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Dick Hyman
Dick Hyman
Dick Hyman
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Richard Hyman (born March 8, 1927) is an American jazz pianist and composer. Over a 70-year career, he has worked as a pianist, organist, arranger, music director, electronic musician, and composer. He was named a National Endowment for the Arts Jazz Masters fellow in 2017.[1]

As a pianist, Hyman has been praised for his versatility. DownBeat magazine characterized him as "a pianist of longstanding grace and bountiful talent, with an ability to adapt to nearly any historical style, from stride to bop to modernist sound-painting."[2]

His daughter Judy Hyman is a founding member of The Horse Flies, an American alternative rock/folk band based in Ithaca, New York. His grandson is designer and artist Adam Charlap Hyman.[3]

Early life

[edit]

Hyman was born in New York City on March 8, 1927[4][5] to Joseph C. Hyman and Lee Roven (née Rovinsky), and grew up in suburban Mount Vernon, New York.[6] His older brother, Arthur, owned a jazz record collection and introduced him to the music of Bix Beiderbecke and Art Tatum.[7]

Hyman was trained classically by his mother's brother, the concert pianist Anton Rovinsky, who premiered The Celestial Railroad by Charles Ives in 1928.[8] Hyman said of Rovinsky: "He was my most important teacher. I learned touch from him and a certain amount of repertoire, especially Beethoven. On my own I pursued Chopin. I loved his ability to take a melody and embellish it in different arbitrary ways, which is exactly what we do in jazz. Chopin would have been a terrific jazz pianist! His waltzes are in my improvising to this day."[8][9]

Hyman enlisted in the U.S. Army in June 1945, and was transferred to the U.S. Navy band department. "Once I got into the band department, I was working with much more experienced musicians than I was used to," Hyman once stated. "I’d played in a couple of kid bands in New York, playing dances, but the Navy meant business — I had to show up, read music, and be with a bunch of better players than I had run into." After leaving the Navy he attended Columbia University.[10] While there, Hyman won a piano competition, for which the prize was 12 free lessons with swing-era pianist Teddy Wilson. Hyman has said that he "fell in love with jazz" during this period.[11]

After graduating from Columbia, Hyman married his wife, Julia, in 1948.[12]

Career

[edit]

Relax Records released Hyman's solo piano versions of "All the Things You Are" and "You Couldn't Be Cuter" around 1950.[13] He recorded two honky-tonk piano albums under the pseudonym "Knuckles O'Toole" (including two original compositions),[14] and recorded more as "Willie the Rock Knox" and "Slugger Ryan".[15]

As a studio musician in the 1950s and early 1960s, Hyman performed with Tony Bennett, Perry Como, Guy Mitchell, Joni James, Marvin Rainwater, Ivory Joe Hunter, LaVern Baker, Ruth Brown, The Playmates, The Wildcats, The Kookie Cats, The Four Freshmen, The Four Sophomores, Johnny Mathis, Mitch Miller, and many more.[10] He played with Charlie Parker for Parker's only film appearance.[4] His extensive television studio work in New York in the 1950s and early 1960s included a stint as music director for Arthur Godfrey's television show from 1959 to 1961.[4][16]

Hyman has worked as composer, arranger, conductor, and pianist for the Woody Allen films Stardust Memories, Zelig, The Purple Rose of Cairo, Broadway Danny Rose, Hannah and Her Sisters, Radio Days, Bullets Over Broadway, Everyone Says I Love You, Sweet and Lowdown, The Curse of the Jade Scorpion and Melinda and Melinda. His other film scores include French Quarter, Moonstruck, Scott Joplin, The Lemon Sisters and Alan and Naomi. His music has also been heard in Mask, Billy Bathgate, Two Weeks Notice, and other films. He was music director of The Movie Music of Woody Allen, which premiered at the Hollywood Bowl.[17]

Hyman composed and performed the score for the Cleveland/San Jose Ballet Company's Piano Man, and Twyla Tharp's The Bum's Rush for the American Ballet Theatre. He was the pianist/conductor/arranger in Tharp's Eight Jelly Rolls, Baker's Dozen, and The Bix Pieces and similarly arranged and performed for Miles Davis: Porgy and Bess, a choreographed production of the Dance Theater of Dallas. In 2007, his Adventures of Tom Sawyer, commissioned by the John G. Shedd Institute for the Arts and produced for the stage by Toni Pimble of the Eugene Ballet, premiered in Eugene, Oregon.[18]

In the 1960s, Hyman recorded several pop albums on Enoch Light's Command Records. At first, he used the Lowrey organ, on the albums Electrodynamics (US No. 117), Fabulous (US No. 132), Keyboard Kaleidoscope and The Man from O.R.G.A.N. He later recorded several albums on the Moog synthesizer which mixed original compositions and cover versions, including Moog: The Electric Eclectics of Dick Hyman (Can No. 35),[19] and The Age of Electronicus (US No. 110).

