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'".
Willow Tree
Fats Waller Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Surround you with my long limbs
My dear, let me grow in the shade
In the sands by the bank of your river
Let I drink from your streams
The cool breeze fill my leaves
We will sing together
And I'll be by your side forever
I wish I was a weeping willow tree
I wish I was a weeping willow tree
I wish I was a weeping willow tree
Sweet river caress how softly
Stir my searching roots
Shading the sun in the summers heat
Let I cool you
We have been dancing so long
In the winters freeze and the summers drought
We survive
We belong
Let us sing together
Water over the pebbles
And I'll be by your side forever
I wish I was your weeping willow tree
I wish I was a weeping willow tree
I wish I was a weeping willow tree
Let us sing together
Water over the pebbles
And I'll be by your side forever
Let us sing together
Water over the pebbles
And I'll be by your side forever
We can sing together
Water over the pebbles
And I'll be by your side forever
Let me be
Your willow tree
Your willow tree
The lyrics of "Willow Tree" by Fats Waller represent a symbolic gesture of the singer expressing unconditional love towards his beloved. He wishes to become a willow tree that gives shade and comfort to his loved one. The willow tree is known for its flexibility and its ability to withstand storms; hence it's seen as a symbol of resilience and strength under difficult circumstances. Throughout this song, the singer promises to provide protection and companionship in good times and in bad times. The metaphorical image of the willow tree is used to convey the depth of the singer's love and affection.
The song has a strong romantic tone and expresses the beauty of nature as well as the irresistible power of love. It shows how love can be the source of immense strength, and when two people come together, they can conquer anything. The singer is convinced that his love is eternal and that he can weather any storm with his beloved by his side. The song conveys a message of hope and positivity and encourages people to hold onto love and never give up on it.
Line by Line Meaning
Let me be your weeping willow tree
I want to be your source of comfort and protection, surrounding you with my love.
Surround you with my long limbs
I want to hold and embrace you with my strong arms.
My dear, let me grow in the shade
I want to be there for you in even the most difficult times, providing shelter and support.
In the sands by the bank of your river
I want to be firmly rooted in your life, standing by your side no matter what happens.
Let I drink from your streams
I want to share in all aspects of your life, experiencing everything with you.
The cool breeze fill my leaves
I want the refreshing feeling of your love to wash over me, renewing and restoring me.
We will sing together
Our love will produce a beautiful harmony, blending together in perfect unison.
Water over the pebbles
The sound of the flowing water represents the symbol of our enduring love, washed over by time but never lost.
And I'll be by your side forever
I will never leave you, and I will always support and uplift you through any obstacles that we may face.
I wish I was a weeping willow tree
I long to provide you with all that is good and beautiful in the world, and to be a constant and unwavering presence in your life
Sweet river caress how softly
Your love soothes and comforts me, and I want to return that love in equal measure.
Stir my searching roots
Your love energizes me, providing the sustenance I need to keep growing and thriving.
Shading the sun in the summers heat
Your love helps me to weather even the toughest of situations, providing the security and strength that I need to persevere.
We have been dancing so long
Our relationship has been a joyful and harmonious dance, celebrating our love and the beautiful life that we have built together.
In the winters freeze and the summers drought
We have stood by each other through all the changes and challenges of life, never faltering in our love and dedication to each other.
We survive
Together, we have overcome all obstacles and come out stronger and more united on the other side.
We belong
Our love is uniquely special and precious, and we are meant to be together forever.
Let me be Your willow tree
I want to be your protector, to be there for you whenever you need me, providing safety, security, and unwavering love.
Your willow tree
I want to dedicate my life to uplifting you and making you feel loved and cherished every single day.
Lyrics © Kobalt Music Publishing Ltd., Warner/Chappell Music, Inc., BMG Rights Management
Written by: THOMAS 'FATS' WALLER, ANDY RAZAF
Lyrics Licensed & Provided by LyricFind
Luis Mántaras
A beautiful song!
gus vespa
Jabbo Smith (cnt) Garvin Bushell (cl,as) James P. Johnson (p) Fats Waller (org) - Camden, N.J., March 27, 1928
michael preston
Thank you for this sweet tune, I've been looking for it for years.
Remember Our Music
Thank you Michael Preston for listening to ♫Remember Our Music♫ an historical site which daily honors a great African-American musician born between 1745 and 1945 including Scott Joplin, W. C. Handy, Willie the Lion Smith, Lucille Hegamin, Teddy Wilson, Billy Strayhorn and Jimi Hendrix, all born in the month of November!