John Lennon meets Duke Ellington. That’s the innovative merging created by jazz pianist Pamela Hines on her new solo CD release, ”This Heart of Mine,” on Spice Rack Records. Jazz critic Scott Yanow says, ”As is obvious from listening to this music, nothing is missing. During the well paced and consistently intriguing program, Pamela Hines performs fresh and often-surprising versions of songs.” The first refreshing musical surprise is the first track where Hines has merged “Reflections in D” by Duke Ellington with “Across the Universe” by John Lennon. It is an emotional journey that really shows Hines’ talent for the ballad. The second innovative surprise is a jazz take on “Eternal Flame,” a Bangles hit from the ‘80’s. Hines seems to be very harmonically clear on this interpretation and the result is a pop-to-jazz success of great integrity. Hines fills the rest of the hour long set with be-bop, ballads and meter changes on standards. The project rounds out a career that has shown Hines to be a very flexible pianist. She has recorded original albums for vocalists, trio albums and her debut CD in 1998, a quintet project that featured drummer Bob Moses, was so well received that she was asked to appear on Piano Jazz with Marian McPartland.
“A multi-faceted pianist is not an easy task to locate in today's jazz scene. Many pianists today have moved into a realm of groove oriented jazz, with no traces of swing anywhere to be found. Hines exemplifies the term well-rounded creating a pocket for the players to lay into with a deep sense of swing and driving force. Her ability to cover all styles of jazz clearly and with astounding technique comes through on her latest offering, proving once and for all that Hines is a seasoned composer, pianist and contributor to the jazz genre,” said Jeff Becker of Jazz Sensibilities in 2008.
Her 2008 release, “New Christmas” featured vocalists April Hall, Monica Hatch and Patrice Williamson. Hines'(ASCAP)body of work shows a talent for vocal-jazz classics in a standards-style and for edgy originals that cater to instrumental jazz lovers. Hines 2007 release,”Return,” featured John Lockwood on bass, Bob Gullotti on drums and a special guest appearance by Jerry Bergonzi, who played on Hines' 2004 CD ,”Twilight World.” “Return” earned #13 ranking on Jazz Week radio charts, top-ten on Music Choice and top-five at many US and Canadian stations.
E-Jazz News critic Edward Blanco says,” A follow up to her successful 2006 release, “Drop 2,” Boston-based pianist Pamela Hines guides her eclectic trio through their fourth CD together with “Return,” featuring internationally recognized composer/educator Jerry Bergonzi on the tenor saxophone as special guest. The trio, comprised of veteran bassist John Lockwood and former Fringe member and much in demand drummer, Bob Gullotti produce a terrific sound weaving their way through an exciting selection of Hines originals and several standards.
The album opens up with the familiar Walton composition “Ojos de Rojo,” immediately showcasing Hines’s formidable talents on the keys leading to a spicy drum solo from Gollotti in a nice starter. The pianist takes the lead on the next cut showcasing the classic Rodgers/Hart number, “My Heart Stood Still” and provides a lengthier alternate rendition of this tune repeating the piece on the eight track.
Tenorist Jerry Bergonzi appears on two numbers delivering a tremendous performance with sizzling solos on the title piece and signature tune of the album, and on the other Hines original, “Very.” Turning mellow, the lady provides some beautiful soft music on the love ballad “I’m Through with Love” backed up by Gullotti’s soft brush strokes. Bassist Lockwood also delivers his share of solos providing the glue that holds the group together. One listen of “Return” is all you need to come away with the feeling that you’ve just heard beautiful light jazz performed with elegance and grace by a virtuoso pianist and a special group of players.”
“Cedar Walton's “Ojos de Rojo” and Bill Evan's “Comrad Conrad” and two cleverly contrasting takes of “My Heart Stood Still” are impressive in their dexterity and incisive articulation,” says Jazz Times Magazine.
Her groups have been featured on many radio shows and Fox-TV. Hines continues an active performance schedule in 2009. Her trio was the “Pick-of-the Week” in the Boston Globe in 2005 and a Globe Jazz-Pick in 2006.
Hines' interesting compositions and harmonies earned her a guest appearance on the Peabody Award winning show, Piano Jazz with Marian McPartland on National Public Radio in 2000. “9-45” (Brownstone) with Bob Moses, Darren Barrett, Jacque Swarz-Bart, Rick McLaughlin and David Hines was released on Brownstone Records in 1998 to critical acclaim.
She received her MM from New England Conservatory in 1998 with honors.
On 2007 release, “Return”:
By Dan McClenaghan
You could call Pamela Hines a mainstream pianist, but that word “mainstream” suggests a limiting category and might draw a rather static map and restrict your expectations. What's the old rule of semantics? The map is not the territory. Or how about: the category is not the sound.
While Hines, on this (mostly) trio outing, fits into the mainstream category, she freshens up the approach and makes it sound as vital and boundary-stretching today as Bill Evans did throughout his career.
The pianist is joined on Return by bassist John Lockwood and drummer Bob Gullotti, the team that made their previous disc, Drop 2 (Spice Rack, 2006), such a success. This is piano trio in the Bill Evans mode: interactive and democratic, plying its seamless teamwork through a set of classic tunes that haven't been over-worked in the jazz canon: the tender and indescribably lovely “I'm Through With Love” (Kahn/Malneck/Livingston), Cedar Walton's “Ojos de Rojo, Rodger and Hart's “My Heart Stood Still.”
Hines' style is characterized by complex harmonies and an often zingy, lyrical melodicism, and a deft touch with dynamics that gives new breath to the non-originals on the disc. But Hines is also a prolific and skilled composer, slipping in three tunes of her own--”Return,” “Very,” and “Ward One”--that rise above the covers.
The highlight on Drop 2 was the trio's take on The Beatles' “I Will,” one of Paul McCartney's prettiest melodies--and a seemingly unlikely vehicle for a jazz outing. The highlights on Return are any one of the Hines originals, two of which--the title tune and “Very”--feature tenor saxophonist Jerry Bergonzi, who now seems to be getting more well-deserved recognition after the release of his Tenorist (Savant Records, 2007). The Hines trio and “The Tenorist” are a magical pairing, with Bergonzi tearing into the Hines tunes and giving the sound more of an edge, more of a sense of the unexpected coming at you. And whether it's the saxophonist fitting into the trio's groove or vice-versa is anybody's guess; but bottom line, it's a great quartet that deserves a full CD's worth of sound.
With Return Pamela Hines soars into the territory of the top piano trios.
[ 
