You Can Get It," the lyrics suggest that pursuing a life of chasing after money or fame may not necessarily bring happiness or fulfilment. The singer suggests that the only work that brings true enjoyment is falling in love, and if you can have it, that's the best work of all. Holding hands at midnight under the starry sky with the one you love is what the singer deems as "nice work if you can get it." They go on to suggest that loving someone who loves you and committing to each other is the ultimate form of work that brings joy, but the singer acknowledges that it's not always easy to find this kind of love and asks the listeners for advice on how to find it.
The lyrics of "Nice Work If You Can Get It" reflect the romanticism of the 1930s and 1940s musical era, where love was celebrated in popular songs as the ultimate source of happiness. The song's melody is upbeat and catchy, and the lyrics are simple yet poetic, making it a timeless classic. Interestingly, George Gershwin originally composed the song in 1937 for the musical "A Damsel in Distress," but the show was unsuccessful. It was later used in the 1951 film "An American in Paris," and has since become a popular jazz standard, recorded by numerous artists including Frank Sinatra, Ella Fitzgerald, and Billie Holiday.
Line by Line Meaning
The man who only lives for making money
Living solely for the purpose of making money
Lives a life that isn't necessarily sunny
May not have a happy life
Likewise the man who works for fame
Similarly, someone who works for fame
There's no guarantee that time won't erase his name
No guarantee that they will be remembered in the future
The fact is, the only work that really brings enjoyment
In reality, only work that creates joy
Is the kind that is for girl and boys meant
Work that is meant for romantic love
Fall in love you won't regret it
If you fall in love, you will not regret it
That's the best work of all if you can get it
Being in love is the best 'work' if you can find it
Holding hands at midnight
Holding hands with a lover at night
'Neath the starry sky
Under the starry sky
Nice work if you can get it
Being in love is wonderful if you are lucky enough to find it
And you can get it if you try
It is possible to find love if you make an effort
Scrolling with the one girl
Walking leisurely with one's girlfriend
Sighing after sigh
Sighing heavily due to being in love
Just imagine someone waiting at the cottage door
Imagine someone waiting for you at your cottage's door
Where two hearts become one
Where two people in love become one entity
Who could ask for more
What else could one possibly want?
Loving one who loves you
Loving someone who reciprocates your feelings
And taking that vow
And pledging to love them long-term
Won't you tell me how?
Can you please explain to me how to find such love?
Lyrics © Warner/Chappell Music, Inc., RALEIGH MUSIC PUBLISHING
Written by: George Gershwin, Ira Gershwin
Lyrics Licensed & Provided by LyricFind
Soul Diggah Jr.
There is something disturbing me a lot : during the sequence starting from 2:28 we mostly hear the piano and we almost don't hear the guitar. On my record and my music setup, it's the exact opposite : I mostly hear the guitar and the piano is really really quiet. I sampled it to make a chill beat you can hear there : https://soundcloud.com/souldiggahjr/track-6-wip
You see the guitar ??? I don't even have the piano.
Do you have an explanation ??? I have exactly the same record with the same picture