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'".
I've Got a Crush on You
Fats Waller Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Would be to capture me
But you had such persistence, you wore down my resistance
I fell and it was swell
I'm your big and brave and handsome Romeo
How I won you I shall never never know
It's not that you're attractive
When you came into view
I've got a crush on you, sweetie pie
All the day and night time give me sigh
I never had the least notion that
I could fall with so much emotion
Could you coo, could you care?
For a cunning cottage we could share
The world will pardon my mush
'Cause I have got a crush on you
Could you coo, could you care?
For a cunning cottage
That we could share
The world will pardon my mush
'Cause I have got a crush, my baby, on you
The lyrics to Fats Waller's song "You Got It" describe the singer's unexpected infatuation with someone who may not be conventionally attractive but has captured their heart nonetheless. The song addresses the idea that love and attraction can be inexplicable, and that appearances are not always the sole determining factor in romantic connections.
The first lines of the song allude to the popularity of the singer, stating that many women would be pleased to have his attention, but it was the persistence of the person in question that ultimately won them over. The singer admits their surprise at having fallen for this individual, as they may not possess traditional attractiveness. The mention of the heart growing active upon seeing the person indicates the depth of emotion and excitement they feel in their presence.
The second verse continues to express the singer's infatuation, describing themselves as a "big and brave and handsome Romeo." They confess their perplexity at winning over this person and emphasize that it is not their physical appearance that has sparked their interest, but rather an inexplicable attraction and connection. The chorus repeats the sentiment of having a crush on the person, indicating that their feelings are genuine and strong.
Overall, the lyrics of "You Got It" convey the theme that love and attraction can transcend conventional beauty standards and can be based on deeper emotional connections and chemistry.
Line by Line Meaning
How glad the many millions of Annabelles and Lillians
The immense joy that countless individuals named Annabelles and Lillians would experience
Would be to capture me
If they could only capture my heart
But you had such persistence, you wore down my resistance
Yet your unwavering determination gradually eroded my defenses
I fell and it was swell
I succumbed to love's allure and it was amazing
I'm your big and brave and handsome Romeo
I am the grand, courageous, and charming suitor you desire
How I won you I shall never never know
The mysterious means by which I captured your heart remains a mystery to me
It's not that you're attractive
It's not solely due to your physical attractiveness
But, oh, my heart grew active
Rather, my heart became fervently alive
When you came into view
When you entered my line of sight
I've got a crush on you, sweetie pie
My affection for you is akin to having a significant infatuation, my dear
All the day and night time give me sigh
Every moment, both day and night, evokes a heartfelt sigh from me
I never had the least notion that
I never had the slightest inkling that
I could fall with so much emotion
I could experience such intense emotions, leading to a romantic fall
Could you coo, could you care?
Would you be willing to express affection and concern?
For a cunning cottage we could share
In the possibility of sharing an enchanting, small house
The world will pardon my mush
The world will forgive my sentimentality
'Cause I have got a crush on you
Because I am deeply infatuated with you
Could you coo, could you care?
Would you be willing to express affection and concern?
For a cunning cottage
In the prospect of a quaint dwelling
That we could share
That we could both enjoy
The world will pardon my mush
The world will forgive my sentimental expressions
'Cause I have got a crush, my baby, on you
Because, my darling, I am completely smitten with you
Lyrics © Kanjian Music, BMG Rights Management, Universal Music Publishing Group, Sony/ATV Music Publishing LLC, Kobalt Music Publishing Ltd., Warner Chappell Music, Inc.
Written by: George Gershwin, Ira Gershwin
Lyrics Licensed & Provided by LyricFind
Jack war
The "Southern Belle" that could both sing brilliantly and hold her own in a bar fight!
jhas888
Beautiful intro by Fats and such warm singing by Lee Wiley. Perfection.
Michael Hughes
Max Kaminsky trumpet; Pee Wee Russell clarinet; Bud Freeman tenor saxophone; Thomas "Fats" Waller piano; Eddie Condon guitar; Artie Shapiro bass; George Wettling drums. Recorded November 15, 1939 in New York City.
LivelyGeronimo
It make you feel like you're actually there, listening to the music. I wish I could have lived that life, even with all the hardships.
Joan Billingham
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Laurie Lyon
What a classic, classic performance and a jewel of a recording. Thanks for posting!
KeenerThan
Wonderful version.
Jeannine LOVE
she is just wonderful, love u lee....
kharmalade
Just a thought, but when John de Vries drew the pen portraits of the artists for the sleeve of the LP issue by Liberty Music Shops, he drew Joe Bushkin as the pianist and he was a lot nearer the event than we are. But - only the music matters.
Joan Billingham
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