Fatha & His Flock on Tour (Remastered) Earl Hines & Jaki Byard

• 1 I Just Wanna Make Love to You 03:40
• 2 Second Balcony Jump 05:08
• 3 Passion Flower 02:56
• 4 My Heart Stood Still 03:29
• 5 I Feel so Smootchy 02:16
• 6 All of Me 02:58
• 7 Somebody Loves Me 02:37
• 8 One Night in Trinidad 02:44
• 9 Cannery Walk 02:49
• 10 Things Ain't What They Used to Be 03:01
• 11 Yellow Blues Blues 04:17
• 12 Easy to Love 04:09
• Total Runtime 40:04

Info zu Fatha & His Flock on Tour (Remastered)

Earl Hines’ improvisational style helped shape jazz. His Hot Five sides with Louis Armstrong are historic masterpieces, and the Armstrong-Hines duo “Weather Bird” is one of jazz’s high-watermarks. He went on to lead the first be-bop big band with Dizzy Gillespie and Charlie Parker as band members. Hines kept up with the times throughout his career, absorbing and assimilating every new style. Here Hines flows from Dixie to stride and swing, from rocking rhythm and blues to free-wheeling contemporary. Singer Marva Josie shines as the quintet plays the rhythm & blues standard I Just Wanna Make Love to You, as well as I Feel so Smoochy, Hines’ Night In Trinidad and the Cole Porter classic Easy To Love. The Hines originals Second Balcony Jump and Cannery Walk are tasty trio pieces. Ellington classics Passion Flower and Things Ain’t What They Used To Be, as well as All Of Me and Hines’ own Melodica Blues are instrumental quartet pieces featuring Haywood Henry’s polished clarinet and baritone play. All Of Me, My Heart Stood Still and Somebody Loves Me are solo exhibitions of Hines’ depth and breadth as he plays through jazz history. A necessary addition to any ‘Fatha’ Hines collection, and for those not familiar with the man and his music, a good introduction to one of the greatest pianists of the 20th century.

Earl Hines, piano
Marva Josie, vocals
Haywood Henry, saxophone
Haywood Henry, clarinet
Larry Richardson, bass
Khalil Mhadi, drums

Recorded on the occasion of the Berlin Jazz Festival 1970
Produced by J.E.Berendt

Digitally remastered

Earl Hines
has been called the first modern jazz pianist. His style differed from other pianists of the Twenties in his use of what were then considered unusual rhythms and accents. Jelly Roll Morton had set the direction of Jazz piano in the early part of the decade, but after 1926 Hines was at the forefront of the Hot Jazz style. Hines started playing professionally around 1921 in Pittsburgh. In 1923 Hines moved to Chicago where he worked with Deppe's Seranaders, Erskine Tate's Vendome Orchestra and with Carroll Dickerson. He met Louis Armstrong in 1926, at the local musician's union hall and the two became friends. Hines worked briefly in Louis Armstrong's Stompers and along with Zutty Singleton and Armstrong tried unsuccessfully to manage their own club together in Chicago. 1928 was a productive year for Hines. He recorded his first ten piano solos including versions of "A Monday Date," "Blues in Thirds" and "57 Varieties." Hines worked much of the year with Jimmie Noone's Apex Club Orchestra. Hines joined Louis Armstrong on the Hot Five and Hot Seven recording sessions, playing on the classic "West End Blues," "Fireworks," "Basin Street Blues" and composing " A Monday Date." On his birthday that year, Hines debuted with his first big band. Earl would continue to lead his own big bands until 1948. In 1940 Billy Eckstine became the band's popular singer and in 1943 both Dizzy Gillespie and Charlie Parker were added. In 1948 Hines joined the Louis Armstrong's All-Stars and played with them for three years. In 1951, Hines moved to California and formed a Hot Jazz band to cash in on the Dixieland revival that was going on at the time. He continued the Dixieland band throughout the Fifties, but by the early Sixties, Hines was pretty much out of the Jazz mainstream and forgotten. In 1964 he staged a major comeback that lasted through the rest of his career.

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