Edited by Jeffrey Taylor As accompanist, ensemble player, and soloist, Earl ?Fatha? Hines (1903?83) revolutionized the role of the piano in jazz. This publication focuses on his solo artistry and includes complete transcriptions of twelve solo recordings made by Hines between 1928 and 1941. These pieces show how Hines integrated stride, blues, novelty piano, and Western classical music with the work of other improvising soloists (especially trumpeter Louis Armstrong) to develop an innovative and highly personal style that continues to influence jazz pianists today. The thirteen-year span of the edition will allow scholars to trace the development of Hines"s improvisational approach and evaluate how Hines adapted to the changing stylistic language of the 1930s and early 1940s. Alternate versions of two improvisations are included to show how Hines approached the same tune in subsequent performances. A tune history, discography, and stylistic commentary for each piece is provided, as well as a prefatory essay examining Hines"s life and career, his piano style, and his role in the development of the jazz piano solo as a genre. Contents: Foreword Acknowledgments Earl ?Fatha? Hines and the Art of the Jazz Piano Solo . Introduction Life Earl Hines and the Jazz Piano Solo Ridin," Jivin," and Signifyin" Stride Piano and ?Fats? Waller Novelty Piano and Clarence M. Jones ?I"m Too Technical to Play the Blues? A Word About Louis Armstrong ?New Orleans Style? and ?Jelly Roll? Morton Piano Man Plates Recording Sessions I. QRS Recording Session (Long Island, N.Y., ca. 1 December 1928) 1. Blues in Thirds 2. Stowaway II. Okeh Recording Session (Chicago, 9 December 1928) 1. Caution Blues 2. A Monday Date III. Okeh Recording Session (Chicago, 12 December 1928) 1. I Ain"t Got Nobody 2. Fifty-Seven Varieties IV. ...