Jazz pianist Pamela Hines has proven to be a prolific presence in the first decade of the century. Her new release,"This Heart of Mine," is a solo effort that reveals new jazz interpretations of a couple of contemporary tunes as well as old standards. " Hines comes up with fresh ideas that cast new light on a song that listeners thought they knew," says jazz critic and author Scott Yanow.

Susan Frances says in the November issue of JazzTimes,"... Hines exhibits an intuitive nature when it comes to punctuating her notes and making distinctive accents that intensify the mood of her music...that demonstrate her ability to mold expressive vignettes and bridge her vamps and counterpoints into... jazz forms. Her notations depict her emotions even as she covers compositions written by Cole Porter and Duke Ellington. At times, her sequences are embroiling, and at other moments they exhibit a serenity along the ruminations. Hines’ playing creates an imaginary world as she looms cascading falls and melodic swells in the piano keys producing settings which are conducive for deep contemplation and transition into unbridled fun around the corner. She travels through a gamut of musical ideas that honor the giants in jazz while infusing harmonious style changes in American standards.

Hines’ interpretation of Duke Ellington’s number “Reflections In D” shimmers with the glossy resonance of a harp as she merges the ambling riffs with fringes of moonlight-embossed strokes inspired by John Lennon’s “Across The Universe.” Her take on Bud Powell’s “Celia” displays classic piano jaunts with vaudeville-tweaked sprees as her keys twinkle with a sprightly edge on them. The luminous texture of Hines’ brushed sweeps in the title track are aurally pleasing while sustaining a mysterious shadow in her counterpoints that lurk beneath the surface.

The perky vamps that Hines injects into Cole Porter’s “Love For Sale” makes it seem like a new song as her meanderings roam in unscripted sentences. The reposing slopes of “Where Are You?” contrast the quick-step tempo of “Freight Train” as the bop-style of the rhythmic patterns make it sound like a period piece. The soft, lacy frills of “Eternal Flame” and “I’m In The Mood For Love” are seductive reeling a romantic aura which switches gears to a lively showtunes vibe in Cole Porter’s “What Is This Thing Called Love?” before closing the album with Ralph Towner’s “Icarus” giving the illusion that her piano keys are gently flying through the air.

Artists often say that they play with passion and it shows with Pamela Hines. She wears that passion on her sleeves as her notes depict what she is going through like an autobiography set to music. This Heart Of Mine bares pieces of Hines’ soul even as she covers other artists works making their material a reflection of herself. "

Jazz writer Raul d'Gama Rose says in All About Jazz, October,"... Hines' melodic lines sing, seemingly drawn from a school of unconscious thought pioneered by the likes of melodists such as Hank Jones. Hines also swings in and out of impressionist harmony. Nevertheless, she has something that is much more her own: a subconscious feeling for rhythm and inner pulse of harmony and especially melody. She extracts and plays a beautiful bassline with every melody, a quality akin to Latin American pianists (like Pedro "Peruchin" Justiz and Frank Emilio Flynn).

Here lies the finest quality of This Heart of Mine, where Hines explores some fine literature of the piano in its pristine manner, within the construct of creating a solo record. This is a challenge. A pianist must, for instance, be capable of nuanced interpretations of the word "reflection" in the medley of {Duke Ellington}}'s "Reflections in D" and The Beatles' "Across the Universe." Ellington's version is a sensuous kind, one where you can almost hear the rustle of silk, while "Across the Universe," a play on Ellington's tune, is wistful and ruminative. To unite the thoughts without missing a beat comes from an inner understanding of both complex emotions and how they play out. Following this, to negotiate the twists and turns of harmony and rhythm of Bud Powell's "Celia" is very creditable. Tommy Flanagan's "Freight Train" is another kicker of an interpretation and an exercise in dexterity, all while never missing a beat.

Emotions are Hines' forte and she describes the events that opened her eyes to transposing the Jimmy McHugh/Harold Adamson standard, "Where Are You"—this version shifting from a more indigo shade to a brighter blue mood. Her own "Bonnaire" shows courage and flair for leaping into a musical territory that is rhythmically very daunting. This is in sharp contrast to the feeling of longing that permeates her other composition, "Release." There is much more saudade in the Jimmy McHugh/Dorothy Fields classic, "I'm In The Mood For Love." The slow treatment works beautifully as the sound of tonal silence is perfectly pitched.Ralph Towner's superb guitar piece, "Icarus," is another exquisite transcription to piano.

