Fats Waller - Revision history

Mennowiki at 04:39, 24 October 2024

2024-10-24T04:39:11Z

← Previous revision		Revision as of 04:39, 24 October 2024
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	[[Category:Singer-songwriters from New York (state)]]		[[Category:Singer-songwriters from New York (state)]]
	[[Category:American male jazz pianists]]		[[Category:American male jazz pianists]]
			[[Category:DownBeat Jazz Hall of Fame members]]

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Career

← Previous revision		Revision as of 11:04, 5 October 2024
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	Standards attributed to Waller, sometimes controversially, include "[[I Can't Give You Anything but Love, Baby]]". The song was made famous by [[Adelaide Hall]] in the Broadway show ''[[Blackbirds of 1928]]''.<ref name="Williams">{{cite book \|last1=Williams \|first1=Iain Cameron \|title=Underneath a Harlem Moon \|date=2002 \|publisher=Continuum \|isbn=0826458939}}</ref>		Standards attributed to Waller, sometimes controversially, include "[[I Can't Give You Anything but Love, Baby]]". The song was made famous by [[Adelaide Hall]] in the Broadway show ''[[Blackbirds of 1928]]''.<ref name="Williams">{{cite book \|last1=Williams \|first1=Iain Cameron \|title=Underneath a Harlem Moon \|date=2002 \|publisher=Continuum \|isbn=0826458939}}</ref>

	Biographer Barry Singer offered circumstantial evidence that this song was written by Waller and lyricist Andy Razaf and provided a description of the sale given by Waller to the ''[[New York Post]]'' in 1929{{snd}}he sold the song for $500 to a white songwriter for use in a financially successful show (consistent with [[Jimmy McHugh]]'s contributions to ''Harry Delmar's Revels'', 1927, and then to ''[[Blackbirds of 1928]]'').<ref name="Tyle" /> He noted that early handwritten manuscripts in the Dana Library Institute of Jazz Studies of "Spreadin' Rhythm Around" (Jimmy McHugh 1935) are in Waller's hand.<ref name="Tyle" /><ref>{{cite book \|url=https://books.google.com/books?id=XfzZcCcgk9QC&pg=PR5 \|title= Annual Review of Jazz Studies 7: 1994–1995 \|editor1-first= Edward \|editor1-last=Berger \|editor2-first= Henry \|editor-last2=Martin \|editor3-first= David \|editor3-last=Cayer \|editor4-first= Dan \|editor4-last=Morgenstern \|editor5-first= Lewis \|editor5-last=Porter\| publisher= Scarecrow Press \|date=1996 \|isbn= 978-0810831223 \|access-date=June 27, 2014}}</ref> Jazz historian Paul S. Machlin commented that the Singer conjecture has "considerable [historical] justification".<ref>{{cite book\| url= https://books.google.com/books?id=xFWIizMK-FkC&pg=PR34 \|title= Thomas Wright "Fats" Waller: Performances in Transcription, 1927–1943, Volume 41\|editor-first= Paul S. \| editor-last= Machlin\| publisher= A-R Editions\| year= 2001\| isbn= 978-0895794673}}</ref> According to a biography by Waller's son Maurice, Waller told his son never to play the song within earshot because he had to sell it when he needed money.<ref name=":1">{{cite book\|author1=Maurice Waller\|author2=Anthony Calabrese\|title=Fats Waller\|url=https://books.google.com/books?id=bCp0DwAAQBAJ&pg=PT24\|date=2017\|publisher=University of Minnesota Press\|isbn=978-1452956671\|pages=24 ff}}</ref> Maurice Waller wrote that his father objected to hearing "[[On the Sunny Side of the Street]]" on the radio.<ref name="maurice">{{cite book \|last1=Waller \|first1=Maurice \|last2=Calabrese \|first2=Anthony \|title=Fats Waller \|date=1977 \|publisher=Schirmer \|page=164}}</ref> The famous ~~song writing~~ team of Jimmy McHugh and Dorothy Fields said the song was inspired by their watching a young couple window shopping at Tiffany's.		Biographer Barry Singer offered circumstantial evidence that this song was written by Waller and lyricist Andy Razaf and provided a description of the sale given by Waller to the ''[[New York Post]]'' in 1929{{snd}}he sold the song for $500 to a white songwriter for use in a financially successful show (consistent with [[Jimmy McHugh]]'s contributions to ''Harry Delmar's Revels'', 1927, and then to ''[[Blackbirds of 1928]]'').<ref name="Tyle" /> He noted that early handwritten manuscripts in the Dana Library Institute of Jazz Studies of "Spreadin' Rhythm Around" (Jimmy McHugh 1935) are in Waller's hand.<ref name="Tyle" /><ref>{{cite book \|url=https://books.google.com/books?id=XfzZcCcgk9QC&pg=PR5 \|title= Annual Review of Jazz Studies 7: 1994–1995 \|editor1-first= Edward \|editor1-last=Berger \|editor2-first= Henry \|editor-last2=Martin \|editor3-first= David \|editor3-last=Cayer \|editor4-first= Dan \|editor4-last=Morgenstern \|editor5-first= Lewis \|editor5-last=Porter\| publisher= Scarecrow Press \|date=1996 \|isbn= 978-0810831223 \|access-date=June 27, 2014}}</ref> Jazz historian Paul S. Machlin commented that the Singer conjecture has "considerable [historical] justification".<ref>{{cite book\| url= https://books.google.com/books?id=xFWIizMK-FkC&pg=PR34 \|title= Thomas Wright "Fats" Waller: Performances in Transcription, 1927–1943, Volume 41\|editor-first= Paul S. \| editor-last= Machlin\| publisher= A-R Editions\| year= 2001\| isbn= 978-0895794673}}</ref> According to a biography by Waller's son Maurice, Waller told his son never to play the song within earshot because he had to sell it when he needed money.<ref name=":1">{{cite book\|author1=Maurice Waller\|author2=Anthony Calabrese\|title=Fats Waller\|url=https://books.google.com/books?id=bCp0DwAAQBAJ&pg=PT24\|date=2017\|publisher=University of Minnesota Press\|isbn=978-1452956671\|pages=24 ff}}</ref> Maurice Waller wrote that his father objected to hearing "[[On the Sunny Side of the Street]]" on the radio.<ref name="maurice">{{cite book \|last1=Waller \|first1=Maurice \|last2=Calabrese \|first2=Anthony \|title=Fats Waller \|date=1977 \|publisher=Schirmer \|page=164}}</ref> The famous songwriting team of Jimmy McHugh and Dorothy Fields said the song was inspired by their watching a young couple window shopping at Tiffany's.