The track "The Minotaur" from The Electric Eclectics (1969) charted in the US top 40 (US R&B Singles No. 27; Hot 100 No. 38)[20] (No. 20 Canada), becoming the first Moog single hit (although, as originally released on 45, it was labeled as the B-side to the shorter "Topless Dancers of Corfu"). Some elements from the track "The Moog and Me" (most notably the whistle that serves as the song's lead-in) on the same album were sampled by Beck for the track "Sissyneck" on his 1996 album Odelay. Hyman has been a guest performer at jazz festivals and concert venues. Around 1995, Hyman and his wife, Julia, moved permanently to Venice, Florida.[21]

Discography

[edit]

As leader

[edit]
Recorded Released Title Label Notes
1953 1953 September Song: Dick Hyman Plays the Music of Kurt Weill Proscenium Solo piano[22]
1953 1953 Conversation Piece: Dick Hyman Plays the Music of Noel Coward Proscenium Solo piano[23]
1953 2009 Autumn in New York: Dick Hyman Plays the Music of Vernon Duke Proscenium Solo piano[24]
1955? Ragtime Piano (MH 33-147) Waldorf Music Hall As Willie "The Rock" Knox And His Orchestra[22]
1955? Ragtime Piano (MH 33-151) Waldorf Music Hall As Willie "The Rock" Knox And His Orchestra[22]
1955? Swingin' Double Date Lion Trio[22]
1955? The Dick Hyman Trio Swings MGM Trio[22]
1956 1956 The Unforgettable Sound of the Dick Hyman Trio MGM Trio[25]
1956 Beside a Shady Nook MGM Trio[22]
1956 The Swinging Seasons MGM Trio[22]
1957 1957 Hi Fi Suite MGM With Joe Newman (trumpet), Thad Jones (trumpet), Benny Powell (trombone), Bill Barber (tuba), Jerome Richardson (alto saxophone, piccolo), Frank Wess (tenor saxophone, flute), Romeo Penque (clarinet, baritone saxophone), Phil Bodner (baritone saxophone, oboe), Don Elliott (vibraphone, percussion), Oscar Pettiford (bass), Eddie Safranski (bass), Osie Johnson (drums), Kenny Clarke (drums), Don Lamond (drums)[22]
1957 1957 60 Great All Time Songs - Volumes 1–6 MGM Quartet[22]
1957 1957 Dick Hyman & Harpsichord in Hi Fi MGM Trio and orchestra[22]
1958 Oh, Captain! MGM With various, including Harry "Sweets" Edison (trumpet), Coleman Hawkins (tenor sax), Art Farmer (trumpet), Tony Scott (reeds), Marilyn Moore, Jackie Paris and Osie Johnson (vocals)[26]
1958 1958 Gigi MGM Trio, with Eddie Safranski (bass), Don Lamond (drums)[27]
1958 1958 Knuckles O'Toole Plays the Greatest All-Time Ragtime Hits Grand Award (reissued by ABC in 1974) Trio (banjo and drums)
1960 After Six MGM Trio[22]
1960 1960 Strictly Organ-ic MGM Quintet[22]
1960 Provocative Piano Command With orchestra[28]
1960 Provocative Piano, Vol. 2 Command With orchestra[29]
1961 1961 Dick Hyman and His Trio Command Trio, with Joe Benjamin (bass), Osie Johnson (drums)[30][22]
1963 1963 Electrodynamics Command Quintet[22]
1963 Fabulous Command [22]
1963 1963 Moon Gas MGM [22]
1964 1964 Keyboard Kaleidoscope Command With various, including Everett Barksdale, Bucky Pizzarelli, Bob Haggart, Osie Johnson, the Ray Charles Singers[31]
1965 1965 The Man from O.R.G.A.N. Command [22]
1966 I'll Never Be the Same MGM With strings[22]
1966 1966 Happening! Command Hyman plays harpsichord[32]
1967 1967 Brasilian Impressions Command With various[33]
1968 1968 Mirrors Command [22]
1968 1968 Sweet Sweet Soul Command With Bob Haggart (electric bass), Bob Rosengarden (drums)[34]
1969 1969 Moog: The Electric Eclectics of Dick Hyman Command Hyman plays Moog[35][36]
1969 1969 The Age of Electronicus Command [22]

Command label badge includes the following banner: "Electronic Pop Music".