Clearly, Hines, an extremely mature piano brain with a deft touch, plays with great care to read music creatively. Still, her greatest strength comes not from that musical brain, but from her heart and soul. " Her 2008 release, "New Christmas," an album of original holiday tunes, featured vocalists April Hall, Monica Hatch and Patrice Williamson, with Dave Landoni on bass and Miki Matsuki on drums.

Mid-West Record Recap says," Give this jazz piano lady serious props for coming out with a Christmas album of original material. Culling for her pick of Boston jazz talent, she has a lot to work with in her back yard and serves it up right. Hines continues to impress with her chops and this set deserves to be at home in any holiday home that wants some new spice in the old egg nog. Way tasty good times."

Jazz Review says,"In a world crowded with holiday music, pianist and composer Pamela Hines gives us something new. Make that nine new original songs for the Christmas season. It’s a nice change from the usual rehashing of "Silver Bells" or "Silent Night." Instead of those usual Christmas standards, Hines has assembled three of Boston’s top jazz vocalists, April Hall, Monica Hatch and Patrice Williamson, to interpret a set of her own holiday compositions. They take turns singing on seven of the tracks backed by Hines on piano, Dave Landoni on bass and Miki Matsuki on drums. New Christmas also features two instrumentals.

Hines’ assured, elegant playing weaves its way through all the numbers, providing the thread that ties the set of ballads and mid-tempo tunes together. It’s important to note that Hines’ compositions have holiday-related lyrics, but they are jazz tunes and can be listened to throughout the year. The music has the feel of old standards. She wisely avoids the usual bells or chimes that often distinguish Christmas music. The jazz foundation is obvious from the opening track, "Custom Santa," which is warmed by Williamson’s deep, rich voice. The singer offers an extended scat on top of the trio’s easy playing. Williamson sings on two other numbers. Hall, who has appeared on three of Hines’ earlier CDs, sings on the ballad "What Chance Have I?" Hatch, who is at home on both the jazz and classical stage, is featured on three songs, "Starlights," "Christmas Joy" and "Ellen on Christmas."

Again, this is not your typical holiday album filled with traditional Christmas songs. Listeners looking for something off-the-beaten track should try New Christmas."

Hines 2007 release,"Return," featured John Lockwood on bass, Bob Gullotti on drums and a special guest appearance by Jerry Bergonzi. The CD went to #13 on national jazz charts and is still on some top-ten radio lists, from California to Georgia, in 2009.

She appeared at clubs in New York City, the Brown Bag Concert at Mechanics Hall in Worcester, MA, Fox- TV and many other northeast venues in 2008. Hines continues an active performance schedule in 2009, including the Prudential Center Summer Performance Series in Boston and the Fanwood Performing Series in New Jersey.

EJazz 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.

"Drop 2," a trio CD and Hines second with Spice Rack Records, was released in December, 2006, with Lockwood and Gullotti. The trio's pensive version of "I Will" was included in a compilation series by ESC Records of Germany. "Step Inside Love" includes Beatles tunes by many of today's jazz artists.

Music For America's John Book says," Pamela Hines was influenced by George Russell, and after hearing her play, you can tell why. The album opens up with an 8-minute rendition of The Beatles' "I Will". Beatles freaks might be scratching their head going "wait a minute, that song is around two minutes, how does she stretch it to the 8 minute mark?" Very well, thank you...and this is one of the best Beatles covers I've ever heard, jazz or otherwise....Traditional jazz never sounded any better, but can be enhanced among musicians of high caliber, of which Pamela Hines is one." (June, 2007)

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) was released on Brownstone Records in 1998 to critical acclaim.

Robert Iannapollo said in Cadence Magazine (1998), "Her piano style is melodically-based with full, rich chords, but there is also an angularity that keeps her improvisations unpredictable."

Pamela Trainor Hines gew up in Acton, Massachusetts and received her MM from New England Conservatory in 1998 with honors. She also has degrees from Boston University and Old Dominion University. Hines married fusion bassist David Hines in 1995 and their family resides in the metrowest Boston area.

Reviews of her work can be found at Jazz Times Magazine, Jazz Improv Magazine, Jazz Review Magazine, Boston Herald and numerous jazz sites including All About Jazz.

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