	The anonymous sleeve notes on the 1960 [[RCA Victor]] album ''Handful of Keys'' state that Waller copyrighted over 400 songs, many of them 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". In the same notes are comments by clarinetist [[Gene Sedric]], who recorded with Waller in the 1930s. "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."		The anonymous sleeve notes on the 1960 [[RCA Victor]] album ''Handful of Keys'' state that Waller copyrighted over 400 songs, many of them 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". In the same notes are comments by clarinetist [[Gene Sedric]], who recorded with Waller in the 1930s. "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."

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2024-10-05T11:03:28Z

Career

← Previous revision		Revision as of 11:03, 5 October 2024
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	Standards attributed to Waller, sometimes controversially, include "[[I Can't Give You Anything but Love, Baby]]". The song was made famous by [[Adelaide Hall]] in the Broadway show ''[[Blackbirds of 1928]]''.<ref name="Williams">{{cite book \|last1=Williams \|first1=Iain Cameron \|title=Underneath a Harlem Moon \|date=2002 \|publisher=Continuum \|isbn=0826458939}}</ref>		Standards attributed to Waller, sometimes controversially, include "[[I Can't Give You Anything but Love, Baby]]". The song was made famous by [[Adelaide Hall]] in the Broadway show ''[[Blackbirds of 1928]]''.<ref name="Williams">{{cite book \|last1=Williams \|first1=Iain Cameron \|title=Underneath a Harlem Moon \|date=2002 \|publisher=Continuum \|isbn=0826458939}}</ref>

