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| The Complete Recorded Works, Volume 6 - 1940 to 1942 New York, Chicago, Hollywood |
| Fats Waller |
| első megjelenés éve: 2009 |
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| (2009)
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5 x CD |
| 7.296 Ft
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| 1. CD tartalma: |
| 1. | Old Grand Dad
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| 2. | Fat and Greasy
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| 3. | Little Curly Hair in a High Chair
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| 4. | Square from Delaware
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| 5. | You Run Your Mouth, I'll Run My Business
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| 6. | Too Tired
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| 7. | "Send Me" Jackson
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| 8. | Eep, Ipe, Wanna Piece of Pie
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| 9. | Stop Pretending
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| 10. | I'll Never Smile Again
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| 11. | My Mommie Sent Me to the Store
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| 12. | Dry Bones
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| 13. | "Fats" Waller's Original E Flat Blues
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| 14. | Stayin' at Home
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| 15. | Hey! Stop Kissin' My Sister
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| 16. | Everybody Loves My Baby
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| 17. | I'm Gonna Salt Away Some Sugar
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| 18. | 'Tain't Nobody's Biz-Nezz If I Do
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| 19. | Abercrombie Had a Zombie
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| 20. | Blue Eyes
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| 21. | Scram!
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| 22. | Melancholy Baby
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| |
| 2. CD tartalma: |
| 1. | Georgia Grind
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| 2. | Oh Sister Ain't That Hot
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| 3. | Dancing Fool
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| 4. | Pretty Doll (You're Some)
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| 5. | Mamacita
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| 6. | Liver Lip Jones
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| 7. | Buckin' the Dice
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| 8. | Pantin' in the Panther Room
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| 9. | Come Down to Earth, My Angel
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| 10. | Shortnin' Bread
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| 11. | I Repent
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| 12. | Do You Have to Go?
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| 13. | Pan-Pan
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| 14. | I Wanna Hear Swing Songs
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| 15. | You're Gonna Be Sorry
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| 16. | All That Meat and No Potatoes
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| 17. | Let's Get Away from It All
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| 18. | Georgia on My Mind
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| 19. | Rockin' Chair
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| 20. | Carolina Shout
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| 21. | Honeysuckle Rose
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| 22. | Ring dem Bells
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| 23. | Twenty-Four Robbers
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| 3. CD tartalma: |
| 1. | I Understand
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| 2. | Sad Sap Sucker Am I
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| 3. | Headlines in the News
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| 4. | Chant of the Groove
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| 5. | Come and Get It
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| 6. | Rump Steak Serenade
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| 7. | Getting Much Lately? (Ain't Nothin' to It)
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| 8. | Oh Baby, Sweet Baby
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| 9. | Buck Jumpin'
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| 10. | That Gets It, Mr Joe
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| 11. | The Bells of San Raquel
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| 12. | Bessie, Bessie, Bessie
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| 13. | Clarinet Marmalade
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| 14. | Winter Weather
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| 15. | Cash for Your Trash
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| 16. | Don't Give Me That Jive
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| 17. | Your Socks Don't Match
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| 18. | We Need a Little Love
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| 19. | You Must Be Losing Your Mind
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| 20. | Two Bits (Really Fine)
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| 21. | The Jitterbug Waltz
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| 22. | By the Light of the Silvery Moon
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| 23. | Swing out to Victory
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| 4. CD tartalma: |
| 1. | Up Jumped You with Love
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| 2. | Romance a La Mode
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| 3. | That's What the Well-Dressed Man in Harlem Will Wear
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| 4. | That Ain't Right
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| 5. | Ain't Misbehavin'
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| 6. | Moppin' and Boppin'
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| 7. | Ain't Misbehavin'/Two Sleepy People
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| 8. | Slightly Less Than Wonderful/There's a Gal in My Life
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| 9. | That's What the Bird Said to Me
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| 10. | Waller Jive/Hallelujah
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| 11. | This Is So Nice It Must Be Illegal/Martinique
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| 12. | You're a Viper (The Reefer Song)
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| 13. | Solitude
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| 14. | Bouncin' on a V-Disc
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| 15. | Sometimes I Feel Like a Motherless Child
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| 16. | By the Light of the Silvery Moon
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| 17. | The Ladies Who Sing with the Band
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| 18. | To a Wild Rose/Don't Get Around Much Anymore
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| 19. | St Louis Blues
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| 20. | Organ Tests
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| 5. CD tartalma: |
| 1. | Pleasure Mad
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| 2. | Back-Bitin' Mama
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| 3. | I've Got a Feeling I'm Falling
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| 4. | Maybe-Who Knows?
