Hines was inducted into the Black Filmmakers Hall of Fame. He played solo at Duke Ellington's funeral, played solo twice at the White House, for the President of France and for the Pope. Of this acclaim, Hines said, "Usually they give people credit when they're dead. I got my flowers while I was living". Hines's last show took place in San Francisco a few days before he died of a heart attack in Oakland. As he had wished, his Steinway was auctioned for the benefit of gifted low-income music students, still bearing its silver plaque: presented by jazz lovers from all over the world. this piano is the only one of its kind in the world and expresses the great genius of a man who has never played a melancholy note in his lifetime on a planet that has often succumbed to despair.. Hines was buried in Evergreen Cemetery in Oakland, California. Style The Oxford Companion to Jazz describes Hines as "the most important pianist in the transition from stride to swing" and continues: Hines himself described meeting Armstrong: Hines continued: In their book Jazz (2009), Gary Giddins and Scott DeVeaux wrote of Hines's style of the time: In his book Louis Armstrong: Master of Modernism, Thomas Brothers described Hines's style:Rhythmically, Hines was very good at taking his melodic lines further and further way from the fixed foundation, creating a radical sense of detachment for a few beats or measures, only to land back in time with great aplomb when finished with his foray. The left hand sometimes joins in the action...What is especially distinctive about Hines are the startling effects he creates by harmonically enhancing these rhythmic departures. Like Armstrong, he thought of chords creatively and with great precision. But he was a step ahead of his colleague in his willingness to experiment. He became fond of radical dislocations, sudden turns of directions with dim and nonexistent connection to the ground harmony.Pianist Teddy Wilson wrote of Hines's style: Oliver Jackson was Hines's frequent drummer (as well as a drummer for Oscar Peterson, Benny Goodman, Lionel Hampton, Duke Ellington, Teddy Wilson and many others. He described Hines's style as follows: The Biographical Encyclopedia of Jazz gives the following description of Hines's 1965 style: Later still, then in his seventies and after a host of recent solo recordings, Hines himself said: Discography Earl Hines (Columbia, 1951) Fats Waller Songs (Brunswick, 1952)