	Biographer Barry Singer offered circumstantial evidence that this song was written by Waller and lyricist Andy Razaf and provided a description of the sale given by Waller to the ''[[New York Post]]'' in 1929{{snd}}he sold the song for $500 to a white songwriter for use in a financially successful show (consistent with [[Jimmy McHugh]]'s contributions to ''Harry Delmar's Revels'', 1927, and then to ''[[Blackbirds of 1928]]'').<ref name="Tyle" /> He noted that early handwritten manuscripts in the Dana Library Institute of Jazz Studies of "Spreadin' Rhythm Around" (Jimmy McHugh 1935) are in Waller's hand.<ref name="Tyle" /><ref>{{cite book \|url=https://books.google.com/books?id=XfzZcCcgk9QC&pg=PR5 \|title= Annual Review of Jazz Studies 7: 1994–1995 \|editor1-first= Edward \|editor1-last=Berger \|editor2-first= Henry \|editor-last2=Martin \|editor3-first= David \|editor3-last=Cayer \|editor4-first= Dan \|editor4-last=Morgenstern \|editor5-first= Lewis \|editor5-last=Porter\| publisher= Scarecrow Press \|date=1996 \|isbn= 978-0810831223 \|access-date=June 27, 2014}}</ref> Jazz historian Paul S. Machlin commented that the Singer conjecture has "considerable [historical] justification".<ref>{{cite book\| url= https://books.google.com/books?id=xFWIizMK-FkC&pg=PR34 \|title= Thomas Wright "Fats" Waller: Performances in Transcription, 1927–1943, Volume 41\|editor-first= Paul S. \| editor-last= Machlin\| publisher= A-R Editions\| year= 2001\| isbn= 978-0895794673}}</ref> According to a biography by Waller's son Maurice, Waller told his son never to play the song within earshot because he had to sell it when he needed money.<ref name=":1">{{cite book\|author1=Maurice Waller\|author2=Anthony Calabrese\|title=Fats Waller\|url=https://books.google.com/books?id=bCp0DwAAQBAJ&pg=PT24\|date=2017\|publisher=University of Minnesota Press\|isbn=978-1452956671\|pages=24 ff}}</ref> Maurice Waller wrote that his father objected to hearing "[[On the Sunny Side of the Street]]" on the radio.<ref name="maurice">{{cite book \|last1=Waller \|first1=Maurice \|last2=Calabrese \|first2=Anthony \|title=Fats Waller \|date=1977 \|publisher=Schirmer \|page=164}}</ref>		Biographer Barry Singer offered circumstantial evidence that this song was written by Waller and lyricist Andy Razaf and provided a description of the sale given by Waller to the ''[[New York Post]]'' in 1929{{snd}}he sold the song for $500 to a white songwriter for use in a financially successful show (consistent with [[Jimmy McHugh]]'s contributions to ''Harry Delmar's Revels'', 1927, and then to ''[[Blackbirds of 1928]]'').<ref name="Tyle" /> He noted that early handwritten manuscripts in the Dana Library Institute of Jazz Studies of "Spreadin' Rhythm Around" (Jimmy McHugh 1935) are in Waller's hand.<ref name="Tyle" /><ref>{{cite book \|url=https://books.google.com/books?id=XfzZcCcgk9QC&pg=PR5 \|title= Annual Review of Jazz Studies 7: 1994–1995 \|editor1-first= Edward \|editor1-last=Berger \|editor2-first= Henry \|editor-last2=Martin \|editor3-first= David \|editor3-last=Cayer \|editor4-first= Dan \|editor4-last=Morgenstern \|editor5-first= Lewis \|editor5-last=Porter\| publisher= Scarecrow Press \|date=1996 \|isbn= 978-0810831223 \|access-date=June 27, 2014}}</ref> Jazz historian Paul S. Machlin commented that the Singer conjecture has "considerable [historical] justification".<ref>{{cite book\| url= https://books.google.com/books?id=xFWIizMK-FkC&pg=PR34 \|title= Thomas Wright "Fats" Waller: Performances in Transcription, 1927–1943, Volume 41\|editor-first= Paul S. \| editor-last= Machlin\| publisher= A-R Editions\| year= 2001\| isbn= 978-0895794673}}</ref> According to a biography by Waller's son Maurice, Waller told his son never to play the song within earshot because he had to sell it when he needed money.<ref name=":1">{{cite book\|author1=Maurice Waller\|author2=Anthony Calabrese\|title=Fats Waller\|url=https://books.google.com/books?id=bCp0DwAAQBAJ&pg=PT24\|date=2017\|publisher=University of Minnesota Press\|isbn=978-1452956671\|pages=24 ff}}</ref> Maurice Waller wrote that his father objected to hearing "[[On the Sunny Side of the Street]]" on the radio.<ref name="maurice">{{cite book \|last1=Waller \|first1=Maurice \|last2=Calabrese \|first2=Anthony \|title=Fats Waller \|date=1977 \|publisher=Schirmer \|page=164}}</ref> The famous song writing team of Jimmy McHugh and Dorothy Fields said the song was inspired by their watching a young couple window shopping at Tiffany's.

	The anonymous sleeve notes on the 1960 [[RCA Victor]] album ''Handful of Keys'' state that Waller copyrighted over 400 songs, many of them 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". In the same notes are comments by clarinetist [[Gene Sedric]], who recorded with Waller in the 1930s. "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."		The anonymous sleeve notes on the 1960 [[RCA Victor]] album ''Handful of Keys'' state that Waller copyrighted over 400 songs, many of them 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". In the same notes are comments by clarinetist [[Gene Sedric]], who recorded with Waller in the 1930s. "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."

2605:A601:A962:AC00:C1F4:4DF8:43C3:A31A: /* Career */

2024-10-05T09:13:10Z

Career

← Previous revision		Revision as of 09:13, 5 October 2024
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	Standards attributed to Waller, sometimes controversially, include "[[I Can't Give You Anything but Love, Baby]]". The song was made famous by [[Adelaide Hall]] in the Broadway show ''[[Blackbirds of 1928]]''.<ref name="Williams">{{cite book \|last1=Williams \|first1=Iain Cameron \|title=Underneath a Harlem Moon \|date=2002 \|publisher=Continuum \|isbn=0826458939}}</ref>		Standards attributed to Waller, sometimes controversially, include "[[I Can't Give You Anything but Love, Baby]]". The song was made famous by [[Adelaide Hall]] in the Broadway show ''[[Blackbirds of 1928]]''.<ref name="Williams">{{cite book \|last1=Williams \|first1=Iain Cameron \|title=Underneath a Harlem Moon \|date=2002 \|publisher=Continuum \|isbn=0826458939}}</ref>

