on suppliers rather than risk ruining a successful music career. Hawes was arrested on heroin charges on his 30th birthday and was sentenced to ten years imprisonment. In the intervening weeks between his trial and sentencing, Hawes recorded an album of spirituals and gospel songs, The Sermon. In 1961, while at a federal prison hospital in Fort Worth, Texas, Hawes was watching President Kennedy's inaugural speech on television, and became convinced that Kennedy would pardon him. With help from inside and outside the prison, Hawes submitted an official request for a presidential pardon. In an almost miraculous turn, in August 1963, Kennedy granted Hawes Executive Clemency, the 42nd of only 43 such pardons given in the final year of Kennedy's presidency. After being released from prison, Hawes resumed playing and recording. During a ten-month tour of Europe, Asia, and the Middle East, Hawes recorded nine albums, played sold out shows and concert halls in ten countries, and was covered widely in the press, including appearances on European television and radio. Raise Up Off Me, Hawes' autobiography, written with Don Asher and published in 1974, shed light on his heroin addiction, the bebop movement, and his friendships with some of the leading jazz musicians of his time. It was the first book about the bebop era written by a musician, and won the ASCAP Deems Taylor Award for music writing in 1975. Critic Gary Giddins, who wrote the book's introduction, called Raise Up Off Me "a major contribution to the literature of jazz." The Penguin Guide to Jazz cites it as "one of the most moving memoirs ever written by a musician, and a classic of jazz writing." In the 1970s, Hawes experimented with electronic music (Fender-Rhodes made a special instrument for him), although eventually he returned to playing the acoustic piano. Hampton Hawes died unexpectedly of a brain hemorrhage in 1977, at the age of 48. He was buried next to his father, Hampton Hawes Sr., who had died five months earlier, at Lincoln Memorial Cemetery in Los Angeles. Style and influence Hawes' playing style developed in the early 1950s. He included "figures used by Parker and [Bud] Powell (but he played with a cleaner articulation than Powell), some Oscar Peterson phrases, and later, some Bill Evans phrases[...], and an impressive locked-hands style in which the top notes always sang out clearly." He also helped develop "the double-note blues figures