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| Yacht Club Swing & Other Radio Rarities |
| Fats Waller |
| első megjelenés éve: 1999 |
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| (1999)
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CD |
| 2.893 Ft
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| 1. | Yacht Club Swing/Hold My Hand
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| 2. | Pent Up in a Penthouse
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| 3. | Honeysuckle Rose
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| 4. | Yacht Club Swing
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| 5. | You Look Good to Me
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| 6. | Hallelujah 1
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| 7. | St. Louis Blues
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| 8. | The Flat Foot Floogie
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| 9. | After You've Gone/Yacht Club Swing
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| 10. | Yacht Club Swing/You Can't Be Mine and Somebody Else's Too
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| 11. | Monday Mornin'
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| 12. | What Do You Know About Love?
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| 13. | I Had to Do It
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| 14. | Ain't Misbehavin'/Hold My Hand
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| 15. | Stop Beatin' Around the Mulberry Bush
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| 16. | What's the Matter with You
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| 17. | Hallelujah 2
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| 18. | What's Your Name?/Hold My Hand
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Jazz / Swing, Stride, Early Jazz, Jive, Jazz Instrument, Piano Jazz
Al Casey Guitar
Cedric Wallace Bass
Charlie Crump Mastering, Transfers
Dan Morgenstern Liner Notes
Fats Waller Vocals, Piano
Gene Sedric Clarinet, Sax (Tenor)
Herman Autrey Trumpet
Paul Pelletier Coordination
Slick Jones Drums
Despite a desperately early death at the age of 39 in 1943, the memory of Fats Waller not only lives on, his reputation as a performer, pianist and composer has grown through the years. Fortunately for the world, he left a legacy of studio recordings; also, a few 'live' radio broadcasts have been preserved. This new JASMINE CD features some of his radio appearances, and includes many titles Waller never recorded commercially. The sound is superb as these sides capture the atmosphere and character of a truly great artist.
Fats Waller made hundreds of studio recordings. He also left in his wake a stream of broadcast air checks from 1938 and 1940. These were issued on vinyl LPs during the mid-'80s by the Giants of Jazz, Radiola, Legend and Sandy Hook labels. Jasmine's 1999 release Yacht Club Swing & Other Radio Rarities corresponds roughly to GOJ's first LP volume of Fats Waller Live at the Yacht Club; its 1985 Sandy Hook LP reissue The Jugglin' Jive of Fats Waller; and to some extent two 1996 CD editions: Live at the Yacht Club on the Mr. Music label and Yacht Club Swing 1938 on EPM Musique/Jazz Archives. The broadcasts heard on this Jasmine compilation were made on July 16 as well as October 14 and 18, 1938. What could be finer than catching Fats Waller and His Rhythm -- Herman Autrey, Gene Sedric, Al Casey, Cedric Wallace and Slick Jones -- in live performance at the Yacht Club, a fashionable night spot that existed on 52nd St. just off the Great White Way? The key word here is "white." What makes the October 14, 1938 portion difficult to stomach is the attitude of the announcer, an unsavory, tiresome, boorish, overbearing individual whose racist mentality soured the entire broadcast. Seldom has such excellent live music been sullied by an emcee this vulgar and stupid. What makes it so annoying is the tactless nitwit's use of the word "boy"; he calls Fats Waller "boy" almost constantly, repeating the word nervously, almost tauntingly, laughing nastily through his nose and even attempting to make the pianist appear ignorant and foolish. Waller, no stranger to racism and composer of the song "Black and Blue," handles the chump with patience and unsinkable good humor while encouraging his little Rhythm band to swing out for the patrons of the Yacht Club. Thomas Waller, for all his clowning around, was a sensitive, well-read and educated man; a classically trained pianist, gifted composer and skilled bandleader. Hearing him endure what comes to resemble indignity and verbal abuse is a sobering lesson in the human condition. ~ 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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