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.
Nice Work If You Can Get 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's song, "Nice Work If You Can Get It," the lyrics examine the idea of what constitutes fulfilling work. The song acknowledges that many individuals work for money or fame, but these pursuits do not necessarily bring happiness or a sense of fulfillment. Instead, the song suggests that love is the most valuable type of work one can undertake.
The lyrics begin by describing the life of a man who only lives for making money. While he may have material wealth, he does not enjoy a sunny life. Similarly, the man who works for fame may find that his name is easily forgotten over time. The song asserts that the only type of work that truly brings happiness is work done for love. Falling in love is presented as the ultimate form of work because it is meant for both girls and boys.
The second half of the song continues this theme by describing the joys of being in love. Holding hands under the starry sky and sighing with one's beloved are presented as examples of fulfilling work. The song then invites listeners to imagine the pleasure of waiting for someone at the cottage door, where two hearts become one. The final line of the song asks how one can obtain this type of work, implying that it may not be easy but is worth pursuing.
Overall, "Nice Work If You Can Get It" encourages listeners to question what they consider fulfilling work and suggests that love is the ultimate answer.
Line by Line Meaning
The man who only lives for making money
A person who solely focuses on accumulating wealth
Lives a life that isn't necessarily sunny
Such a person may not lead a happy or contented life
Likewise the man who works for fame
Similarly, someone who strives to gain popularity or recognition
There's no guarantee that time won't erase his name
There's no assurance that one's fame will last forever and not be forgotten over time
The fact is, the only work that really brings enjoyment
In reality, the only kind of work that can provide real pleasure
Is the kind that is for girl and boys meant
Is that which is intended for both females and males alike
Fall in love you won't regret it
One will never have to repent after falling in love
That''s the best work of all if you can get it
It is the most rewarding kind of work if one is fortunate enough to find it
Holding hands at midnight
Clasping each other's hands at night-time
'Neath the starry sky
Underneath the glittering and dazzling night sky
Nice work if you can get it
It's a delightful task if one can accomplish it
And you can get it if you try
It's achievable if you put in the effort to attain it
Scrolling with the one girl
Walking leisurely with a loved one
Sighing after sigh
Taking deep breaths expressing happiness and satisfaction
Just imagine someone waiting at the cottage door
Picture an individual eagerly anticipating one's arrival at the doorstep of a cozy abode
Where two hearts become one
Where two people fall in love and become united
Who could ask for more
What else could one desire or request for?
Loving one who loves you
Adoring someone who reciprocates the same degree of affection towards you
And taking that vow
And pledging to one another promises, commitment, and loyalty
Nice work if you can get it
It's a pleasurable enterprise if one can obtain it
And you can get it if
And it's plausible to acquire it, provided
Won't you tell me how?
Could you please divulge the approach to achieving such a goal?
Lyrics © RALEIGH MUSIC PUBLISHING, Warner Chappell Music, Inc.
Written by: George Gershwin, Ira Gershwin
Lyrics Licensed & Provided by LyricFind