1970 1970 Concerto Electro Command Command label badge includes the following banner: "Electronic Pop Music". LP rear cover states "Command / Probe Records".
1971 1971 The Sensuous Piano of "D" Project [35]
1972 Solo Piano Project Solo piano[22]
1972 1972 Grand Slam Project [22]
1973 2002 An Evening at the Cookery, June 17, 1973 JRB Solo piano; in concert[37]
1973 Ragtime, Stomps and Stride Project [35][22]
1974 1974 Genius at Play Monmouth Evergreen Solo piano[35][38]
1974 Some Rags, Some Stomps, and a Little Blues Columbia [35][22]
1974 1974 Let It Happen RCA As the Jazz Piano Quartet with Hank Jones, Marian McPartland and Roland Hanna
1975 Satchmo Remembered: The Music of Louis Armstrong at Carnegie Hall Atlantic With various; in concert[39]
1975 1975 Charleston Columbia With various[35][40][22]
1975 1975 Scott Joplin: The Complete Works for Piano RCA [22]
1977 Scott Joplin MCA With various, including Hank Jones (piano)[41]
1977 Themes and Variations on "A Child Is Born" Chiaroscuro Solo piano[35][42]
1977 1994 A Waltz Dressed in Blue Reference Trio, with Michael Moore (bass), Ron Traxler (drums)[43][22]
1978 1978 The Music of Jelly Roll Morton Smithsonian Some tracks solo piano; some tracks trio, with Bob Wilber (clarinet), Tommy Benford (drums); one track quartet; some tracks septet, with Wilber (clarinet), Warren Vaché (trumpet), Jack Gale (trombone), Marty Grosz (guitar, banjo), Major Holley (bass, tuba), Benford (drums)[44]
1978 1978 Come and Trip It New World [35]
1980 1980 Say It with Music World Jazz Quintet, with Pee Wee Erwin (trumpet), Bob Wilber (reeds), Milt Hinton (bass), Bobby Rosengarden (drums)[45]
1981 1981 Cincinnati Fats OVC-ATOS [22]
1981 1992 Live at Michael's Pub JazzMania Duo, with Roger Kellaway (piano); in concert[46]
1983 1983 Kitten on the Keys: The Piano Music of Zez Confrey RCA Solo piano[47]
1983 They Got Rhythm Jazz Club of Sarasota Duo, with Derek Smith (piano); live at Van Wezel Performing Arts Hall, Sarasota, Florida, February 9, 1983[46][48][22]
1983–1988 2017 Solo at the Sacramento Jazz Festivals Arbors [49]
1984 1984 Eubie Sine Qua Non Solo piano[50][22]
1985 1996 Fireworks Inner City Duo, with Ruby Braff (cornet); in concert[35][51]
1985 The Purple Rose of Cairo MCA Film soundtrack[22]
1986 1986 Gulf Coast Blues Stomp Off Solo piano[52][22]
1987 1988 Manhattan Jazz Musicmasters Duo, with Ruby Braff[35][22]
1987 1987 Runnin' Ragged Pro Jazz Duo, with Stan Kurtis (violin)[53]
1987 2005 Stridemonster! Unisson Most tracks duo, with Dick Wellstood (piano); one track each of solo piano[54][22]
1988 At Chung's Chinese Restaurant Musical Heritage Society Solo piano; live at Chung's Chinese Restaurant, Cleveland, Ohio, September 26, 1985[55][22]
1989 1989 The Kingdom of Swing and the Republic of Oop Bop Sh'bam Musicmasters With Joe Wilder (trumpet), Warren Vaché (cornet), Urbie Green (trombone), Buddy Tate (clarinet, tenor sax), Derek Smith (piano), Milt Hinton (bass), Butch Miles (drums)[46][22]
1988 1988 Face the Music: A Century of Irving Berlin Musical Heritage Society Solo piano[56][22]
1988 1988 Moonstruck Capitol Film soundtrack[22]
1990 1990 Live from Toronto's Cafe Des Copains Music & Arts Solo piano; live at Cafe des Copains, Toronto, Canada, June, 1988[22]
1990 1990 Blues in the Night (Dick Hyman Plays Harold Arlen) Musicmasters Solo[35][22][46]
1990 Dick Hyman Plays Fats Waller Reference Solo piano[57][22]
1989 Music from My Fair Lady Concord Jazz Duo, with Ruby Braff (cornet)[58][22]
1990 1990 Music of 1937 Concord Solo piano; in concert[59][22]
1990 1991 Stride Piano Summit Milestone With Harry Sweets Edison (trumpet), Ralph Sutton, Jay McShann, Mike Lipskin (piano), Red Callender (bass), Harold Jones (drums)[46][22]
1990 Plays Duke Ellington Reference Solo piano[57][22]
1991 All Through the Night Musicmasters Solo piano; in concert[46][22]
1993 1996 Gershwin Songbook: Hyman Variations Musicmasters Solo piano[35][22]
1993 Dick Hyman/Ralph Sutton; Concord Duo Series, Vol. 6 Concord Duo, with Ralph Sutton (piano); in concert[46][22]
1994 1994 Marian McPartland's Piano Jazz Some tracks solo piano; some tracks duo, with Marian McPartland (piano)[60][22]
1994 Ruby Braff and Dick Hyman Play Nice Tunes Arbors with Ruby Braff[22]
1994 The Piano Giants at Bob Haggart's 80th Birthday Party Arbors With Derek Smith and Ralph Sutton (piano), Bob Haggart (bass), Bobby Rosengarden (drums); in concert[57][22]
1994 1994 From the Age of Swing Reference Some tracks octet, with Joe Wilder (trumpet), Urbie Green (trombone), Phil Bodner (alto sax, clarinet), Joe Temperley (baritone sax), Bucky Pizzarelli (guitar), Milt Hinton (bass), Butch Miles (drums); some tracks nonet, with Frank Wess (alto sax) added)[61]
1995 1996 Elegies, Mostly Gemini Duo, with Niels-Henning Ørsted Pedersen (bass)[57]
1995 1996 Cheek to Cheek Arbors Trio, with Howard Alden (guitar), Bob Haggart (bass)[57]
1996 Just You, Just Me Sackville Duo, with Ralph Sutton (piano)[57]
1996? 1996 Swing Is Here Reference With Peter Appleyard (vibes), Ken Peplowski (clarinet), Randy Sandke (trumpet), Frank Wess (tenor sax), Bucky Pizzarelli (guitar), Jay Leonhart (bass), Butch Miles (drums); Nancy Marano (vocals) added on some tracks[35][62]
1998? In Recital Reference Solo piano; in concert[63]
1998 1998 Dick & Derek at the Movies Arbors Duo, with Derek Smith (piano)[57]
1998 1999 There Will Never Be Another You Jazz Connaisseur Solo piano; in concert[64]
2001? 2002 Barrel of Keys Jazz Connaisseur Duo, with Louis Mazetier (piano); in concert[65]
2001 2002 Forgotten Dreams Arbors Duo, with John Sheridan (piano)[57]
2003? 2003 What Is There to Say? Victrola Duo, with Ray Kennedy (piano)[66]
2003 2004 If Bix Played Gershwin Arbors With Tom Pletcher (cornet), David Sager (trombone), Dan Levinson (clarinet, C-melody sax), Vince Giordano (bass sax), Bob Leary (guitar, banjo, vocals), Ed Metz Jr (drums)[57]
2006? Playful Virtuosity Ryko Duo, with Meral Güneyman (piano)[67]
2006? 2007 Teddy Wilson in 4 Hands Echoes of Swing Most tracks duo, with Chris Hopkins (piano); one track each of solo piano[68]
2006? 2006 Solo Piano Variations on the Great Songs of Rodgers & Hammerstein Jazz Heritage Society Solo piano[69]
2007 In Concert at the Old Mill Inn Sackville Solo piano; in concert[70]
2009? 2010 Danzas Tropicales Ryko with Meral Güneyman
2010 2012 You're My Everything Venus Trio, with Jay Leonhart (bass), Chuck Redd (drums)[39]
2011? 2012 Late Last Summer Left Ear Duo, with Judy Hyman (violin)[71]
2013? Lock My Heart Red House Duo, with Heather Masse (vocals)[72]
2012 2013 ...Live at the Kitano Victoria Duo, with Ken Peplowski (clarinet, tenor sax); in concert[73]
2014 2015 House of Pianos Arbors Solo piano; in concert[74]
1992 2022 One Step to Chicago Rivermont with Peter Ecklund and Dick Sudhalter (cornet), Jon-Erik Kellso (trumpet), Dan Barrett (trombone), Kenny Davern and Dan Levinson (clarinet), Ken Peplowski (tenor saxophone), Marty Grosz and Howard Alden (banjo/guitar), Vince Giordano (tuba/bass saxophone), Bob Haggart and Milt Hinton (bass), Tony DeNicola and Arnie Kinsella (drums)

