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'".
How Can You Face Me?
Fats Waller Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
After what I've gone through,
All on account of you,
Tearing my heart in two?
Woman, have you no conscience,
How could you be so bold?
Why have you grown so cold
No-one now seems to be on the level,
Since I've found out that my angel was just a dog,
Known as the devil!
Why does I love ya, hon,
Why did you teach me how?
After you broke each vow,
How can you face me now?
Oh you dirty dog, get out in the street!
Get out! Get out!
How can you face me now?
No, I didn't go there last night!
No, I didn't go there, neither,
I went to the other place!
Yeah! Don't you talk back to me, shut up!
Well alright, take you dog goin' on the street!
Yeah! Get out, just get up, keep goin'!
Yeah!
The lyrics of Fats Waller's "How Can You Face Me" address a woman who has hurt the singer deeply. He questions how she can look him in the eye after causing so much pain, tearing his heart in two. He accuses her of lacking a conscience and growing cold after lying to him. The singer laments that nobody seems to be truthful anymore since he discovered his angel was actually a devil.
The chorus expresses his confusion as to why he still loves her despite her unfaithfulness and broken promises. He dismisses her with the command to "get out in the street," calling her a "dirty dog" and insisting that she leave his sight.
Overall, the song is an emotional outpouring of the singer's hurt and anger at a woman who betrayed him. The use of dog imagery is particularly striking, emphasizing the woman's deceitful and untrustworthy nature.
Line by Line Meaning
How can you face me,
I cannot believe you have the nerve to look at me after all the pain you have caused.
After what I've gone through,
I have endured a great deal of suffering because of you.
All on account of you,
Everything that has happened is directly your fault.
Tearing my heart in two?
You have shattered my heart into pieces.
Woman, have you no conscience,
How can you sleep at night with a clear conscience?
How could you be so bold?
How could you have the audacity to do what you did?
Why have you grown so cold
Why have you become so heartless?
After the lies you told?
All the lies you told have turned me against you.
No-one now seems to be on the level,
I have lost trust in everyone, even those who seemed honest before.
Since I've found out that my angel was just a dog,
Since I realized that the person I thought was a good angel was actually deceitful, everything seems different.
Known as the devil!
She was so dishonest that I cannot see her as anything but an evil person.
Why does I love ya, hon,
Why did I ever fall in love with you?
Why did you teach me how?
Why did you make me so vulnerable to your hurtful actions?
After you broke each vow,
After you broke every promise you made to me.
How can you face me now?
How dare you show your face to me after all you've done!
Oh you dirty dog, get out in the street!
You are disgusting and I want you out of my sight.
Get out! Get out!
Leave me alone and never come back.
No, I didn't go there last night!
I am denying any wrongdoing and trying to defend myself.
No, I didn't go there, neither,
I did not go there either- I am not the one at fault.
I went to the other place!
I went somewhere else entirely, so do not accuse me.
Yeah! Don't you talk back to me, shut up!
I will not tolerate any response from you, just be quiet.
Well alright, take you dog goin' on the street!
Fine, leave my sight, you unfaithful being.
Yeah! Get out, just get up, keep goin'!
Leave now and never come back, I am done with you.
Lyrics © Warner/Chappell Music, Inc., BMG Rights Management
Written by: ANDY RAZAF, THOMAS 'FATS' WALLER
Lyrics Licensed & Provided by LyricFind
@dburt0021
Great song 🥰
@PLOttawa
Love this song!
@harryhope5492
brilliant
@MrBOPJAZZ
Personnel : Herman Autrey(tp) Floyd O'Brien(tb) Mezz Mezzrow(cl) Fats Waller(p,vo) Al Casey(g) Billy Taylor Sr(b) Harry Dial(dms) / NY 28 sept 1934 /
@PLOttawa
@2ndviolinist Agreed!
@jfcSharp
Andy Razaf - lyricist
@osocool1too
He died at 39 years of age in Dec 1943 from cigarettes , too much booze n food. Pneumonia would’ve been one one cause of death. Shame really.