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'".
The Joint Is Jumping
Fats Waller Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
That tells you when a party is ten times more than gay
To say that things are jumpin' leaves not a single doubt
That everthing is in full swing when you hear someone shout
Here 'tis
The joint is jumpin'
It's really jumpin'
Come in, cats, and check your hats
The piano's thumpin',
The dancers are bumpin',
This here spot is more than hot
In fact, the joint is jumpin'
Check your weapons at the door
Be sure to pay your quarter
Burn your leather on the floor
Grab anybody's daughter
The roof is rockin'
The neighbors knockin'
We're all bums when the wagon comes
I mean, this joint is jumpin'
Let it be! Yas!
Burn this joint, boy, yas!
Oh, my, yas!
Don't you hit that chick, that's my broad
Where'd you get that stuff at?
Why, I'll knock you to your knees, what?
Put this cat out of here, what?
Get rid of that pistol, get rid of that pistol
Yeah, get rid of it, yas, yeah
That's what I'm talkin' about, ha, ha
Now it's really ready
No, baby, not now, I can't come over there right now
Yeah, let's do it!
The joint is jumpin'
It's really jumpin'
Every Mose is on his toes
I mean this joint is jumpin'
Uh, oh, no time for talkin'
This place is walkin', yes
Get your jug and cut the rug
I think the joint is jumpin'
Listen
Get your pig feet, bread and gin
There's plenty in the kitchen
Who is that that just came in?
Just look at the way he's switchin'
Aw, mercy, don't mind the hour
I'm in power, I've got bail if we go to jail
I mean this joint is jumpin'
Don't give your right name, no, no, no, no
Fats Waller's "The Joint Is Jumpin'" is a classic jazz song that was recorded in 1938. The song is about a party that is happening in Harlem, and the lyrics describe the excitement of the occasion. The first verse introduces a new expression that is used in Harlem to describe a party that is very lively and fun. The second verse describes the atmosphere of the party, with a thumping piano, bumping dancers, and a hot spot that is making everyone excited. The third verse adds a bit of danger to the mix, as the song encourages people to check their weapons at the door and warns against hitting anyone's partner. The final verse urges everyone to get into the spirit of the party, grab some food and drink, and enjoy themselves without worrying about the time.
Overall, the song is a celebration of the jazz scene in Harlem during the 1930s, when jazz clubs were at the height of their popularity. The lyrics reflect the energy and excitement of the times, and the lively tempo and catchy melody make the song a favorite among jazz enthusiasts to this day.
Line by Line Meaning
They have a new expression along old Harlem way
Some people in Harlem have come up with a new phrase to describe high-energy parties.
That tells you when a party is ten times more than gay
The phrase indicates that the party is exceptionally fun and lively.
To say that things are jumpin' leaves not a single doubt
If you hear people saying that things are 'jumpin,' it's a clear sign that the party is going well.
That everthing is in full swing when you hear someone shout
When someone shouts, you know for sure that the party is in full swing.
Here 'tis
Here it is – a lively party!
The joint is jumpin'
The party is in full swing and really lively.
It's really jumpin'
The party is super lively and fun.
Come in, cats, and check your hats
Come on in and put your hats away.
I mean this joint is jumpin'
I'm telling you, this party is really lively and fun.
The piano's thumpin',
The piano is playing energetic music.
The dancers are bumpin',
The dancers are moving energetically and bumping into each other.
This here spot is more than hot
This location is super lively and exciting.
In fact, the joint is jumpin'
Actually, this party is really lively and fun.
Check your weapons at the door
Leave your weapons at the door.
Be sure to pay your quarter
Make sure you pay the entrance fee.
Burn your leather on the floor
Dance so hard and energetically that you wear out your shoes.
Grab anybody's daughter
Ask any girl to dance, without reservation.
The roof is rockin'
The party is so lively that it feels like the roof might shake or fall in.
The neighbors knockin'
The neighbors are complaining and knocking on the door.
We're all bums when the wagon comes
We'll all be in trouble when the police come.
Let it be! Yas!
Leave it alone! Yes, I mean it!
Burn this joint, boy, yas!
This party is so lively that it feels like it could catch fire! Yes, I mean it!