As sideman

[edit]

With Ruby Braff

  • Bugle Call Rag (Jazz Vogue, 1976)
  • Fireworks (Inner City, 1985)
  • Music from South Pacific (Concord Jazz, 1991)
  • Very Sinatra (Red Baron, 1993)
  • A Pipe Organ Recital Plus One (Bellaphon, 1996)
  • Watch What Happens (Arbors, 2002)
  • You Brought a New Kind of Love (Arbors, 2004)

With Jim Cullum Jr.

  • New Year's All Star Jam (Pacific Vista, 1993)
  • Honky Tonk Train (Riverwalk, 1994)
  • Hot Jazz for a Cool Yule (Riverwalk, 1995)
  • Fireworks! Red Hot & Blues (Riverwalk, 1996)
  • American Love Songs (Riverwalk, 1997)

With Benny Goodman

  • Date with the King (Columbia, 1956)
  • Benny Goodman (Capitol, 1956)
  • Benny Goodman Plays Selections from the Benny Goodman Story (Capitol, 1956)

With Urbie Green

  • 21 Trombones (Project 3, 1967)
  • 21 Trombones Rock, Blues, Jazz, Volume Two (Project 3, 1969)
  • Green Power (Project 3, 1971)
  • Bein' Green (Project 3, 1972)
  • Oleo (Pausa, 1978)

With Enoch Light

  • Show Spectacular (Grand Award, 1959)
  • The Original Roaring 20's Volume 4 (Grand Award, 1961)
  • Enoch Light and the Glittering Guitars (Project 3, 1969)
  • Enoch Light Presents Spaced Out (Project 3, 1969)
  • Permissive Polyphonics (Project 3, 1970)

With Wes Montgomery

With Tony Mottola

  • Romantic Guitar (Command, 1963)
  • Heart & Soul (Project 3, 1966)
  • Guitar U.S.A. (Command, 1967)
  • Lush, Latin & Lovely (Project 3, 1967)
  • Roma Oggi - Rome Today (Project 3, 1968)
  • Warm, Wild and Wonderful (Project 3, 1968)
  • Tony Mottola's Guitar Factory (Project 3, 1970)
  • Tony Mottola and the Quad Guitars (Project 3, 1973)

With Flip Phillips

  • Flip Phillips Collates (Clef, 1952)
  • A Real Swinger (Concord Jazz, 1988)
  • Try a Little Tenderness (Chiaroscuro, 1993)
  • Flip Philllips Celebrates His 80th Birthday at the March of Jazz 1995 (Arbors, 2003)

With Doc Severinsen

  • Fever (Command, 1966)
  • Live! (Command, 1966)
  • The New Sound of Today's Big Band (Command, 1967)

With Bob Wilber

  • Soprano Summit (World Jazz, 1974)
  • Summit Reunion (Chiaroscuro, 1990)
  • Bufadora Blow-up (Arbors, 1997)
  • A Perfect Match (Arbors, 1998)
  • Everywhere You Go There's Jazz (Arbors, 1999)
  • A Tribute to Kenny Davern and 80th Birthday Salute to Bob Wilber (2009)

With others

As arranger

[edit]

