Fatha Knows Best: Earl Hines and Chicago Style Piano

Pianist Kris Tokarski (“Lendítsd a zongorán!” TST, May 2020) hails from the home state of James P. Johnson and currently lives in Jelly Roll Morton’s hometown. Kris is a world-class interpreter of Johnson’s and Morton’s music, but he also has great admiration for the keyboard artists who developed the “Chicago Style” of piano during the 1920s and 1930s. Kris and I hope that the following dialogue will stimulate readers of The Syncopated Times to seek out and listen to historic recordings of Chicago Style pianists. Hal Smith: Since the years preceding World War I, many great jazz pianists have made Chicago their home, even if it was just a temporary stay. But I am sure Kris will agree that the most influential pianist in the Chicago Style is Earl “Fatha” Hines. For me, Hines is consistently exciting—as a soloist, sideman or riding high over the top of his own orchestra. I can easily hear Hines’ influence on younger pianists beginning almost immediately from the time he arrived in Chicago. Kris Tokarski: Thank you for thinking of me for this article. I feel this is especially appropriate for you and I to have this discussion because you were the one who brought the Chicago school of jazz piano to my attention. In academic settings, the piano styles that emerged from New Orleans and Harlem are often the only styles discussed. It will be nice to give the Windy Ci