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| 5. | Chloe
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| 6. | When You're with Somebody Else
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| 7. | Wipe 'Em Off
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| 8. | You Run You Mouth, I'll Run My Business
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| 9. | Georgia Grind, Pt. 2
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| 10. | Georgia Grind, Pt. 3
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| 11. | Oh Sister Ain't That Hot, Pt. 2
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| 12. | Oh Sister Ain't That Hot, Pt. 3
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| 13. | Oh Sister Ain't That Hot [Inc.]
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| 14. | Dancing Fool, Pt. 2
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| 15. | Dancing Fool, Pt. 3
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| 16. | (You're Some) Pretty Doll, Pt. 2
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| 17. | (You're Some) Pretty Doll, Pt. 3
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| 18. | Pantin' in the Panther Room
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| 19. | Come Down to Earth, My Angel
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| 20. | Shortnin' Bread
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| 21. | Carolina Shout
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| 22. | Your Socks Don't Match
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| 23. | Martinique
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| 24. | Hallelujah
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Jazz / Swing, Stride, Classic Jazz, Jive
Fats Waller - Celeste, Bells, Spoken Word, Piano, Vocals, Soloist, Organ
Ada Brown Vocals
Albert Casey Guitar
Alton Moore Trombone
Andy Sannella Sax (Tenor), Clarinet
Arthur Trappier Drums
Artie Shapiro String Bass
Benny Carter Trumpet
Bob Carroll Sax (Tenor)
Bobby Williams Trumpet
Carl Kress Guitar
Cedric Wallace String Bass
Charlie Butterfield Trombone
Chet Hazlett Saxophone
Chet Kruzcek Violin
Clarence Williams Jug, Vocals
Dave McCrae Sax (Alto)
Dick Cherwin String Bass
Drew Kent Sleeve Notes
Ed Allen Cornet
Ed Brader String Bass
Eddie Condon Guitar
Eddie Stennard Saxophone
Ethel Waters Vocals
Eugene Sedric Clarinet, Sax (Tenor)
Fletcher Hereford Saxophone
Frank Robinson Sax (Baritone), Harmonica
Gene Austin Vocals
Gene Porter Sax (Tenor), Clarinet
George Brunies Trombone
George James Sax (Alto)
George Wettling Drums
George Wilson Trombone
Harry Urbont Violin
Herb Borodkin Vocals
Herb Fleming Trombone
Herman Autrey Trumpet
Irving Ashby Guitar
Jackie Fields Sax (Alto)
Jimmy Powell Sax (Alto)
Joe Thomas Trumpet
John "Bugs" Hamilton Trumpet
John B. Giampietro Harp
John H. Smith, Jr. Guitar
John Raymond Violin
Kathryn Perry Vocals
Lou Raderman Violin
Mannie Weinstock Trumpet
Marty Marsala Trumpet
Mike Mosiello Trumpet
Murray Cohen Saxophone
Murray Kellner Violin
Nathaniel Williams Trumpet
Pee Wee Russell Clarinet
Ray Hogan Trombone
Slam Stewart String Bass
Stephen Schultz Trumpet
Ted Kendall Remastering, Compilation
Willie "The Lion" Smith Piano
Wilmore Slick Jones Drums
Yascha Zayde Violin
Zutty Singleton Drums
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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