With Count Basie

With Trigger Alpert

With Flip Phillips

  • Try a Little Tenderness (Chiaroscuro, 1993)

References

[edit]
[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

Dick Hyman

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Richard Hyman (born March 8, 1927), better known as Dick Hyman, is an American pianist, , , arranger, and renowned for his versatility across genres including stride piano, , , and classical influences over a career spanning more than seven decades. Born in and raised in nearby , Hyman began studying and as a child, receiving classical training from his uncle, concert pianist Anton Rovinsky, while being introduced to through his brother Arthur's record collection featuring early influences like and . After enlisting in the U.S. Navy in 1945 and winning a piano contest at in 1949—which earned him lessons with stride master —Hyman launched his professional career in the early 1950s, performing with ensembles led by Red Norvo, Max Kaminsky, and , including a 1950 European tour with the latter. Throughout his extensive discography of over 100 albums, Hyman has excelled as a soloist and collaborator, pioneering electronic music with his 1969 album Moog: The Electric Eclectics of Dick Hyman, the track "The Minotaur" from which reached the , and recording comprehensive works such as the complete piano rags of in 1975. As a and arranger, he scored more than a dozen films for , including (1983) and (1986), as well as (1987, for which the film won ), alongside television specials and Broadway productions. Hyman served as music director for and Arthur Godfrey's radio and television shows in the 1950s and 1960s, and as artistic director of the in July concert series at New York City's for two decades starting in 1985. His contributions to jazz education and preservation include collaborations with artists like , , and Ken Peplowski, as well as compositions such as the Concerto for Piano & Orchestra and Ragtime Fantasy. Hyman has received numerous accolades, including seven Most Valuable Player Awards from the National Academy of Recording Arts and Sciences (NARAS), two for specials on and children's programming, an honorary doctorate from the , and the 2017 National Endowment for the Arts Jazz Masters Award. Now in his late 90s, Hyman continues to influence the music world through recordings, such as his 2018 collaborations with Peplowski, , and his daughter, violinist Judy Hyman, though he has retired from public performances.

Biography

Early life

Richard Hyman, professionally known as Dick Hyman, was born on March 8, 1927, in and raised in the nearby suburb of . His family background significantly shaped his initial musical path; his mother's brother, concert pianist Anton Rovinsky—who had premiered Charles Ives's The Celestial Railroad in 1928—provided formal classical training, while his older brother Arthur introduced him to through a collection of 78-RPM records featuring artists such as and . Hyman's interest in music emerged early, as he began studying and before the age of 10, focusing on classical including works by Bach and Beethoven under Rovinsky's tutelage. Alongside this structured education, exposure to his brother's recordings sparked a self-directed exploration of and early styles, blending these influences with his classical foundation. As a teenager, Hyman pursued initial performances and hobbies through participation in youth dance bands in New York, performing in local ensembles across Westchester County to accompany dances. In June 1945, he enlisted in the U.S. Army and was transferred to the Navy's band department, where he contributed to various musical ensembles until the conclusion of .

Personal life

Hyman married Julia Ann Hyman in 1948, forming a partnership that lasted 77 years until her death on June 16, 2025, at age 96 in . The couple had three children: Judy, Beth, and David. Hyman's daughter Judy is a violinist and founding member of the alternative folk-rock band The Horse Flies, based in . His grandson Adam Charlap Hyman is a , , and who has collaborated with Hyman in performances. After decades based in , Hyman and his wife relocated to , in 1989, where they established a home with dedicated studios for his music and her sculpting.

Career

Early and mid-career

Following his discharge from the U.S. Navy in the late 1940s, where he had served in the band department starting in 1945, Dick Hyman enrolled at to study music. While there, he won an on-air piano competition on radio station WOV, earning first prize of 12 free lessons with pianist , a prominent swing-era figure. By 1949, Hyman had begun professional performances, including work with vibraphonist Red Norvo, trumpeter Max Kaminsky's Dixieland ensemble, the Dixielanders, and bandleader , including a 1950 European tour with the latter. In the early 1950s, Hyman emerged as a key figure in New York's jazz scene, serving as house pianist at the influential Birdland club and occasionally accompanying alto saxophonist Charlie Parker during the venue's opening weeks. He also contributed to television appearances, such as a 1952 network broadcast where he played piano behind Parker and trumpeter Dizzy Gillespie on "Hot House," marking one of the few surviving filmed performances of Parker. Throughout the decade, Hyman built a reputation through steady session work in radio, television, and recordings, including arrangements for vocalists like Tony Bennett. He served as music director for NBC for five years and for Arthur Godfrey's radio and television shows in the 1950s and 1960s. Hyman's arranging and studio contributions expanded in the and , encompassing interpretations of popular and theatrical repertoire. A notable early example was his 1953 September Song: Dick Hyman Plays the Music of , recorded in New York on February 1 and 2, which featured his original arrangements of Weill's compositions like "It Never Was You" and "." He provided piano accompaniment and arrangements for sessions with leading vocalists, including on tracks from 1954–1955 and across multiple recordings. A pivotal innovation came in 1969 when Hyman became one of the first musicians to prominently feature the , an emerging electronic instrument developed by . His album Moog: The Electric Eclectics of Dick Hyman, released that January, adapted standards and pop tunes to the synthesizer's modular capabilities, yielding the hit single "The ," which reached No. 38 on the and No. 27 on the R&B chart. The LP itself charted on Billboard's Jazz Albums, Soul/R&B Albums, and Top LPs lists from May through December 1969, highlighting the synthesizer's commercial potential in mainstream music. During the 1970s, Hyman's career extended to Broadway, where he served as orchestrator for the revue Sugar Babies, a nostalgic production that opened on October 8, 1979, at the and ran for 1,208 performances until 1982, starring and . This role underscored his versatility in blending elements with theatrical music direction.