	Biographer Barry Singer ~~conjectured~~ that this song was written by Waller and lyricist Andy Razaf and provided a description of the sale given by Waller to the ''[[New York Post]]'' in 1929{{snd}}he sold the song for $500 to a white songwriter for use in a financially successful show (consistent with [[Jimmy McHugh]]'s contributions to ''Harry Delmar's Revels'', 1927, and then to ''[[Blackbirds of 1928]]'').<ref name="Tyle" /> He noted that early handwritten manuscripts in the Dana Library Institute of Jazz Studies of "Spreadin' Rhythm Around" (Jimmy McHugh 1935) are in Waller's hand.<ref name="Tyle" /><ref>{{cite book \|url=https://books.google.com/books?id=XfzZcCcgk9QC&pg=PR5 \|title= Annual Review of Jazz Studies 7: 1994–1995 \|editor1-first= Edward \|editor1-last=Berger \|editor2-first= Henry \|editor-last2=Martin \|editor3-first= David \|editor3-last=Cayer \|editor4-first= Dan \|editor4-last=Morgenstern \|editor5-first= Lewis \|editor5-last=Porter\| publisher= Scarecrow Press \|date=1996 \|isbn= 978-0810831223 \|access-date=June 27, 2014}}</ref> Jazz historian Paul S. Machlin commented that the Singer conjecture has "considerable [historical] justification".<ref>{{cite book\| url= https://books.google.com/books?id=xFWIizMK-FkC&pg=PR34 \|title= Thomas Wright "Fats" Waller: Performances in Transcription, 1927–1943, Volume 41\|editor-first= Paul S. \| editor-last= Machlin\| publisher= A-R Editions\| year= 2001\| isbn= 978-0895794673}}</ref> According to a biography by Waller's son Maurice, Waller told his son never to play the song within earshot because he had to sell it when he needed money.<ref name=":1">{{cite book\|author1=Maurice Waller\|author2=Anthony Calabrese\|title=Fats Waller\|url=https://books.google.com/books?id=bCp0DwAAQBAJ&pg=PT24\|date=2017\|publisher=University of Minnesota Press\|isbn=978-1452956671\|pages=24 ff}}</ref> Maurice Waller wrote that his father objected to hearing "[[On the Sunny Side of the Street]]" on the radio.<ref name="maurice">{{cite book \|last1=Waller \|first1=Maurice \|last2=Calabrese \|first2=Anthony \|title=Fats Waller \|date=1977 \|publisher=Schirmer \|page=164}}</ref>		Biographer Barry Singer offered circumstantial evidence that this song was written by Waller and lyricist Andy Razaf and provided a description of the sale given by Waller to the ''[[New York Post]]'' in 1929{{snd}}he sold the song for $500 to a white songwriter for use in a financially successful show (consistent with [[Jimmy McHugh]]'s contributions to ''Harry Delmar's Revels'', 1927, and then to ''[[Blackbirds of 1928]]'').<ref name="Tyle" /> He noted that early handwritten manuscripts in the Dana Library Institute of Jazz Studies of "Spreadin' Rhythm Around" (Jimmy McHugh 1935) are in Waller's hand.<ref name="Tyle" /><ref>{{cite book \|url=https://books.google.com/books?id=XfzZcCcgk9QC&pg=PR5 \|title= Annual Review of Jazz Studies 7: 1994–1995 \|editor1-first= Edward \|editor1-last=Berger \|editor2-first= Henry \|editor-last2=Martin \|editor3-first= David \|editor3-last=Cayer \|editor4-first= Dan \|editor4-last=Morgenstern \|editor5-first= Lewis \|editor5-last=Porter\| publisher= Scarecrow Press \|date=1996 \|isbn= 978-0810831223 \|access-date=June 27, 2014}}</ref> Jazz historian Paul S. Machlin commented that the Singer conjecture has "considerable [historical] justification".<ref>{{cite book\| url= https://books.google.com/books?id=xFWIizMK-FkC&pg=PR34 \|title= Thomas Wright "Fats" Waller: Performances in Transcription, 1927–1943, Volume 41\|editor-first= Paul S. \| editor-last= Machlin\| publisher= A-R Editions\| year= 2001\| isbn= 978-0895794673}}</ref> According to a biography by Waller's son Maurice, Waller told his son never to play the song within earshot because he had to sell it when he needed money.<ref name=":1">{{cite book\|author1=Maurice Waller\|author2=Anthony Calabrese\|title=Fats Waller\|url=https://books.google.com/books?id=bCp0DwAAQBAJ&pg=PT24\|date=2017\|publisher=University of Minnesota Press\|isbn=978-1452956671\|pages=24 ff}}</ref> Maurice Waller wrote that his father objected to hearing "[[On the Sunny Side of the Street]]" on the radio.<ref name="maurice">{{cite book \|last1=Waller \|first1=Maurice \|last2=Calabrese \|first2=Anthony \|title=Fats Waller \|date=1977 \|publisher=Schirmer \|page=164}}</ref>

	The anonymous sleeve notes on the 1960 [[RCA Victor]] album ''Handful of Keys'' state that Waller copyrighted over 400 songs, many of them 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". In the same notes are comments by clarinetist [[Gene Sedric]], who recorded with Waller in the 1930s. "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."		The anonymous sleeve notes on the 1960 [[RCA Victor]] album ''Handful of Keys'' state that Waller copyrighted over 400 songs, many of them 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". In the same notes are comments by clarinetist [[Gene Sedric]], who recorded with Waller in the 1930s. "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."

