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| The Complete Recorded Works, Volume 5: 1938-1940 |
| Fats Waller |
| első megjelenés éve: 2008 |
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| (2008)
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4 x CD |
| 7.041 Ft
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| 1. CD tartalma: |
| 1. | There's Honey on the Moon Tonight
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| 2. | If I Were You
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| 3. | (Take Me Back To) The Wide Open Spaces
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| 4. | On the Bumpy Road to Love
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| 5. | Fair and Square
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| 6. | We, The People
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| 7. | Don't Try Your Jive on Me
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| 8. | Ain't Misbehavin'
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| 9. | The Flat Foot Floogie
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| 10. | Pent Up in a Penthouse
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| 11. | Music, Maestro, Please
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| 12. | A-Tisket, A-Tasket
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| 13. | Swing Low, Sweet Chariot
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| 14. | All God's Chillun Got Wings
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| 15. | Go Down Moses
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| 16. | Deep River
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| 17. | Water Boy
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| 18. | Lonesome Road
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| 19. | That Old Feeling
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| 20. | I Can't Give You Anything But Love
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| 21. | Two Sleepy People
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| 22. | Shame! Shame!
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| 23. | I'll Never Forgive Myself
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| 24. | You Look Good to Me
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| 25. | Tell Me with Your Kisses
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| 26. | Yacht Club Swing
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| 2. CD tartalma: |
| 1. | Love, I'd Give My Life for You
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| 2. | I Wish I Had You
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| 3. | I'll Dance at Your Wedding
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| 4. | Imagine My Surprise
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| 5. | I Won't Believe It
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| 6. | The Spider and the Fly
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| 7. | Patty Cake, Patty Cake
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| 8. | A Good Man Is Hard to Find
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| 9. | You Outsmarted Yourself
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| 10. | Last Night a Miracle Happened
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| 11. | Good for Nothin' But Love
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| 12. | Hold Tight
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| 13. | Kiss Me with Your Eyes
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| 14. | Sweet Sue
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| 15. | I Can't Give You Anything But Love
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| 16. | You Asked for It-You Got It
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| 17. | Some Rainy Day
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| 18. | 'Tain't What You Do
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| 19. | Got No Time
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| 20. | Step Up and Shake My Hand
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| 21. | Undecided
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| 22. | Remember Who You're Promised To
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| 23. | You Can't Have Your Cake and Eat It
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| 24. | Not There, Right There
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| 25. | Cottage in the Rain
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| 3. CD tartalma: |
| 1. | Piccadilly
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| 2. | Chelsea
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| 3. | Soho
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| 4. | Bond Street
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| 5. | Limehouse
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| 6. | Whitechapel
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| 7. | Smoke Dreams of You
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| 8. | You Can't Have Your Cake and Eat It
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| 9. | Honey Hush
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| 10. | I Used to Love You
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| 11. | Wait and See
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| 12. | You Meet the Nicest People in Your Dreams
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| 13. | Anita
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| 14. | What a Pretty Miss
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| 15. | Squeeze Me
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| 16. | Bless You
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| 17. | It's the Tune That Counts
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| 18. | Abdullah
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| 19. | Who'll Take My Place?
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| 20. | Bond Street
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| 21. | It's You Who Taught It to Me
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| 22. | Suitcase Susie
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| 23. | Your Feet's Too Big
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| 24. | You're Lettin' the Grass Grow Under Your Feet
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| 25. | Darktown Strutters' Ball
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| 26. | I Can't Give You Anything But Love
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| 4. CD tartalma: |
| 1. | I've Got a Crush on You
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| 2. | Someone to Watch Over Me
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| 3. | How Long Has This Been Going On?
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| 4. | But Not for Me
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| 5. | Swinga-Dilla Street
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| 6. | At Twilight
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| 7. | Oh! Frenchy
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| 8. | Cheatin' on Me
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| 9. | Black Maria
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| 10. | Mighty Fine
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| 11. | The Moon Is Low
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| 12. | The Moon Is Low, Pt. 2
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| 13. | Ain't Misbehavin'
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| 14. | I'll Never Forgive Myself
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| 15. | You Look Good to Me
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| 16. | Tell Me with You Kisses
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| 17. | I'll Dance at Your Wedding
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| 18. | A Good Man Is Hard to Find
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| 19. | Good for Nothin' But Love
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| 20. | Hold Tight
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| 21. | Kiss Me with Your Eyes
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| 22. | Remember Who You're Promised To
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| 23. | Honey Hush
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| 24. | I Can't Give You Anything But Love
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Jazz
In this penultimate volume of JSP's Complete Fats Waller collection we see him take rare trips outside the US. The primary attraction of the London sessions is the chance Fats gets to play his favourite instrument, the organ, making it sing and dance with a combination of strength and delicacy seldom found elsewhere. He is also heard in contemplative mood, in the "London Suite", presented here in a more complete form than has been available for a long time, and in an exquisite pair of duets with Adelaide Hall. At another session at Abbey Road he recorded a sequence of spirituals.
After the first UK visit Fats toured triumphantly through France, Holland and Scandinavia which was marred only by the need to pass through Germany. Hitler's sabre-rattling became an unavoidable distraction and the tour was cut short. Most of disc 2 covers material produced back in the US over five months at the end of 1938 and at the beginning of 1939. Material that would go into Victor's ever-thirsty 'can' to accommodate the next European trip.
