Fatha's Day: An Earl Hines Songbook Explained

Fatha's Day: An Earl Hines Songbook
Type:Studio
Artist:John Hicks
Cover:Fatha's Day An Earl Hines Songbook.jpg
Released:September 9, 2003
Recorded:May 20, 2003
Tedesco Studios, Paramus, NJ
Genre:Jazz
Length:69:59
Label:HighNote
HCD 7110
Producer:Cecil Brooks III
Chronology:John Hicks
Prev Title:Music in the Key of Clark
Prev Year:2001
Next Title:Besame Mucho
Next Year:2003

Fatha's Day: An Earl Hines Songbook is an album by pianist John Hicks which was recorded in 2003 and released on the HighNote label.[1] The album features seven compositions written or recorded by Earl Hines and five by Hicks.

Reception

Allmusic reviewed the album stating "More than a few jazz musicians could learn how to make tribute CDs by listening gems such as this one by John Hicks".[2] JazzTimes said "Fatha's Day is completely worth celebrating".[3] All About Jazz observed "Hicks honors Hines without attempting to emulate the elder musician's famous "trumpet style" technique, instead finding inspiration in original compositions and other songs often performed by the Pittsburgh pianist".[4]

Track listing

All compositions by Earl Hines except as indicated

  1. "Rosetta" - 4:09
  2. "Almost Spring" (Mickey Bass) - 7:06
  3. "Remembering Earl and Marva" (John Hicks) - 3:30
  4. "Serenata" (Leroy Anderson) - 6:14
  5. "Poor Butterfly" (John Golden, Raymond Hubbell) - 4:31
  6. "My Monday Date" - 7:54
  7. "Fatha's Bedtime Story" (Hicks) - 3:17
  8. "Sweet and Lovely" (Gus Arnheim, Charles Daniels, Harry Tobias) - 6:17
  9. "Rhythm Run (Uphill)" (Hicks) - 4:21
  10. "You Can Depend on Me" (Charles Carpenter, Louis Dunlap, Earl Hines) - 5:39
  11. "Twelve Bars for Linton" (Hicks) - 4:35
  12. "Synopsis" (Hicks) - 6:22

Personnel

Production

Notes and References

  1. http://www.jazzdisco.org/john-hicks/catalog/#highnote-hcd-7110 John Hicks discography
  2. Dryden, K., Allmusic Review, accessed February 25, 2015
  3. Siders, H., JazzTimes Review, January/February 2004
  4. Musto, R., All About Jazz Review, January 25, 2004