Hines Earl
Hines Earl
Name seven (7) jazz songs composed by Earl "Fatha" Hines?
Here are his seven most popular (or successful) compositions, in alphabetical order:
(1) Cavernism (m. co-written by James Mundy (arr.), 1933). Recorded by Hines' Band twice (Brunswick, 1933 & Decca, 1934). Became Hines' theme.
(2) Deep Forest (m. co-written with Reginald Forsythe; w. Andy Razaf, 1933). Introduced & used as a theme by the Earl Hines Orchestra (Bluebird). Featured on radio & recorded by Paul Whiteman Orchestra with solo harpist Caspar Reardon (Victor).
(3) Grand Piano Blues (1929). Recorded by Hines (Victor).
(4) A Monday Date (1928). Introduced & recorded by Louis Armstrong (Okeh). Also recorded by Hines (Okeh).
(5) Rosetta (w/m co-written wth Henri Woode, 1933). Recorded by Hines (Brunswick, 1933 & Decca, 1935) and many others, incl. Henry "Red" Allen (Vocalion), Charlie Shavers (Key 12"), Muggsy Spanier (Commodore), Frankie Newton (Bluebird), Dexter Gordon (Mercury 12"), Benny Goodman (Victor), Teddy Wilson (Columbia), Fats Waller (Victor), Art Tatum (Decca), Jazz at the Philharmonic (Parts 1 & 2, Disc), Bob Wills, The King of Western Swing (Vocalion).
(6) Stormy Monday Blues (w/m co-written with Billy Eckstine & Bob Crowder, 1942). Chart record by Hines with Eckstine vocal (Bluebird).
(7) You Can Depend on Me (w/m co-written with Charlest Carpenter & Luis Dunlap, 1932). Many recordings, incl. Louis Armstrong (Columbia & Okeh), Fletcher Henderson (Victor), Earl "Fatha" Hines (Bluebird), Count Basie with Jimmy Rushing vocal (Decca), Orrin Tucker with Bonnie Baker vocal (Columbia), Art Jarrett (Victor), Pinky Tomlin (Brunswick), Dinah Washington (Mercury), Brenda Lee (Top 10 Decca 45rpm, 1961).
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Earl Hines explains his influences and technique Part
