FATS WALLER 1935-1936 OUT OF PRINT CD Bill Coleman

Naxos Jazz

Personnel: Fats Waller (vocals, piano, celesta, organ, vibraphone); Fats Waller (spoken vocals); James "Hal" Smith , James Smith (guitar); Benny Morton's All Stars, Benny Morton (trombone); Harry Dial's Blusicians, Harry Dial (vibraphone, drums); Elizabeth Handy (vocals); Albert Casey (guitar); Rudy Powell (clarinet, alto saxophone); Gene Sedric (clarinet, tenor saxophone); Emmett Matthews (soprano saxophone); Bob Carroll (tenor saxophone); Herman Autrey, Bill Coleman (trumpet); Hank Duncan (piano); Arnold Boling, Slick Jones, Yank Porter (drums); Charles Turner.Audio Remasterer: Ted Kendall.Recording information: Camden, NJ (11/16/1934-08/01/1936); New York, NY (11/16/1934-08/01/1936).Author: Ted Kendall.Arrangers: Don Donaldson; Alex Hill .The third volume in JSP's massive library of Fats Waller's Complete Recorded Works brings together all of the commercial studio recordings he made between November 16, 1934, and August 1, 1936. The first four tracks ("African Ripples, " "Clothes Line Ballet, " "Alligator Cr

Bluebird RCA (USA)

West End Records

Tributee: Fats Waller.Personnel: Aki Takase (piano, toy piano); Eugene Chadbourne (vocals, guitar, banjo); Rudi Mahall (bass clarinet); Thomas Heberer (trumpet); Nils Wogram (trombone); Paul Lovens (drums).Audio Mixer: Rainer Robben.Arranger: Aki Takase.Pianist and vocalist Fats Waller composed many songs that have become standards known around the globe, and his freewheeling piano style has rarely if ever been equaled. Japan-bred pianist Aki Takase interprets Waller in a manner the old master himself might enjoy, with lots of zany, irreverent humor and amazing keyboard technique. Those seeking more straight-ahead versions of Waller classics might even be baffled by this disc. However, those tuned in to the lighter side of free jazz (Han Bennink, Art Ensemble of Chicago, Rahsaan Roland Kirk) will delight in this set of Waller gems turned upside-down/inside-out. The release also received German Record Critics Award in 2004.

Halcyon (UK)

The Gift of Friendship explores the value of friendship in our lives. Combining the Amish photography of Bill Coleman with excerpts and quotations from literature, poetry, and film on the subject of companionship, this book lovingly presents, in words and pictures, the spirit of loyalty and affection that friends offer each other. Friends are important in our lives for many reasons, but expressing sentiments on the subject can be awkward for some and feelings are rarely spoken aloud. The photographs and quotations gathered in this book reaffirm the value of this special relationship and help to express it with sincerity, warmth, and wit.

Liner Note Author: Scott Yanow.Thomas "Fats" Waller was the complete entertainer during the Depression years, conveying a constant joyous presence as a singer, pianist, and organist, and as a superb songwriter -- his "Ain't Misbehavin', " for instance, is a timeless classic. Arguably his best work was done for Victor in 1934 and 1935, but Waller was always a steady performer, and the radio transcriptions on this two-disc set -- recorded between 1931 and 1943 -- are as delightful as anything else he ever recorded, and maybe even more so, thanks to his warm song introductions and occasional spoken asides; he introduces "Ain't Misbehavin'" here by saying "Ladies and gentlemen, this is just to let you know that I paid my alimony, and I ain't misbehavin'." Everything presented here is of a piece, full of a calm and sprightly joy, and tracks like his beautifully hushed interpretation of "Tea for Two" are nothing less than stunning. Again, Waller's studio work for Victor is the place to start with this marvelous musi

This book contains descriptions and excerpts of radio and television broadcasts featuring Fats Waller from 1923 to 1943 (the year he died), as well as later tributes and accounts of broadcasts. The listing incorporates dates of the broadcasts and songs played. Also included is a perhaps unparalleled, very extensive discography of all known recordings--about 150 pages--compiled from the author's record collection and other sources; it is annotated and lists record label information, musicians, and format. The indexes are divided between people and places, and tune titles. Taylor is a retired engineer and a Fats Waller enthusiast. Annotation ©2006 Book News, Inc., Portland, OR (booknews.com)

Since her first solo exhibition in 1935 at the age of seventeen, June Wayne has achieved legendary status among twentieth-century American artists. Best known today for her work in and influence on printmaking and fine-art lithography, one of her most renowned achievements was the founding of the Tamarind Lithography Workshop in 1959. Under her direction, this workshop became one of the most important focal points of a general revival of printmaking in the United States—a revival that gave many other famous artists, including Willem de Kooning, Louise Nevelson, and Ed Ruscha, an opportunity to experiment in this format. Her own spectacular prints earned her the estimable title "the incontestable pioneer of contemporary lithography." But Wayne’s artistic accomplishments are even richer than that. Throughout her career, she boldly explored a variety of media and aesthetic concepts. She worked in painting, tapestry, film, and video, always pushing the limits of the media to develop new techniques. She created "optical art" long before it had a name and adapted Ben Day dots decades ahead of Pop Art. By the time these styles moved into the mainstream, Wayne was exploring new ideas and forms. The themes of her art are as varied as her styles and methods. Working from such wide-ranging influences as science, space exploration, literature, personal experience, and feminist theory, her work is always among the most exciting, contemporary, and original being produced. Now, for the first time, the astounding range of Wayne’s art is available in one comprehensive volume. Bringing together more than 475 examples of her paintings, prints, tapestries, drawings, films, and writings, this beautifully produced catalogue provides a balanced look at Wayne’s long and varied career. Two essays, one by Robert P. Conway and the other by Arthur C. Danto, offer scholarly commentary on individual works and address questions of interpretation and significance. Much of the description about the images, however, is provided in Wayne’s own words, offering rare personal insights. A deserved tribute to a self-made woman who became one of the twentieth-century’s most influential artists, this catalogue stands on its own as a comprehensive look at the scope of Wayne’s art, while also serving as a supplement to a traveling exhibition scheduled for several venues in 2006–2007.