Oh, my, yas!
Wow, this is really exciting! Yes!
Don't you hit that chick, that's my broad
Don't hit that girl, she's with me.
Where'd you get that stuff at?
Where did you acquire that?
Why, I'll knock you to your knees, what?
I'll hit you so hard you'll fall down. What, you don't believe me?
Put this cat out of here, what?
Get this guy out of the party. What, you don't agree?
Get rid of that pistol, get rid of that pistol
Put that gun away, put that gun away.
Yeah, get rid of it, yas, yeah
Yes, put it away, that's what I'm saying, yes!
That's what I'm talkin' about, ha, ha
That's exactly what I'm saying, ha ha!
Now it's really ready
The party is now even more lively and fun.
No, baby, not now, I can't come over there right now
No, sweetheart, not at the moment, I can't join you over there right now.
Every Mose is on his toes
Everyone is alert and energetic.
I mean this joint is jumpin'
I'm telling you, this party is really lively and fun.
Uh, oh, no time for talkin'
Oh no, we don't have time to talk – we need to dance and have fun!
This place is walkin', yes
This location is super lively and fun, absolutely.
Get your jug and cut the rug
Get your jug of alcohol and start dancing!
I think the joint is jumpin'
I believe that the party is really lively and fun.
Listen
Hey, everyone listen up!
Get your pig feet, bread and gin
Get some food and alcohol and enjoy the party.
There's plenty in the kitchen
There's lots of food and drink in the kitchen, so help yourself.
Who is that that just came in?
Who is the new person that just arrived?
Just look at the way he's switchin'
Look at how he's dancing!
Aw, mercy, don't mind the hour
Oh wow, can you believe how late it is? But who cares, we're having too much fun!
I'm in power, I've got bail if we go to jail
I feel powerful and in control, and I have money to pay bail if we get arrested.
I mean this joint is jumpin'
I'm telling you, this party is really lively and fun.
Don't give your right name, no, no, no, no
Don't use your real name – use a fake name to stay anonymous and safe.
Contributed by Amelia M. Suggest a correction in the comments below.
@baxter5431
True story: Fats was in Paris and was allowed to play the organ at Notre Dame Cathedral. He started quite seriously by actually playing 1 or 2 Bach chorales and THEN, he would take off on them, turning them into jazz. A shame that no one had the foresight to record those forever lost instances. He died en route to a playing engagement, on a train in his compartment. Sadly, he was a big drinker & would sell some of his music manuscripts for a mere fifth of liquor.
@kevinmcbride7043
I wish I hadn't read that! it makes me quite sick to think of the lost opportunity.
@lonniesnyder2388
I find it sad that so many of the best artists & musicians throughout history have cut their lives short via substance abuse.
@jkplays7485
@@lonniesnyder2388 well this was 80 years ago, it was very common
@billbobaggins801
I just found him today in 2021, and being a 51 year old white guy. He was an amazing musician. I wish I could have been in this Era of life. You really had to know your stuff......what a blessing to have such a video.
@BM-979
I got his complete discography box set. His catalogue is unreal and in many styles depending on the decade. He was extremely prolific and not including all the songs he wrote for other people that became hits. The only one in our era with a output like him would be ghostface killah. Easily one of the greatest singer songwriters in American history and that’s not even delving into his comedic talents on film.
@granddaddy_funk
I'm glad you could join us LOL, no hate or anything but, why do people find the need to mention their age race and sex whenever they discover a new song? I'm just messing around by the way
@kevinmcbride7043
For me, the musician of the 20th century. His piano playing was astonishing, as if the machine were a part of him, he wrote and performed some of the most beautiful songs ever produced, and sang with that unequalled, heart-rending voice. He was the only person who was able to combine raunchy jazziness with extreme poignancy and also humour - just listen to 'gonna sit right down and write myself a letter'. When will we see his like again?
@SELMER1947
100% agree ! Fats was a genius pianist, genius organist, genius composer, genius singer, genius leader, genius entertainer...that's a enormous shame he is never quoted among the greatest musicians of the 20th century !!!!
@normanklein3155
Yes, I agree. But I think that Roy Clark was the second coming of Fats Waller and is comparable in terms of musicianship.