Later career

In the , Hyman began a prolific collaboration with filmmaker , serving as composer, arranger, conductor, and pianist for over a dozen of his films, starting with in 1983. This partnership continued with scores for (1987), (1987), (1995), among others, where Hyman's versatile arrangements blended , classical, and period-appropriate styles to enhance the narrative. Hyman's interest in early American music led to a revival of during this period, with performances featuring improvisations on works by and other pioneers at festivals and theaters in the 1980s and 1990s, including solo sets at the JVC Jazz Festival in 1987 that highlighted stride and fundamentals. He also provided live accompaniment for silent films, drawing on historical styles to recreate the theatrical atmosphere of the era. From 1985 to 2004, Hyman served as of the Jazz in July series at New York's , curating 120 concerts over 20 years that showcased guest artists in a formal concert setting and elevated presentation in cultural institutions. Into the and , Hyman maintained an active performing and recording schedule, releasing solo albums that demonstrated his command of diverse piano idioms, such as House of Pianos in 2015, recorded live at Farley's House of Pianos and featuring originals alongside standards like "" and "Blue Monk." Following the , his public appearances reduced due to age, with his last noted concert in December 2020 alongside the Florida Masters at Gardens. Throughout his later years, Hyman engaged in teaching and mentorship, conducting masterclasses on techniques, including sessions with educator Dave Frank that explored and historical styles, and releasing instructional DVDs like Century of Jazz Piano to guide emerging musicians. He also held honorary positions, such as receiving an honorary doctorate from The Juilliard School in 2017.

Musical style and contributions

Influences and style

Dick Hyman's musical style is characterized by exceptional versatility, spanning jazz, , classical, and pop genres, with a particular mastery of stride piano and . As a proficient on , organ, and , he developed a light, precise touch often likened to "the of the keyboard," enabling him to replicate historical styles with authenticity while infusing them with personal flair. His approach emphasizes thematic , blending traditional elements like and swing with modern harmonic explorations, as seen in his solo recitals that traverse , , , and beyond. Key influences shaped Hyman's eclectic foundation. Classical training from his uncle, pianist Anton Rovinsky, provided early technical rigor, including daily scales and Chopin etudes. His brother Arthur introduced him to 1920s jazz recordings by , , and , igniting a lifelong fascination with early . Twelve lessons with honed his chord substitutions and solo techniques, while encounters with , , and further refined his leanings; he even performed with in the 1940s. The ragtime revival, particularly Scott Joplin's works, inspired Hyman's deep research into piano rags, leading to his 1975 recording of Joplin's complete piano oeuvre and evocations of Thelonious Monk's angular phrasing in his own pieces. Hyman's innovations include his pioneering use of the in , as on his 1969 album The Minotaur, which charted on and influenced subsequent electronic explorations in the genre. He demonstrated expertise in historical keyboard reproduction, employing period instruments like player pianos and theater organs to ensure authenticity in performances. This extended to live accompaniment for silent films, where he improvised scores using era-appropriate timbres to evoke the 1920s cinematic atmosphere. Over his career, Hyman's style evolved from a emulating diverse masters—such as in his 1977 album Themes and Variations on “A Child Is Born,” interpreting 11 pianists from Joplin to —to an eclectic leader prioritizing original improvisations that synthesize influences into a cohesive personal voice. This shift underscored his commitment to thematic depth over stylistic mimicry, culminating in live sets that seamlessly merge historical reverence with contemporary invention.

Compositions and arrangements

Dick Hyman composed a diverse array of original works that blend with classical structures and influences. His orchestral compositions include the for and Orchestra "Concerto Electro" (1969), a three-movement piece incorporating electronic elements, and for and Orchestra No. 2, both showcasing his innovative fusion of jazz phrasing and symphonic form. Additionally, the Fantasy for and Orchestra, a suite evoking early 20th-century American idioms, highlights his deep engagement with ragtime traditions. Among his chamber music, Hyman created pieces such as Danzas Tropicales for small , premiered with La Musica Chamber Players, which draws on Latin rhythms within a classical framework, and the Sonata for and . He also wrote a dedicated to Ken Peplowski, emphasizing lyrical lines in a style. For vocal and larger-scale works, Hyman composed the The , Chapter I for chorus, , and , premiered in 2004 by Gloria Musicae in Sarasota, adapting excerpts from Twain's writings into a narrative musical setting. Hyman's film scores demonstrate his skill in tailoring music to cinematic narratives, often integrating period and . He provided original themes and arrangements for more than a dozen films, including (1983), where his ragtime-inspired score underscores the film's 1920s-1930s aesthetic, (1985), (1984), and (1986). Other notable scores include the soundtrack for (1987), featuring adapted standards and original cues like "Mr. Moon," earning a BAFTA nomination, and (1977), which celebrates the ragtime pioneer's legacy through authentic period recreations. In theater, Hyman served as orchestrator for the Broadway revue Sugar Babies (1979-1982), arranging music by and others to evoke burlesque-era vitality with big-band swing elements. His arranging credits extend to over 100 recording sessions, including pianist on sessions for vocalists like in the early 1950s and symphony orchestras such as the , as well as ballet scores for productions. These works reflect Hyman's ability to bridge with orchestral precision, creating arrangements that enhance performers' interpretive range.

