Thomas Wright Waller was the youngest of four children, born in New York to Adeline Locket Waller and Reverend Edward Martin Waller. He started playing the piano when he was six and graduated to the organ of his father's church four years later. At the age of fourteen he was playing the organ at Harlem's Lincoln Theater and within twelve months he had composed his first rag. Waller's first piano solos ("Muscle Shoals Blues" and "Birmingham Blues") were recorded in October 1922 when he was 18 years old.
He was the prize pupil, and later friend and colleague, of stride pianist James P. Johnson. Fats Waller was the son of a preacher and learned to play the organ in church with his mother. Overcoming opposition from his clergyman father, Waller became a professional pianist at 15, working in cabarets and theaters. In 1918 he won a talent contest playing Johnson's "Carolina Shout", a song he learned from watching a player piano play it.
Waller was one of the most popular performers of his era, finding critical and commercial success in his homeland and in Europe. He was also a prolific songwriter and many songs he wrote or co-wrote are still popular, such as "Honeysuckle Rose", "Ain't Misbehavin'" and "Squeeze Me". Fellow pianist and composer Oscar Levant dubbed Waller "the black Horowitz". Waller composed many novelty tunes in the 1920s and 1930s and sold them for relatively small sums. When the compositions became hits, other songwriters claimed them as their own. Many standards are alternatively and sometimes controversially attributed to Waller. Waller's son Maurice wrote in his 1977 biography of his father, that once he was playing "I Can't Give You Anything but Love, Baby" when he heard his father complaining from upstairs and came down and admonished him never to play that song in his hearing, saying that he had to sell that song when he needed some money. He even made a recording of it in 1938 with Adelaide Hall who, coincidentally, had introduced the song to the world (at Les Ambassadeurs Club in New York in 1928), in which he played the tune but made fun of the lyrics. Likewise, Maurice noted his father's objections whenever he heard "On the Sunny Side of the Street" played on the radio.
The anonymous sleeve notes on the 1960 RCA (UK) album Handful of Keys state that Waller copyrighted over 400 new songs, many of which co-written with his closest collaborator Andy Razaf. Razaf described his partner as "the soul of melody... a man who made the piano sing... both big in body and in mind... known for his generosity... a bubbling bundle of joy".[citation needed] Gene Sedric, a clarinetist who played with Waller on some of his 1930s recordings, is quoted in these same sleeve notes recalling Waller's recording technique with considerable admiration: "Fats was the most relaxed man I ever saw in a studio, and so he made everybody else relaxed. After a balance had been taken, we'd just need one take to make a side, unless it was a kind of difficult number."
Waller played with many performers, from Nat Shilkret (on Victor 21298-A) and Gene Austin to Erskine Tate to Adelaide Hall, but his greatest success came with his own five- or six-piece combo, "Fats Waller and his Rhythm".
His playing once put him at risk of injury. Waller was kidnapped in Chicago leaving a performance in 1926. Four men bundled him into a car and took him to the Hawthorne Inn, owned by Al Capone. Waller was ordered inside the building, and found a party in full swing. Gun to his back, he was pushed towards a piano, and told to play. A terrified Waller realized he was the "surprise guest" at Capone's birthday party, and took comfort that the gangsters did not intend to kill him. According to rumor, Waller played for three days. When he left the Hawthorne Inn, he was very drunk, extremely tired, and had earned thousands of dollars in cash from Capone and other party-goers as tips.
In 1926, Waller began his recording association with Victor Records, his principal record company for the rest of his life, with the organ solos "St. Louis Blues" and his own composition, "Lenox Avenue Blues". Although he recorded with various groups, including Morris's Hot Babes (1927), Fats Waller's Buddies (1929) (one of the earliest interracial groups to record), and McKinney's Cotton Pickers (1929), his most important contribution to the Harlem stride piano tradition was a series of solo recordings of his own compositions: "Handful of Keys", "Smashing Thirds", "Numb Fumblin'", and "Valentine Stomp" (1929). After sessions with Ted Lewis (1931), Jack Teagarden (1931), and Billy Banks's Rhythmakers (1932), he began in May 1934 the voluminous series of recordings with a small band known as Fats Waller and his Rhythm. This six-piece group usually included Herman Autrey (sometimes replaced by Bill Coleman or John "Bugs" Hamilton), Gene Sedric or Rudy Powell, and Al Casey.