And so back to Britain for a 14 week tour with The Mills Brothers and then a return home to The Apollo and the World's Fair and a series of recording sessions into 1940. By now, war had engulfed Europe, and before the end of the following year America would enter the fight. If there was ever a time for a cheery voice to provide brief distraction from the noise of conflict, this was it.
Fats Waller
Active Decades: '20s, '30s and '40s
Born: May 21, 1904 in New York, NY
Died: Dec 15, 1943 in Kansas City, MO
Genre: Jazz
Styles: Classic Jazz, Jive, Stride, Swing
Not only was Fats Waller one of the greatest pianists jazz has ever known, he was also one of its most exuberantly funny entertainers -- and as so often happens, one facet tends to obscure the other. His extraordinarily light and flexible touch belied his ample physical girth; he could swing as hard as any pianist alive or dead in his classic James P. Johnson-derived stride manner, with a powerful left hand delivering the octaves and tenths in a tireless, rapid, seamless stream. Waller also pioneered the use of the pipe organ and Hammond organ in jazz -- he called the pipe organ the "God box" -- adapting his irresistible sense of swing to the pedals and a staccato right hand while making imaginative changes of the registration. As a composer and improviser, his melodic invention rarely flagged, and he contributed fistfuls of joyous yet paradoxically winsome songs like "Honeysuckle Rose," "Ain't Misbehavin,'" "Keepin' Out of Mischief Now," "Blue Turning Grey Over You" and the extraordinary "Jitterbug Waltz" to the jazz repertoire.
During his lifetime and afterwards, though, Fats Waller was best known to the world for his outsized comic personality and sly vocals, where he would send up trashy tunes that Victor Records made him record with his nifty combo, Fats Waller & His Rhythm. Yet on virtually any of his records, whether the song is an evergreen standard or the most trite bit of doggerel that a Tin Pan Alley hack could serve up, you will hear a winning combination of good knockabout humor, foot-tapping rhythm and fantastic piano playing. Today, almost all of Fats Waller's studio recordings can be found on RCA's on-again-off-again series The Complete Fats Waller, which commenced on LPs in 1975 and was still in progress during the 1990s.
Thomas "Fats" Waller came from a Harlem household where his father was a Baptist lay preacher and his mother played piano and organ. Waller took up the piano at age six, playing in a school orchestra led by Edgar Sampson (of Chick Webb fame). After his mother died when he was 14, Waller moved into the home of pianist Russell Brooks, where he met and studied with James P. Johnson. Later, Waller also received classical lessons from Carl Bohm and the famous pianist Leopold Godowsky. After making his first record at age 18 for Okeh in 1922, "Birmingham Blues""'Muscle Shoals Blues,"" he backed various blues singers and worked as house pianist and organist at rent parties and in movie theaters and clubs. He began to attract attention as a composer during the early- and mid-'20s, forming a most fruitful alliance with lyricist Andy Razaf that resulted in three Broadway shows in the late '20s, Keep Shufflin', Load of Coal, and Hot Chocolates.
Waller started making records for Victor in 1926; his most significant early records for that label were a series of brilliant 1929 solo piano sides of his own compositions like "Handful of Keys" and "Smashing Thirds." After finally signing an exclusive Victor contract in 1934, he began the long-running, prolific series of records with His Rhythm, which won him great fame and produced several hits, including "Your Feet's Too Big," "The Joint Is Jumpin'" and "I'm Gonna Sit Right Down and Write Myself a Letter." He began to appear in films like Hooray for Love and King of Burlesque in 1935 while continuing regular appearances on radio that dated back to 1923. He toured Europe in 1938, made organ recordings in London for HMV, and appeared on one of the first television broadcasts. He returned to London the following spring to record his most extensive composition, "London Suite" for piano and percussion, and embark on an extensive continental tour (which, alas, was canceled by fears of impending war with Germany). Well aware of the popularity of big bands in the '30s, Waller tried to form his own, but they were short-lived.
Into the 1940s, Waller's touring schedule of the U.S. escalated, he contributed music to another musical, Early to Bed, the film appearances kept coming (including a memorable stretch of Stormy Weather where he led an all-star band that included Benny Carter, Slam Stewart and Zutty Singleton), the recordings continued to flow, and he continued to eat and drink in extremely heavy quantities. Years of draining alimony squabbles, plus overindulgence and, no doubt, frustration over not being taken more seriously as an artist, began to wear the pianist down. Finally, after becoming ill during a gig at the Zanzibar Room in Hollywood in December, 1943, Waller boarded the Santa Fe Chief train for the long trip back to New York. He never made it, dying of pneumonia aboard the train during a stop at Union Station in Kansas City.
While every clown longs to play Hamlet as per the cliche -- and Waller did have so-called serious musical pretensions, longing to follow in George Gershwin's footsteps and compose concert music -- it probably was not in the cards anyway due to the racial barriers of the first half of the 20th century. Besides, given the fact that Waller influenced a long line of pianists of and after his time, including Count Basie (who studied with Fats), Teddy Wilson, Art Tatum, Thelonious Monk, Dave Brubeck and countless others, his impact has been truly profound.
---Richard S. Ginell, All Music Guide |
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