2A01:CB04:CF7:5000:D422:79DF:1AA9:14E8: /* External links */ site definitly abandonned.

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External links: site definitly abandonned.

← Previous revision		Revision as of 07:23, 10 September 2024
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	* [http://fatswaller.org/ Fats Waller memorabilia]		* [http://fatswaller.org/ Fats Waller memorabilia]
	* [{{AllMusic\|class=artist\|id=p7764/biography\|pure_url=yes}} AllMusic]		* [{{AllMusic\|class=artist\|id=p7764/biography\|pure_url=yes}} AllMusic]
	* [http://jcarl.simonetti.pagesperso-orange.fr/home.html Fats Waller, the King of Stride], Welcome on this site dedicated to Fats Waller (English/French)
	* [https://adp.library.ucsb.edu/names/101963 Fats Waller recordings] at the [[Discography of American Historical Recordings]].		* [https://adp.library.ucsb.edu/names/101963 Fats Waller recordings] at the [[Discography of American Historical Recordings]].

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Career

← Previous revision		Revision as of 20:58, 18 August 2024
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	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. In April 1927, Waller played the organ at the Vendome in Chicago for movies alongside Louis Armstrong, where his organ playing was praised for "witty cueing" and "eccentric stop coupling."<ref>{{Cite book\|last=Brothers\|first=Thomas\|title=Louis Armstrong: Master of Modernism\|publisher=W. W. Norton & Company\|year=2014\|isbn=978-0393065824\|location=New York\|pages=184}}</ref>		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. In April 1927, Waller played the organ at the Vendome in Chicago for movies alongside Louis Armstrong, where his organ playing was praised for "witty cueing" and "eccentric stop coupling."<ref>{{Cite book\|last=Brothers\|first=Thomas\|title=Louis Armstrong: Master of Modernism\|publisher=W. W. Norton & Company\|year=2014\|isbn=978-0393065824\|location=New York\|pages=184}}</ref>

	Waller's ~~[[Victor Talking Machine~~ ~~Company\|~~Victor]] recording of "A Little Bit Independent," written by [[Joe Burke (composer)\|Joe Burke]] and [[Edgar Leslie]], was No. 1 on ''[[List of Your Hit Parade number-one songs\|Your Hit Parade]]'' for two weeks in 1935. He also charted with "Whose Honey Are You?", "Lulu's Back in Town," "Sweet and Low," "Truckin{{' "}}, "Rhythm and Romance," "Sing an Old Fashioned Song to a Young Sophisticated Lady," "West Wind," "All My Life," "It's a Sin to Tell a Lie," "Let's Sing Again," "Cross Patch," "You're Not the Kind," "Bye Bye Baby," "You're Laughing at Me," "I Love to Whistle," "Good for Nothing," "Two Sleepy People", and "Little Curly Hair in a Highchair."<ref>{{cite book \|last=Fragias \|first=Leonidas \|author-link= \|date=2017 \|title=Your Hit Parade Charts: 1935–1940 \|url=https://archive.org/details/YourHitParadeCharts19351940/page/n5/mode/2up \|location= \|publisher=Arts & Charts \|page= \|isbn=}}</ref>		Waller's RCA Victor recording of "A Little Bit Independent," written by [[Joe Burke (composer)\|Joe Burke]] and [[Edgar Leslie]], was No. 1 on ''[[List of Your Hit Parade number-one songs\|Your Hit Parade]]'' for two weeks in 1935. He also charted with "Whose Honey Are You?", "Lulu's Back in Town," "Sweet and Low," "Truckin{{' "}}, "Rhythm and Romance," "Sing an Old Fashioned Song to a Young Sophisticated Lady," "West Wind," "All My Life," "It's a Sin to Tell a Lie," "Let's Sing Again," "Cross Patch," "You're Not the Kind," "Bye Bye Baby," "You're Laughing at Me," "I Love to Whistle," "Good for Nothing," "Two Sleepy People", and "Little Curly Hair in a Highchair."<ref>{{cite book \|last=Fragias \|first=Leonidas \|author-link= \|date=2017 \|title=Your Hit Parade Charts: 1935–1940 \|url=https://archive.org/details/YourHitParadeCharts19351940/page/n5/mode/2up \|location= \|publisher=Arts & Charts \|page= \|isbn=}}</ref>