Waller wrote "Squeeze Me" (1919), "Keepin' Out of Mischief Now", "Ain't Misbehavin'" (1929), "Blue Turning Grey Over You", "I've Got a Feeling I'm Falling" (1929), "Honeysuckle Rose" (1929), and "Jitterbug Waltz" (1942). He collaborated with the Tin Pan Alley lyricist Andy Razaf. He composed stride piano display pieces such as "Handful of Keys", "Valentine Stomp" and "Viper's Drag".[citation needed]
He enjoyed success touring the United Kingdom and Ireland in the 1930s. He appeared in one of the first BBC broadcasts. While in Britain, Waller also recorded a number of songs for EMI on their Compton Theatre organ located in their Abbey Road Studios in St John's Wood. He appeared in several feature films and short subject films, most notably "Stormy Weather" in 1943, which was released July 21, just months before his death. For the hit Broadway show, "Hot Chocolates", he and Razaf wrote "(What Did I Do to Be So) Black and Blue" (1929), which became a hit for Ethel Waters and Louis Armstrong.
Waller performed Bach organ pieces for small groups on occasion. Waller influenced many pre-bop jazz pianists; Count Basie and Erroll Garner have both reanimated his hit songs (notably, "Ain't Misbehavin'"). In addition to his playing, Waller was known for his many quips during his performances.
Between 1926 and the end of 1927, Waller recorded a series of pipe organ solo records. These represent the first time syncopated jazz compositions were performed on a full sized church organ.
Waller contracted pneumonia and died on a cross country train trip near Kansas City, Missouri on December 15, 1943, after making a final recording session with an interracial group in Detroit that included white trumpeter Don Hirleman. He was on his way back to Hollywood for more film work, after the smash success of "Stormy Weather". Coincidentally, as the train with the body of Waller stopped in Kansas City, so stopped a train with his dear friend Louis Armstrong on board.
Revival and awards
2008 Gennett Records Walk of Fame
2005 Jazz at Lincoln Center: Nesuhi Ertegun Jazz Hall of Fame
1993 Grammy Lifetime Achievement Award
1989 Big Band and Jazz Hall of Fame
1970 Songwriters Hall of Fame
Recordings of Fats Waller were inducted into the Grammy Hall of Fame which is a special Grammy award established in 1973 to honour recordings that are at least 25 years old and that have "qualitative or historical significance".
Fats Waller: Grammy Hall of Fame Awards
1934 "Honeysuckle Rose" Jazz (Single) Victor in 1998
1929 "Ain't Misbehavin'" Jazz (Single) Victor in 1984 Listed in the National Recording Registry
by the Library of Congress in 2004.
Subject of the Irish poet Michael Longley's "Elegy for Fats Waller".
Waller's organ music is prominently featured in the David Lynch film Eraserhead.
He was caricatured in several Warner Brothers animated shorts, most notably Tin Pan Alley Cats.
In the 2008 film, Be Kind Rewind Fats Waller was a major theme and influence for the storyline.
Italian comics book artist Igort published a comic book about Waller entitled Fats Waller on Coconino Press in 2009.
Some of Waller's music ("Jitterbug Waltz") is used in the video game series BioShock.
Waller's version of "Louisiana Fairytale" was used for many years as the theme song to This Old House.
A Broadway musical revue showcasing Waller tunes entitled Ain't Misbehavin' was produced in 1978. (The show and a star of the show, Nell Carter, won Tony Awards.) The show opened at the Longacre Theatre and ran for over 1600 performances. It was revived on Broadway in 1988. Performed by five African American actors, it included such songs as "Honeysuckle Rose", "This Joint Is Jumpin'", and "Ain't Misbehavin'".
Beale Street Blues
Fats Waller Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Old Market Street down by the Frisco Bay,
I've strolled the Prado, I've gambled on the Bourse;
The seven wonders of the world I've seen,
And many are the places I have been,
Take my advice, folks, and see Beale Street first!
You'll see pretty browns in beautiful gowns,
You'll meet honest men, and pick-pockets skilled,
You'll find that business never ceases 'til somebody gets killed!
If Beale Street could talk, if Beale Street could talk,
Married men would have to take their beds and walk,
Except one or two who never drink booze,
And the blind man on the corner singing "Beale Street Blues!"
I'd rather be there than any place I know,
I'd rather be there than any place I know,
It's gonna take a sergeant for to make me go!
I'm goin' to the river, maybe by and by,
Yes, I'm goin' to the river, maybe by and by,
Because the river's wet, and Beale Street's done gone dry!
In Fats Waller's song, Beale Street Blues, the singer is telling listeners about all the places they have been and seen, from Broadway to the Prado, but they believe that anyone who hasn't seen Beale Street is missing out. Beale Street is painted as a vibrant and diverse place where you can see people of all different backgrounds and clothing styles, from tailor-made suits to hand-me-downs. The people you meet on Beale Street are also diverse, ranging from honest men to skilled pickpockets. The singer gives a warning that business is always happening on Beale Street, with one of the only things that would stop it being someone getting killed. However, despite the chaos that surrounds it, the singer still prefers Beale Street over any other place they have been.
