Music Millennium

Music Millennium

By 1929, aged 25, when this compilation opens, Fats had established himself among the inner circle of New York session players; with Andy Razaf he was getting into his stride as a songwriter; he was a recording artist; he had contributed to a couple of hit Broadway shows; he had played Carnegie Hall. The opening track show Fats as a gifted soloist and as an inspiring bandleader. Handful Of Keys has Fats in his stride-influenced glory, dazzling with what Jelly Roll Morton called a 'picture-show' right hand. Ain't Misbehavin' was written for the 1929 revue 'Hot Chocolates'. As well as consolidating Louis Armstrong's showbiz career, it established Waller/Razaf as a leading writing team. There are some of Fats' distinctive organ numbers here. Victor had bought a church in Camden to use as a studio. The church came with it's own organ which was familiar to Fats. He had used it for his first Victor cut in 1926. Few players in the prewar years could produce such authentic jazz from the instrument. At the end of the 'Roaring Twenties' came the Stock Market crash. Few escaped. The recording industry was no exception. Victor had sold about 35 million discs in 1929. In 1930, sales were half that, and in 1931 they were 3 million. The situation could have been serious for Fats - but that would be to underestimate his selling power. He cut only two sessions in 1930, but that was as slow as his recording career ever got. Fats' irrepressible personality was made for radio and live performance. That's part of the story. He was now writing his own scintillating material. This might have been because he was so often asked to record inferior work written by others. The problem was, even when he was given below-standard writing he was able by some alchemy to turn it into gold. The evidence here - if it was ever needed - is that Fats never cut a dud side.
By 1929, aged 25, when this compilation opens, Fats had established himself among the inner circle of New York session players; with Andy Razaf he was getting into his stride as a songwriter; he was a recording artist; he had contributed to a couple of hit Broadway shows; he had played Carnegie Hall. The opening track show Fats as a gifted soloist and as an inspiring bandleader. Handful Of Keys has Fats in his stride-influenced glory, dazzling with what Jelly Roll Morton called a 'picture-show' right hand. Ain't Misbehavin' was written for the 1929 revue 'Hot Chocolates'. As well as consolidating Louis Armstrong's showbiz career, it established Waller/Razaf as a leading writing team. There are some of Fats' distinctive organ numbers here. Victor had bought a church in Camden to use as a studio. The church came with it's own organ which was familiar to Fats. He had used it for his first Victor cut in 1926. Few players in the prewar years could produce such authentic jazz from the instrument. At the end of the 'Roaring Twenties' came the Stock Market crash. Few escaped. The recording industry was no exception. Victor had sold about 35 million discs in 1929. In 1930, sales were half that, and in 1931 they were 3 million. The situation could have been serious for Fats - but that would be to underestimate his selling power. He cut only two sessions in 1930, but that was as slow as his recording career ever got. Fats' irrepressible personality was made for radio and live performance. That's part of the story. He was now writing his own scintillating material. This might have been because he was so often asked to record inferior work written by others. The problem was, even when he was given below-standard writing he was able by some alchemy to turn it into gold. The evidence here - if it was ever needed - is that Fats never cut a dud side.
788065902827
Fats Waller - Complete Recorded Works 2: A Handful of Keys

Details

Format: CD
Label: JSP
Catalog: 928
Rel. Date: 10/10/2006
UPC: 788065902827

Complete Recorded Works 2: A Handful of Keys
Artist: Fats Waller
Format: CD
New: In Stock $28.99
Wish

Formats and Editions

DISC: 1

1. Handful of Keys
2. Minor Drag, The
3. Harlem Fuss
4. Numb Fumblin'
5. Ain't Misbehavin'
6. Sweet Savannah Sue
7. I've Got a Feeling I'm Falling
8. Love Me or Leave Me
9. Gladyse
10. Valentine Stomp
11. Waiting at the End of the Road
12. Baby, Oh! Where Can You Be?
13. Tanglefoot
14. That's All
15. Waitin' at the End of the Road
16. Baby, Oh! Where Can You Be?
17. Goin' About
18. My Feelin's Are Hurt
19. That's How I Feel Today
20. Six or Seven Times
21. Smashing Thirds
22. Lookin' Good But Feelin' Bad
23. I Need Someone Like You
24. Big Business Pt. 1
25. Big Business Pt. 2
26. I Wish I Were Twins

