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2 x CD |
| 3.651 Ft
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| 1. CD tartalma: |
| 1. | Won't You Take Me Home?
with Morris's Hot Babies
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| 2. | You Rascal, You
with Jack Teagarden & His Orchestra
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| 3. | Handful Of Keys
piano solo
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| 4. | Loveless Love
organ solo
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| 5. | Harlem Fuss
with His Buddies
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| 6. | That's What I Like About You
with Jack Teagarden & His Orchestra
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| 7. | Valentine Stomp
piano solo
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| 8. | I Wish I Were Twins
with His Rhythm
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| 9. | Hog-Maw Stomp
organ solo
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| 10. | Won't You Get Off It, Please?
with His Buddies
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| 11. | Don't Let It Bother You
with His Rhythm
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| 12. | I've Got A Feeling I'm Falling
piano solo
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| 13. | Sweet Sue -- Just You
with His Rhythm
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| 14. | Soothin' Syrup Stomp
organ solo
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| 15. | I'm Gonna Sit Right Down And Write Myself A Letter
with His Rhythm
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| 16. | Twelfth Street Rag
with His Rhythm
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| 17. | Viper's Drag
piano solo
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| 18. | Got A Bran' New Suit
with His Rhythm
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| 19. | My Very Good Friend The Milkman
with His Rhythm
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| 20. | Woe! Is Me
with His Rhythm
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| 21. | Sugar
organ solo
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| 22. | When Somebody Thinks You're Wonderful
with His Rhythm
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| 23. | I've Got My Fingers Crossed
with His Rhythm
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| 24. | Sugar Rose
with His Rhythm
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| 25. | Baby Brown
with His Rhythm
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| 26. | Let's Sing Again
with His Rhythm
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| 2. CD tartalma: |
| 1. | Oooh! Look-A There, Ain't She Pretty?
with His Rhythm
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| 2. | Smarty
You Know It All with His Rhythm
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| 3. | Alligator Crawl
piano solo
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| 4. | It's A Sin To Tell A Lie
with His Rhythm
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| 5. | There's Honey On The Moon Tonight
with His Rhythm
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| 6. | African Ripples
piano solo
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| 7. | The Joint Is Jumpin'
with His Rhythm
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| 8. | The Curse Of An Aching Heart
with His Rhythm
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| 9. | Fair And Square
with His Rhythm
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| 10. | Honeysuckle Rose
with His Rhythm
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| 11. | Ain't Misbehavin'
with His Continental Rhythm
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| 12. | You Meet The Nicest People In Your Dreams
with His Rhythm
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| 13. | Anita
with His Rhythm
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| 14. | Keepin' Out Of Mischief Now
piano solo
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| 15. | Suitcase Susie
with His Rhythm
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| 16. | Your Feet's Too Big
with His Rhythm
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| 17. | Everybody Loves My Baby
with His Rhythm
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| 18. | Little Curly Hair In A High Chair
with His Rhythm
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| 19. | Pantin' In The Panther Room
with His Rhythm
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| 20. | Old Grand Dad
with His Rhythm
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| 21. | Shortnin' Bread
with His Rhythm
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| 22. | Stop Pretending
with His Rhythm
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| 23. | Bond Street
with His Rhythm
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| 24. | Rump Steak Serenade
with His Rhythm & His Orchestra
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| 25. | Twenty-Four Robbers
with His Rhythm
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| 26. | That's What The Well-Dressed Man In Harlem Will Wear
The Victor 'First Nighter' Orchestra -- vocal refrain by Fat
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Jazz / Swing, Early Jazz, Jive
Fats Waller Celeste, Vocals, Arranger, Organ (Hammond), Spoken Word, Organ
Harry Dial's Blusicians Spoken Word
Hugh Palmer Compilation, Coordination
Jack Teagarden Vocals
An Essential Collection is not essential until the fat man plays the piano!
So here is Fats Waller caught at the height of his powers between 1927 and 1942 sounding as fresh today as he did when he laid these tracks down all those years ago.
Until 1934 Fats' recording career was a little spasmodic, we can witness some great early stride piano work here, but it was in 1934 when Victor gave him a recording contract that his most famous work began.
We feature many of these great tracks here, as James P Johnson said, "Some people have music in them, but Fats was all music". We'll drink to that, enjoy the fat man playing!
The essence of Fats Waller certainly seems to have found its way onto Avid Entertainment's 52-track The Essential Collection. Released in 2006, this is a thoroughly scrambled assortment of piano and organ solos, examples of Waller as a sideman with Jack Teagarden's Orchestra and Thomas Morris' Hot Babies, and a whole lot of great moments with Fats Waller & His Buddies, Fats Waller & His Rhythm, and Fats Waller, His Rhythm & Orchestra. Waller was the very first jazz organist, and the examples heard here (five syncopated organ solos scattered throughout, as well as the bracing hot-jazz-band-with-pipe-organ sound of "Won't You Take Me Home") should be understood as revolutionary achievements, in light of the fact that the only organ recordings circulating in 1927 were exclusively classical or heavily sweetened pop music. Six piano solos convey the magnificence of Harlem stride, a style that Waller learned first-hand from James P. Johnson, Luckey Roberts, and Willie "The Lion" Smith. This collection is designed for casual listening. The sprinkling of organ solos between ensemble tracks might actually enable some listeners to relax and enjoy the muscular undulations of this unusual instrument. Note that this is one of the few Waller compilations that acts upon Eddie Condon's insistance that the recording usually referred to as "Minor Drag" was originally supposed to be called "Harlem Fuss", and vice versa. Whoever selected the "Rhythm" sides obviously wanted to illustrate Waller's full range of emotion and temperament. "Rump Steak Serenade" stands as a good example of what Fats Waller & His Rhythm sounded like as the core of a well-arranged big band. And Irving Berlin's "That's What the Well Dressed Man in Harlem Will Wear" (here Waller sings WWII propaganda in front of the Victor First Nighter Orchestra) bears witness to the War Effort to which Waller sacrificed his final months of restless activity before succumbing to pneumonia at the age of 39 in December 1943. A good introduction to Thomas Waller, and an incitement to study his legacy up close, perhaps in a more thorough and carefully structured manner. ~ arwulf arwulf, All Music Guide
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: Swing, Stride, Classic Jazz, Jive
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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