The second half of the song adds to the idea of the chaos of Beale Street, with a hypothetical scenario of what would happen if Beale Street could talk. In this scenario, even married men would have to leave if they wanted to avoid being caught. The only exceptions would be the few men who don't drink and the blind man singing the Beale Street Blues. The song ends with the singer saying they would rather be on Beale Street than any other place they know, and that it would take a sergeant to force them to leave. The closing line sums up the significance of Beale Street, being that it is a place where people can escape the dryness of their lives and immerse themselves in the colorful world that Beale Street offers.
Line by Line Meaning
I've seen the lights of gay Broadway,
I have experienced the glamour and liveliness of Broadway.
Old Market Street down by the Frisco Bay,
I have walked around the old Market Street situated near the San Francisco Bay.
I've strolled the Prado, I've gambled on the Bourse;
I have taken a leisurely walk on the Prado and placed bets in the Bourse.
The seven wonders of the world I've seen,
I have witnessed all seven wonders of the world.
And many are the places I have been,
I have traveled to many different places.
Take my advice, folks, and see Beale Street first!
I recommend that you visit Beale Street as it should be your first choice.
You'll see pretty browns in beautiful gowns,
You will see attractive women dressed up in elegant gowns.
You'll see tailor-mades and hand-me-downs,
There will be a mix of both high-end and second-hand clothing on display.
You'll meet honest men, and pick-pockets skilled,
You will come across both honest people and experienced pickpockets.
You'll find that business never ceases 'til somebody gets killed!
Business transactions continue to take place until there is a serious conflict or altercation.
If Beale Street could talk, if Beale Street could talk,
If Beale Street were able to speak, if Beale Street were able to speak,
Married men would have to take their beds and walk,
Husbands would have to take their beds and leave, forcing them to sleep outside.
Except one or two who never drink booze,
Except for a select few who never consume alcohol.
And the blind man on the corner singing "Beale Street Blues!"
Additionally, there will be a blind man on the street corner singing a song called "Beale Street Blues."
I'd rather be there than any place I know,
Of all the places I have been, I prefer Beale Street the most.
It's gonna take a sergeant for to make me go!
I will only leave if a sergeant or superior officer orders me to do so.
I'm goin' to the river, maybe by and by,
I am planning to go to the river, possibly in the future.
Because the river's wet, and Beale Street's done gone dry!
I want to go to the river because the river is wet, whereas Beale Street is no longer lively or exciting.
Lyrics © BRASSWORKS MUSIC, Kanjian Music, Universal Music Publishing Group, Sony/ATV Music Publishing LLC, Peermusic Publishing
Written by: WILLIAM CHRISTOPHER HANDY, LUTHER HENDERSON
Lyrics Licensed & Provided by LyricFind
Great Pianists
OH MAN he gets such a RICH SOUND from that organ! (well, him and the Victor recording engineers) Estey sure made a fine pipe organ (good reed organs too), and the folks really knew how to make it sound good! I can't believe the range that they were able to get on the record back in 1927! You can hear the 16' basses nice and clear! (Of, course, I'm sure this has been re-mastered for best fidelity). Gotta love those tasty blues figures!
Jorge Edgardo
La primera vez que escuché este tema fue en 1970 y escribí en el sobre del disco: "¡¡¡Belleza!!!!"
Bonnie Huntsinger
Wonderful!! Thank you for posting this rare gem! :)
Gloria Picchetti
My BF played one of her CDs for me. I can't wait to show him this.
koenkamphuys
Not only had the church good acoustics, but Victor had some of the very best recording equipment of the time. Electrical recording just existed two years when this was taken. The basses of the organ were captured magnificently - just listen from 1:52. Though I wonder if anyone will have noticed when playing it on their fully acoustical Victrola.
Steven Heywood
koenkamphuys I fully agree and some people say this could've been remastered ? .. possibly, but you can only re-master what was recorded from monaural to say stereo...yet the sounds from this recording are quite sublime regardless from such an early recording.
66phillipsjd
Ahh, play that thang, Mr. Waller, lawd..... Thanks for posting this; hearing him on organ rather than piano is fabulous, especially with such a great vocalist.
William Magliocco
Listen to Count Basie on organ...Fats and Count both worked in movie theaters playing organ during the silent movie era.
Gary Mattscheck
A GREAT record!I have a copy coming from EBay.
Lars Arnell
Wonderful!