Discography

As leader

Dick Hyman released over 50 albums as a leader throughout his career, encompassing interpretations of standards, original compositions, and explorations into various genres such as synthesizer music and . His recordings as a often featured him on , organ, or , frequently with small ensembles including trios or quartets, showcasing his versatility across traditional , stride , and electronic experimentation. These works highlight Hyman's role in bridging mid-20th-century with innovative sounds, from swing-era tributes to avant-garde electronic pieces. His debut album as leader, (1953, Majestic Records), featured Hyman on with a quartet performing standards like the title track and "Body and Soul," establishing his early command of ballad interpretations. In the 1950s, Dick Hyman Plays (Roost Records) presented solo and trio renditions of Ellington classics such as "" and "," earning praise for Hyman's elegant phrasing and harmonic depth. The late marked a shift toward electronic innovation with The Electric Eclectics of Dick Hyman (1969, Command Records), where he pioneered the on tracks like "Topless Dancers of " and "The ," blending improvisation with psychedelic and pop elements. The track "The " from this album reached #38 on the Hot 100. This album exemplified Hyman's early adoption of synthesizers in , influencing subsequent electronic music explorations. Hyman's 1970s output included (1975, Victor Records), which revived interest in the genre through Hyman's arrangements of Scott Joplin's works, performed on and , contributing to the ragtime revival sparked by the film The Sting. In his later years, House of Pianos (2015, Arbors Records) captured a solo session reflecting on his , with originals and standards that demonstrated enduring technical prowess and melodic sensitivity. Recent reissues include Hi-Fi Keys - Dick Hyman in Stereo Sound (2025) and Till We Meet Again - Cozy Jazz (2024). Hyman's leader discography features notable series, including solo piano albums like Dick Hyman Plays and late-career reflections such as Forgotten Man (2019, self-released), which paid tribute to overlooked figures through original compositions. Thematic albums underscore his scholarly approach to blending with classical influences. Critics have acclaimed Hyman's leader work for its versatility, with albums like The Electric Eclectics hailed for pioneering use in , earning retrospective recognition in electronic music histories. Overall, his leadership recordings reflect a career-spanning evolution, from intimate standards to bold genre experiments, solidifying his reputation as a multifaceted innovator.

As sideman

Hyman's early sideman work in the 1950s included providing piano accompaniment for jazz legends during live performances and broadcasts. He played piano behind and on a 1952 television appearance performing "Hot House," contributing rhythmic and harmonic support to the ensemble. During the mid-1950s and 1960s, Hyman frequently supported vocalists on studio recordings, blending his versatile piano and organ playing with pop and jazz standards. He appeared on Tony Bennett's 1964 album The Many Moods of Tony, performing piano on tracks such as "" and offering subtle improvisational fills that enhanced Bennett's phrasing. On Ella Fitzgerald's releases, Hyman provided organ on select singles from the era. In contexts, Hyman's roles extended to swing and post-swing ensembles, where his work supplied foundational chord progressions and melodic interjections. Hyman's mid-period contributions also encompassed sessions with other vocal powerhouses, including organ and support on Sarah Vaughan's releases, where he emphasized smooth harmonic voicings to complement her scat and ballad interpretations. Over this era, he participated in numerous dates, delivering fills that bolstered collective . Into the later decades, from the onward, Hyman continued as a sought-after on modern projects, often on in small-group settings. He joined soprano saxophonists Bob Wilber and Kenny Davern on the 1974 album Soprano Summit, where his drove swinging rhythms and added contrapuntal lines to the clarinet-soprano front line. Guest appearances extended to contemporary ensembles, such as collaborative sonata recordings with in the 1990s, highlighting his role in bridging with classical forms. Throughout his career, Hyman amassed hundreds of sideman credits spanning , pop, and occasional classical crossover projects, primarily as and . His contributions emphasized reliable harmonic support and tasteful improvisational fills within ensembles, adapting his technique to diverse leaders without overshadowing their visions.

