FATS WALLER HMV K-8196 Harlem Fuss 78 RPM

Bluebird RCA (USA)

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

West End Records ( November 01, 2006 ), Genre: Jazz Instrument

Naxos Jazz ( August 21, 2001 ), Genre: Jazz Instrument

Fats Waller (1904-1943) was an outsize man in all respects: five feet, eleven inches tall, he weighed 285 pounds. The greatest of the Harlem "stride" pianists, he composed hundreds of songs, he led a band that made over 400 recordings, and he wrote several Broadway shows. Waller's gargantuan appetites have been celebrated in anecdotes and earlier biographies. He is seen by jazz historians as a man of immense musical talent that was never fulfilled. In this fully revised and updated biography of Waller, Alyn Shipton re-examines his career, arguing that his talents as a songwriter, show composer, and brilliant recording and broadcasting artist have not been fully appreciated. In a newly written final chapter, there is a comprehensive survey of Waller's recordings as they have been reissued for the CD era.

Fats Waller (1904-1943) was an outsize man in all respects: five feet, eleven inches tall, he weighed 285 pounds. The greatest of the Harlem "stride" pianists, he composed hundreds of songs, he led a band that made over 400 recordings, and he wrote several Broadway shows. Waller's gargantuan appetites have been celebrated in anecdotes and earlier biographies. He is seen by jazz historians as a man of immense musical talent that was never fulfilled. In this fully revised and updated biography of Waller, Alyn Shipton re-examines his career, arguing that his talents as a songwriter, show composer, and brilliant recording and broadcasting artist have not been fully appreciated. In a newly written final chapter, there is a comprehensive survey of Waller's recordings as they have been reissued for the CD era.

Collectors' Choice Music ( December 15, 2004 ), Genre: Jazz Instrument

(The Great Solos, 1929-1937). By Thomas "Fats" Waller. For solo piano. Piano Solo Personality. Ragtime and Jazz. SMP Level 9 (Advanced). Songbook. Introductory text (does not include words to the songs). 120 pages.

Like Hallmark's 1996 Fats Waller "best-of" collection, this label's Ain't Misbehavin' is a jumbled mass of Waller material, although tune for tune the selections are slightly stronger than on the earlier release. These recordings, made between 1929 and 1940, include solo essays on piano and pipe organ, two gutsy little jams from 1929 featuring the first band to make records as Fats Waller & His Buddies, and a rowdy rendition of Slim Gaillard's "Flat Foot Floogie" recorded in London by Fats Waller & His Continental Rhythm in 1938. Tossing Waller's Buddies' recording of "Harlem Fuss" into the middle of a batch of songs whipped off by his Rhythm band during the 1930s rather muddies the palette and smears the distinction between the Prohibition-era intensity of the hastily assembled Buddies and the more routine proceedings of Waller's Rhythm, a group that settled into a pattern of Bluebird record production that would only cease with the union-imposed recording ban of 1942. This is a good album to have around unl

Featuring commentary from historians and performers, this program traces the roots of the music of the, its social impact on society and its eventual acceptance in mainstream culture.