DISC: 2

1. Plain Dirt
2. Gee, Ain't I Good to You?
3. I'd Love It
4. Way I Feel Today, The
5. Miss Hannah
6. Peggy
7. Wherever There's a Will, Baby
8. You Don't Understand
9. You've Got to Be Modernistic
10. My Fate Is in Your Hands
11. My Fate Is in Your Hands
12. Turn on the Heat
13. Lookin' For Another Sweetie
14. Ridin' But Walkin'
15. Won't You Get Off It Please?
16. When I'm Alone
17. St. Louis Blues
18. After You've Gone
19. Girls Like You Were Meant For Boys Like Me
20. Arkansas Blues
21. Egyptian-Ella
22. I'm Crazy 'Bout My Baby
23. Dallas Blues
24. Royal Garden Blues
25. I'm Crazy 'Bout My Baby

DISC: 3

1. Draggin' My Heart Around
2. You Rascal You
3. That's What I Like About You
4. Chances Are
5. I Got the Ritz From the One I Love
6. China Boy
7. Lies
8. I'm Sorry Dear
9. Tiger Rag
10. I Would Do Anything For You
11. Mean Old Bed Bug Blues
12. Yellow Dog Blues
13. Yes Suh!
14. A Shine On Your Shoes / Louisiana Hayride
15. Porter's Love Song to a Chambermaid, A
16. I Wish I Were Twins
17. Armful O' Sweetness
18. Do Me a Favor
19. Georgia May
20. Then I'll Be Tired of You
21. Don't Let It Bother You
22. Have a Little Dream on Me
23. Serenade For a Wealthy Widow
24. How Can You Face Me?
25. Sweetie Pie

DISC: 4

1. Mandy
2. Let's Pretend There's a Moon
3. You're Not the Only Oyster in the Stew
4. Honeysuckle Rose
5. Believe It, Beloved
6. Dream Man
7. I'm Growing Fonder of You
8. If It Isn't Love
9. Breakin' the Ice
10. I've Got a Feeling I'm Falling
11. I've Got a Feeling I'm Falling
12. Love Me or Leave Me
13. Gladys
14. Valentine Stomp
15. Waiting at the End of the Road
16. Baby, Oh! Where Can You Be?
17. Tanglefoot
18. Waiting at the End of the Road
19. Baby, Oh! Where Can You Be?
20. Goin' About
21. Where Ever There's a Will
22. I Would Do Anything For You
23. Mean Old Bed Bug Blues
24. Yellow Dog Blues
25. Yes Suh!
26. I Wish I Were Twins

More Info:

By 1929, aged 25, when this compilation opens, Fats had established himself among the inner circle of New York session players; with Andy Razaf he was getting into his stride as a songwriter; he was a recording artist; he had contributed to a couple of hit Broadway shows; he had played Carnegie Hall. The opening track show Fats as a gifted soloist and as an inspiring bandleader. Handful Of Keys has Fats in his stride-influenced glory, dazzling with what Jelly Roll Morton called a 'picture-show' right hand. Ain't Misbehavin' was written for the 1929 revue 'Hot Chocolates'. As well as consolidating Louis Armstrong's showbiz career, it established Waller/Razaf as a leading writing team. There are some of Fats' distinctive organ numbers here. Victor had bought a church in Camden to use as a studio. The church came with it's own organ which was familiar to Fats. He had used it for his first Victor cut in 1926. Few players in the prewar years could produce such authentic jazz from the instrument. At the end of the 'Roaring Twenties' came the Stock Market crash. Few escaped. The recording industry was no exception. Victor had sold about 35 million discs in 1929. In 1930, sales were half that, and in 1931 they were 3 million. The situation could have been serious for Fats - but that would be to underestimate his selling power. He cut only two sessions in 1930, but that was as slow as his recording career ever got. Fats' irrepressible personality was made for radio and live performance. That's part of the story. He was now writing his own scintillating material. This might have been because he was so often asked to record inferior work written by others. The problem was, even when he was given below-standard writing he was able by some alchemy to turn it into gold. The evidence here - if it was ever needed - is that Fats never cut a dud side.
        
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