	===Soundies===		===Soundies===

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2024-08-17T12:09:01Z

Bot: link syntax

← Previous revision		Revision as of 12:09, 17 August 2024
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	* The story of Fats Waller's performance at [[Al Capone]]'s birthday party was told in the ''[[Mysteries at the Museum]]'' Season 21 episode "[[Mysteries at the Museum#Season 21 (2018)\|Columbus and the Mermaid, Skyscraper Snafu and Stealing the Show]]".<ref>{{cite web\|title=Travel Channel Schedule\|url=http://www.travelchannel.com/shows/tv-schedule.2018.08.08.CST\|website=Travelchannel.com\|access-date=July 31, 2018}}</ref>		* The story of Fats Waller's performance at [[Al Capone]]'s birthday party was told in the ''[[Mysteries at the Museum]]'' Season 21 episode "[[Mysteries at the Museum#Season 21 (2018)\|Columbus and the Mermaid, Skyscraper Snafu and Stealing the Show]]".<ref>{{cite web\|title=Travel Channel Schedule\|url=http://www.travelchannel.com/shows/tv-schedule.2018.08.08.CST\|website=Travelchannel.com\|access-date=July 31, 2018}}</ref>
	* In 1950, the story of Fats Waller was retold as "The Shy Boy" in the weekly ''[[Destination Freedom]]'' radio drama, written by [[Richard Durham]].<ref>"[https://archive.org/details/DestinationFreedom/DF_50-06-11_ep094-The_Shy_Boy.mp3 The Shy Boy]", ''[[Destination Freedom]]''</ref>		* In 1950, the story of Fats Waller was retold as "The Shy Boy" in the weekly ''[[Destination Freedom]]'' radio drama, written by [[Richard Durham]].<ref>"[https://archive.org/details/DestinationFreedom/DF_50-06-11_ep094-The_Shy_Boy.mp3 The Shy Boy]", ''[[Destination Freedom]]''</ref>
	*”Ain't Misbehavin'” by Fats Waller is featured in Diamond City Radio, a virtual station in the video game, [[Fallout 4\|''~~Fallout 4'']]~~, and likewise in its successor, ''[[Fallout 76]]'', in its virtual Appalachia Radio. Included in the games' soundtracks, the composition enhances the retro post-apocalyptic atmosphere, receiving positive player reception for its nostalgic and immersive contribution to the experience.<ref>{{Cite web\|url=https://www.youtube.com/watch?v=pZ8fWP6a3Q4\|title=Fats Waller - Ain't Misbehavin' (Audio)\|date=September 17, 2019 \|access-date=January 4, 2024\|via=[[YouTube]]}}</ref> Fats Waller's "Jitterbug Waltz" also stars in 2007's ''[[BioShock]]''.		*”Ain't Misbehavin'” by Fats Waller is featured in Diamond City Radio, a virtual station in the video game, ''[[Fallout 4]]'', and likewise in its successor, ''[[Fallout 76]]'', in its virtual Appalachia Radio. Included in the games' soundtracks, the composition enhances the retro post-apocalyptic atmosphere, receiving positive player reception for its nostalgic and immersive contribution to the experience.<ref>{{Cite web\|url=https://www.youtube.com/watch?v=pZ8fWP6a3Q4\|title=Fats Waller - Ain't Misbehavin' (Audio)\|date=September 17, 2019 \|access-date=January 4, 2024\|via=[[YouTube]]}}</ref> Fats Waller's "Jitterbug Waltz" also stars in 2007's ''[[BioShock]]''.

	==Key recordings==		==Key recordings==

Citation bot: Added date. | Use this bot. Report bugs. | Suggested by Spinixster | Category:American male jazz composers | #UCB_Category 546/602

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Added date. | Use this bot. Report bugs. | Suggested by Spinixster | Category:American male jazz composers | #UCB_Category 546/602

← Previous revision		Revision as of 17:15, 23 July 2024
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	* The story of Fats Waller's performance at [[Al Capone]]'s birthday party was told in the ''[[Mysteries at the Museum]]'' Season 21 episode "[[Mysteries at the Museum#Season 21 (2018)\|Columbus and the Mermaid, Skyscraper Snafu and Stealing the Show]]".<ref>{{cite web\|title=Travel Channel Schedule\|url=http://www.travelchannel.com/shows/tv-schedule.2018.08.08.CST\|website=Travelchannel.com\|access-date=July 31, 2018}}</ref>		* The story of Fats Waller's performance at [[Al Capone]]'s birthday party was told in the ''[[Mysteries at the Museum]]'' Season 21 episode "[[Mysteries at the Museum#Season 21 (2018)\|Columbus and the Mermaid, Skyscraper Snafu and Stealing the Show]]".<ref>{{cite web\|title=Travel Channel Schedule\|url=http://www.travelchannel.com/shows/tv-schedule.2018.08.08.CST\|website=Travelchannel.com\|access-date=July 31, 2018}}</ref>
	* In 1950, the story of Fats Waller was retold as "The Shy Boy" in the weekly ''[[Destination Freedom]]'' radio drama, written by [[Richard Durham]].<ref>"[https://archive.org/details/DestinationFreedom/DF_50-06-11_ep094-The_Shy_Boy.mp3 The Shy Boy]", ''[[Destination Freedom]]''</ref>		* In 1950, the story of Fats Waller was retold as "The Shy Boy" in the weekly ''[[Destination Freedom]]'' radio drama, written by [[Richard Durham]].<ref>"[https://archive.org/details/DestinationFreedom/DF_50-06-11_ep094-The_Shy_Boy.mp3 The Shy Boy]", ''[[Destination Freedom]]''</ref>
	*”Ain't Misbehavin'” by Fats Waller is featured in Diamond City Radio, a virtual station in the video game, [[Fallout 4\|''Fallout 4'']], and likewise in its successor, ''[[Fallout 76]]'', in its virtual Appalachia Radio. Included in the games' soundtracks, the composition enhances the retro post-apocalyptic atmosphere, receiving positive player reception for its nostalgic and immersive contribution to the experience.<ref>{{Cite web\|url=https://www.youtube.com/watch?v=pZ8fWP6a3Q4\|title=Fats Waller - Ain't Misbehavin' (Audio)\|access-date=January 4, 2024\|via=[[YouTube]]}}</ref> Fats Waller's "Jitterbug Waltz" also stars in 2007's ''[[BioShock]]''.		*”Ain't Misbehavin'” by Fats Waller is featured in Diamond City Radio, a virtual station in the video game, [[Fallout 4\|''Fallout 4'']], and likewise in its successor, ''[[Fallout 76]]'', in its virtual Appalachia Radio. Included in the games' soundtracks, the composition enhances the retro post-apocalyptic atmosphere, receiving positive player reception for its nostalgic and immersive contribution to the experience.<ref>{{Cite web\|url=https://www.youtube.com/watch?v=pZ8fWP6a3Q4\|title=Fats Waller - Ain't Misbehavin' (Audio)\|date=September 17, 2019 \|access-date=January 4, 2024\|via=[[YouTube]]}}</ref> Fats Waller's "Jitterbug Waltz" also stars in 2007's ''[[BioShock]]''.

