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'".
Little Curly Hair in a High Chair
Fats Waller Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
What's your order for today
Little curly hair in a high chair
I'll do anything you say
When you're near the room seems to brighten
The sun comes streaming through you're eyes
You're the reason they still keep writin'
All those tender lullabies
Bangin' with your blocks
Pullin' off your socks
Hm, there you go
Tryin' to make your toes
Touch your baby nose
Heaven's close to your chair and my chair
When you smile the way you do
Little curly hair in a high chair
My day begins and ends with you
The song "Little Curly Hair in a High Chair" by Fats Waller is a sweet and sentimental tune that expresses the joy of spending time with a young child. The lyrics seem to be addressed to a baby, with Fats Waller asking what the little one wants for the day. The child's presence alone seems to brighten up the room and make everything feel happier. The lyrics paint a picture of a child playing with blocks and trying to touch their toes, while Fats Waller admires their every move.
The song captures the innocence and wonder of childhood, as well as the love and protection felt by an adult towards a young child. Through the lyrics, Fats Waller is expressing how the little one brings so much light and joy to his life, and that every day begins and ends with them. The sweet and melodic tune adds to the overall charm of the song, making it a timeless classic that has been enjoyed by parents and children alike for generations.
Line by Line Meaning
Little curly hair in a high chair
Addressing a small child with curly hair who is seated in a high chair
What's your order for today
Asking the child what they would like to do on this particular day
I'll do anything you say
Promising to fulfil the child's requests and do whatever they ask for
When you're near the room seems to brighten
Suggesting that the presence of the child makes everything seem more cheerful and lively
The sun comes streaming through you're eyes
Metaphorically stating that the child's eyes are bright and full of light, like the sun shining through a window
You're the reason they still keep writin'
Implying that children like the one in the high chair inspire writers to create stories and songs for their entertainment
All those tender lullabies
Referring to sweet and gentle songs that are often sung to children to help them sleep
Hm, there you go
Exclaiming in delight as the child begins to play or move around
Bangin' with your blocks
Describing the child playing with blocks, making noise as they hit them together or stack them up
Pullin' off your socks
Observing the child taking off their socks, possibly as they are fidgeting or playing with their feet
Hm, there you go
Once again exclaiming in delight as the child continues to move and explore
Tryin' to make your toes
Commenting on the child's attempt to touch their toes, which is a common movement skill for young children to develop
Touch your baby nose
Describing the child's playful attempt to touch their nose with their toes, demonstrating physical coordination and flexibility
Heaven's close to your chair and my chair
Expressing the joy and happiness that the child brings, as if being near them is akin to being in a heavenly place
When you smile the way you do
Noticing the child's smile and highlighting how it makes everything even more wonderful
Little curly hair in a high chair
Repeating the opening line to bookend the song, emphasizing the child's importance
My day begins and ends with you
Concluding the song by declaring that the child is the focal point of the artist's life, bringing joy and happiness from morning to night
Lyrics © BMG Rights Management
Written by: CHARLES TOBIAS, NAT SIMON
Lyrics Licensed & Provided by LyricFind
@markthurlow6223
This song makes me smile from beginning to end!
@LudiusQuassas
The first song I've ever heard from Fats Waller, and may I say, a very good first impression.
@jillsmith5303
Just beautiful.
@xCorzo650x
my niece LOL