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'".
Someone To Watch Over Me
Fats Waller Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Still were often told, seek and ye shall find
So I'm going to seek a certain lad I've had in mind
Looking everywhere, haven't found him yet
Hes the big affair I cannot forget
Only man I ever think of with regret
I'd like to add his initial to my monogram
There's a somebody I'm longing to see
I hope that he turns out to be
Someone who'll watch over me
I'm a little lamb who's lost in the wood
I know I could always be good
Someone who'll watch over me
Although he may not be the man some
Girls think of as handsome
To my heart he carries the key
Won't you tell him please to put on some speed
Follow my lead, oh, how I need
Someone to watch over me
In Fats Waller's song "Someone to Watch Over Me," the lyrics explore the universal theme of longing for love and companionship. The opening lines, "There's a saying old says that love is blind, still were often told, seek and ye shall find," suggest that love is unpredictable and can be found in unexpected ways. The singer expresses their desire to find a specific person, a certain lad they have in mind, but they haven't found him yet despite searching everywhere.
The lyrics continue to describe the importance of this person in the singer's life, referring to them as the big affair they cannot forget. This person occupies their thoughts and is the only man they think about with regret, implying that their love for this person has had a significant impact on their emotions and memories. The singer desires to have a deeper connection with this person, wanting to add their initial to their monogram, symbolizing a desire for a committed and lasting relationship.
The line "Tell me, where is the shepherd for this lost lamb?" conveys the singer's vulnerability and longing for guidance. They see themselves as a lost lamb in need of someone to protect and watch over them. This highlights their yearning for emotional support and security, a theme that resonates with many who seek love and companionship.
The chorus shifts the focus slightly, introducing the singer's anticipation of meeting someone special that they are longing to see. The lyrics express hope that this person will turn out to be someone who will watch over them, suggesting that they desire a nurturing and caring presence in their life. The singer identifies themselves as a "little lamb who's lost in the wood," emphasizing their vulnerability and need for guidance. They believe that having someone who watches over them will help them remain good and navigate through life's uncertainties.
In the final verse, the singer contradicts conventional beauty standards by mentioning that the person they long to be with may not be considered traditionally handsome by others. However, to the singer's heart, this person carries the key, symbolizing the profound emotional connection they share. The lyrics ask the listener to convey a message to this person, urging them to speed up and follow the singer's lead. This showcases the singer's desperation and eagerness for this person's presence in their life. Ultimately, the lyrics convey the longing for emotional protection, companionship, and love, painting a vivid picture of the singer's desires and vulnerability.
Line by Line Meaning
There's a saying old says that love is blind
A common saying suggests that love does not see flaws or imperfections
Still were often told, seek and ye shall find
Despite being frequently advised to actively search, the desired outcome will eventually be found
So I'm going to seek a certain lad I've had in mind
Therefore, I am determined to pursue a particular young man whom I've been thinking about
Looking everywhere, haven't found him yet
Searching diligently in various places, but he has yet to be discovered
Hes the big affair I cannot forget
He is the significant relationship or love interest that lingers in my memory
Only man I ever think of with regret
The sole individual who occupies my thoughts with a sense of remorse
I'd like to add his initial to my monogram
It would please me to incorporate his first letter into my personalized design
Tell me, where is the shepherd for this lost lamb?
I implore, where can I find the protector or guide for a vulnerable and aimless person like myself?
There's a somebody I'm longing to see
There exists a person whom I eagerly desire to meet
I hope that he turns out to be
I hold the expectation that he proves to be
Someone who'll watch over me
An individual who will safeguard and care for me
I'm a little lamb who's lost in the wood
Metaphorically, I am an innocent and bewildered creature straying through life's complexities
I know I could always be good
I possess the knowledge that I have the potential to consistently behave admirably
Someone who'll watch over me
Someone who will provide guidance and protection
Although he may not be the man some
Despite the fact that he may not fit the description some
Girls think of as handsome
Girls consider to be physically attractive
To my heart he carries the key
He holds the ability to unlock and access my deepest emotions
Won't you tell him please to put on some speed
Would you kindly ask him to hurry up and move faster in his actions or intentions
Follow my lead, oh, how I need
Follow my guidance and direction, oh, how desperately I require it
Someone to watch over me
Someone to protect and care for me
Lyrics © Kanjian Music, O/B/O DistroKid, Warner Chappell Music, Inc.
Written by: Ira Gershwin, George Gershwin
Lyrics Licensed & Provided by LyricFind
Miguel Ángel Godínez
Extraordinaria.
István Poór
The best voice after Holliday...thanks