	==Key recordings==		==Key recordings==

Jevansen: Moving from Category:Vaudeville performers to Category:American vaudeville performers using Cat-a-lot

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Moving from Category:Vaudeville performers to Category:American vaudeville performers using Cat-a-lot

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	[[Category:~~Vaudeville~~ performers]]		[[Category:American vaudeville performers]]
	[[Category:Gennett Records artists]]		[[Category:Gennett Records artists]]
	[[Category:RCA Victor artists]]		[[Category:RCA Victor artists]]

SdkbBot: Removed erroneous space and general fixes (task 1)

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⚫	{{Use American English\|date=June 2024}}
	{{Short description\|American jazz pianist and composer (1904–1943)}}		{{Short description\|American jazz pianist and composer (1904–1943)}}
	{{redirect\|Handful of Keys}}		{{redirect\|Handful of Keys}}
		⚫	{{Use American English\|date=June 2024}}
	{{Use mdy dates\|date=June 2019}}		{{Use mdy dates\|date=June 2019}}
	{{Infobox person		{{Infobox person
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	\| relatives = [[Darren Waller]] (great-grandson)		\| relatives = [[Darren Waller]] (great-grandson)
	}}		}}
	'''Thomas Wright''' "'''Fats'''" '''Waller''' (May 21, 1904 – December 15, 1943) was an American [[jazz pianist]], [[organist]], composer, and singer.<ref>{{cite book\|url=https://books.google.com/books?id=3LJvYjBXak4C&q=%22Josephine+hall%22++%22cotton+club%22&pg=PR11\|title=Fats Waller on the Air: The Radio Broadcasts and Discography\|first=Stephen\|last=Taylor\|year=2019\|publisher=Scarecrow Press\|isbn=978-0810856561\|access-date=June 7, 2019\|via=Google Books}}</ref> His innovations in the Harlem [[stride (music)\|stride style]] laid much of the basis for modern jazz piano. A widely popular star in the jazz and swing eras, he toured internationally, achieving critical and commercial success in the United States and Europe. His best-known compositions, "[[Ain't Misbehavin' (song)\|Ain't Misbehavin']]" and "[[Honeysuckle Rose (song)\|Honeysuckle Rose]]", were inducted into the [[Grammy Hall of Fame]] in 1984 and 1999.<ref>{{cite web\|last=Tenenholtz \|first=David \|title=Waller, Fats (Thomas Wright) \|url=http://www.jazz.com/encyclopedia/waller-fats-thomas-wright \|publisher=JAZZ.COM \|access-date=July 10, 2013 \|url-status=dead \|archive-url=https://web.archive.org/web/20090406062100/http://www.jazz.com/encyclopedia/waller-fats-thomas-wright \|archive-date=April 6, 2009 }}</ref>		'''Thomas Wright''' "'''Fats'''" '''Waller''' (May 21, 1904 – December 15, 1943) was an American [[jazz pianist]], [[organist]], composer, and singer.<ref>{{cite book\|url=https://books.google.com/books?id=3LJvYjBXak4C&q=%22Josephine+hall%22++%22cotton+club%22&pg=PR11\|title=Fats Waller on the Air: The Radio Broadcasts and Discography\|first=Stephen\|last=Taylor\|year=2019\|publisher=Scarecrow Press\|isbn=978-0810856561\|access-date=June 7, 2019\|via=Google Books}}</ref> His innovations in the Harlem [[stride (music)\|stride style]] laid much of the basis for modern jazz piano. A widely popular star in the jazz and swing eras, he toured internationally, achieving critical and commercial success in the United States and Europe. His best-known compositions, "[[Ain't Misbehavin' (song)\|Ain't Misbehavin']]" and "[[Honeysuckle Rose (song)\|Honeysuckle Rose]]", were inducted into the [[Grammy Hall of Fame]] in 1984 and 1999.<ref>{{cite web\|last=Tenenholtz \|first=David \|title=Waller, Fats (Thomas Wright) \|url=http://www.jazz.com/encyclopedia/waller-fats-thomas-wright \|publisher=JAZZ.COM \|access-date=July 10, 2013 \|url-status=dead \|archive-url=https://web.archive.org/web/20090406062100/http://www.jazz.com/encyclopedia/waller-fats-thomas-wright \|archive-date=April 6, 2009 }}</ref>