As arranger

Hyman's arranging career spans recordings, stage productions, and orchestral works, often adapting standards and forms to diverse ensembles and media formats. His contributions emphasize innovative fusions, such as blending with modern symphonic elements and reconstructing period scores for . Over decades, he provided charts for vocalists, big bands, and classical groups, showcasing his versatility in tailoring arrangements to specific performers and contexts. One of Hyman's prominent Broadway credits was as orchestrator for the revue Sugar Babies (1979), where he adapted a collection of vaudeville and burlesque tunes for the stage production starring and . The arrangements supported the show's high-energy dance numbers and nostalgic jazz-inflected songs, contributing to its long run of over 1,200 performances. His work here highlighted his skill in orchestrating for large ensembles while preserving the playful spirit of early 20th-century and swing. In film, Hyman served as arranger and for several projects, notably (1983), where he reconstructed and adapted 1920s-1930s and popular tunes to fit the mockumentary's era-specific scenes. Beyond original compositions, he orchestrated period pieces like Fanny Brice's "My Man" by transcribing and expanding original film clips for a full ensemble, blending authenticity with cinematic flair. Similar arranging roles extended to (1987), (1984), and other Allen films, totaling over a dozen credits. Hyman's instrumental arrangements for symphony often fused with classical forms, including the Ragtime Fantasy for and , which reimagines Scott Joplin-era syncopations for full symphonic forces. In the and , he created jazz-classical hybrids like the Concerto Electro (1969), incorporating electronic elements into orchestral textures. He also arranged for the Orchestra, providing vocal charts for soprano in a 1984 program featuring Gershwin standards such as "Love Walked In" and Cole Porter's "I Love Paris," adapting them for orchestral accompaniment to highlight her operatic range alongside phrasing. Additional notable arranging work includes charts for modern dance, such as Twyla Tharp's jazz ballets Eight Jelly Rolls (1971), The Bix Pieces (1971), and Baker's Dozen (1979), where he scored Jelly Roll Morton and Bix Beiderbecke tunes for chamber ensembles to support choreographed interpretations of early jazz. For electronic explorations, Hyman arranged standards like "Top of the World" and "Give It Up or Turn It A-Loose" on his 1969 album Moog: The Electric Eclectics of Dick Hyman, adapting them for Moog synthesizer with orchestral overlays, though these were tied to his leadership role. His chamber music adaptations extended ragtime and stride piano idioms to small ensembles, including quintets and sextets that revoiced classics by Fats Waller and James P. Johnson for strings and winds. Throughout his career, these efforts encompassed over 100 arranging assignments across studios and stages, prioritizing adaptive creativity over rigid replication.

Awards and legacy

Awards and honors

In 2017, Dick Hyman was awarded the (NEA) Jazz Masters Fellowship, the nation's highest honor for , recognizing his over 70 years of contributions as a , , arranger, and . This fellowship, which included a $25,000 award, celebrated his versatility across styles and his role in preserving the genre's history through performances and recordings. Earlier in his career, Hyman earned seven Awards from the of Recording Arts and Sciences (NARAS) during the and , acknowledging his exceptional work as a studio musician in New York. These honors highlighted his technical prowess and reliability on and organ for numerous recording sessions across , pop, and commercial projects. Hyman received two for his television contributions. In 1981, he won a Emmy for Outstanding Achievement in Children's Programming for his original score to the special Sunshine's on the Way. In 1983, he earned another Emmy for Outstanding Achievement in Music Direction for the special : A Century of Music. In 2017, the conferred upon Hyman an honorary Doctor of Music degree during its commencement ceremony, honoring his lifelong dedication to , performance, and innovation. Hyman also received ASCAP awards for his film scores, including the 1989 ASCAP Film and Television Music Award for his work on . Additionally, he was inducted into the ASCAP Jazz Wall of Fame in 2014, recognizing his enduring impact on composition and performance. For his broader contributions to jazz, Hyman was inducted into the Jazz Hall of Fame of the Rutgers Institute of Jazz Studies and the New Jersey Jazz Society in 1995, a lifetime achievement nod that affirmed his status as a pivotal figure in the genre's evolution.

Legacy

Dick Hyman's influence on the ragtime revival during the 1970s positioned him as a pivotal figure in resurrecting interest in the genre, through meticulous recordings and performances of works by Scott Joplin, Jelly Roll Morton, and other early composers, which inspired subsequent performers and the establishment of ragtime festivals worldwide. His album Dick Hyman Plays Duke Ellington and original composition Ragtime Fantasy further bridged historical ragtime with modern jazz interpretations, contributing to a broader cultural appreciation that extended beyond niche audiences. This resurgence not only revitalized performances at venues like the Big Apple Jazz Festival but also influenced educational curricula in jazz history programs. In jazz education, Hyman's two-decade tenure as artistic director of the Jazz in July series at New York's 92nd Street Y from 1985 to 2004 allowed him to mentor emerging musicians through curated concerts, workshops, and masterclasses that emphasized improvisation and historical context, shaping generations of pianists and educators. His Century of Jazz Piano series, released on Arbors Records with accompanying transcriptions by Hal Leonard, provided accessible resources for students, reinforcing his role as a bridge between jazz's past and future. Widely regarded as a "musician's musician" for his extraordinary versatility across piano, organ, arranging, and composition, Hyman earned acclaim from peers for adapting seamlessly to diverse styles, from stride to avant-garde. Hyman's multimedia legacy includes pioneering the integration of synthesizers into , notably with his 1969 Moog Modular album Moog: The Electric Eclectics of Dick Hyman, featuring the Billboard-charting track "The Minotaur," which introduced electronic textures to mainstream audiences and influenced subsequent experimentalists. He also preserved music traditions by providing live accompaniments for screenings at institutions like the , ensuring the improvisational essence of early cinema scores remained vibrant. Over his career, Hyman contributed to more than 100 albums as leader or and composed scores for over 20 films, including Woody Allen's and , which blended elements into cinematic soundtracks and elevated the genre's presence in popular media. As of 2025, Hyman's relevance endures through archival releases like reissues of his early Moog recordings and tributes marking his 98th birthday, including performances honoring his centennial trajectory in preservation. His family continues this legacy, with daughter Judy Hyman, a violinist and member of The Horse Flies, collaborating on duet albums such as Late Last Summer, and grandson Adam Charlap-Hyman, a designer and musician, joining him in virtual concerts that blend generations.

References

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