	Waller copyrighted over 400 songs, many of them 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". It is likely that he composed many more popular songs than he has been credited with. When in financial difficulties, he had a habit of selling songs to other writers and performers who claimed them as their own.<ref name=Tyle/> He died from pneumonia, aged 39.		Waller copyrighted over 400 songs, many of them 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". It is likely that he composed many more popular songs than he has been credited with. When in financial difficulties, he had a habit of selling songs to other writers and performers who claimed them as their own.<ref name=Tyle/> He died from pneumonia, aged 39.
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	Waller occasionally performed [[Bach]] organ pieces for small groups. He influenced many pre-[[bebop]] jazz pianists; [[Count Basie]] and [[Erroll Garner]] both revived his hit songs. In addition to his playing, Waller was known for his humorous quips during his performances.		Waller occasionally performed [[Bach]] organ pieces for small groups. He influenced many pre-[[bebop]] jazz pianists; [[Count Basie]] and [[Erroll Garner]] both revived his hit songs. In addition to his playing, Waller was known for his humorous 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. In April 1927, Waller played the organ at the Vendome in Chicago for movies alongside Louis Armstrong, where his organ playing was praised for "witty cueing" and "eccentric stop coupling." <ref>{{Cite book\|last=Brothers\|first=Thomas\|title=Louis Armstrong: Master of Modernism\|publisher=W. W. Norton & Company\|year=2014\|isbn=978-0393065824\|location=New York\|pages=184}}</ref>		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. In April 1927, Waller played the organ at the Vendome in Chicago for movies alongside Louis Armstrong, where his organ playing was praised for "witty cueing" and "eccentric stop coupling."<ref>{{Cite book\|last=Brothers\|first=Thomas\|title=Louis Armstrong: Master of Modernism\|publisher=W. W. Norton & Company\|year=2014\|isbn=978-0393065824\|location=New York\|pages=184}}</ref>

	Waller's [[Victor Talking Machine Company\|Victor]] recording of "A Little Bit Independent," written by [[Joe Burke (composer)\|Joe Burke]] and [[Edgar Leslie]], was No. 1 on ''[[List of Your Hit Parade number-one songs\|Your Hit Parade]]'' for two weeks in 1935. He also charted with "Whose Honey Are You?", "Lulu's Back in Town," "Sweet and Low," "Truckin{{' "}}, "Rhythm and Romance," "Sing an Old Fashioned Song to a Young Sophisticated Lady," "West Wind," "All My Life," "It's a Sin to Tell a Lie," "Let's Sing Again," "Cross Patch," "You're Not the Kind," "Bye Bye Baby," "You're Laughing at Me," "I Love to Whistle," "Good for Nothing," "Two Sleepy People", and "Little Curly Hair in a Highchair." <ref>{{cite book \|last=Fragias \|first=Leonidas \|author-link= \|date=2017 \|title=Your Hit Parade Charts: 1935–1940 \|url=https://archive.org/details/YourHitParadeCharts19351940/page/n5/mode/2up \|location= \|publisher=Arts & Charts \|page= \|isbn=}}</ref>		Waller's [[Victor Talking Machine Company\|Victor]] recording of "A Little Bit Independent," written by [[Joe Burke (composer)\|Joe Burke]] and [[Edgar Leslie]], was No. 1 on ''[[List of Your Hit Parade number-one songs\|Your Hit Parade]]'' for two weeks in 1935. He also charted with "Whose Honey Are You?", "Lulu's Back in Town," "Sweet and Low," "Truckin{{' "}}, "Rhythm and Romance," "Sing an Old Fashioned Song to a Young Sophisticated Lady," "West Wind," "All My Life," "It's a Sin to Tell a Lie," "Let's Sing Again," "Cross Patch," "You're Not the Kind," "Bye Bye Baby," "You're Laughing at Me," "I Love to Whistle," "Good for Nothing," "Two Sleepy People", and "Little Curly Hair in a Highchair."<ref>{{cite book \|last=Fragias \|first=Leonidas \|author-link= \|date=2017 \|title=Your Hit Parade Charts: 1935–1940 \|url=https://archive.org/details/YourHitParadeCharts19351940/page/n5/mode/2up \|location= \|publisher=Arts & Charts \|page= \|isbn=}}</ref>

	===Soundies===		===Soundies===