FATS WALLER – 1934-1935 | The Classics Chronological Series – 732 (1993) FLAC (tracks+.cue), lossless

Looking for the perfect Fats Waller album? This just might be it. With the exception of eight titles recorded in May and August of 1934, these are the earliest recordings to be issued under the banner of Fats Waller & His Rhythm. By now, Waller had begun to settle into his role as pianist, vocalist, and bandleader, using his own vigorous presentational formula that was still fresh and stimulating. The band he used on the 28th of September was slightly expanded by the inclusion of trombonist Floyd O'Brien and clarinetist Mezz Mezzrow. On November 7th, Eugene Sedric was back playing tenor and Bill Coleman had replaced Herman Autrey as trumpeter. It is fascinating to ponder which numbers Waller sang relatively straight -- "Let's Pretend There's a Moon" comes out as a delightful love song -- and which were instead subjected to his mischievous manhandling, like "If It Isn't Love," a tune he initially refused to record. The material recorded on January 5, 1935, includes instrumental flip sides to complement the vocal versions of "Baby Brown" and "I'm a Hundred Per Cent for You." The lovely "Night Wind" was Waller's recording debut on the Hammond organ, an instrument he pioneered after making a number of jazz pipe organ recordings between the years 1926 and 1929. He was in fact the very first jazz organist. This part of the Fats Waller chronology just happens to contain some of the greatest records he ever made. Every single song is perfectly presented by his excellent little ensemble. When combined with four of his very best piano solos from November of 1934, the results constitute an even better choice for both Fats Waller initiates and longtime fans than any number of "greatest-hits" collections. This rewarding package of essential Waller performances is strongly recommended. arwulf arwulf  
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FATS WALLER – 1935 | The Classics Chronological Series – 746 (1994) FLAC (tracks+.cue), lossless

One of several Classics discs chronicling Waller's vast amount of Bluebird combo sides from the '30s and '40s, this roundup of some of the pianist's 1935 offerings includes many fine cuts but doesn't quite rank with the maestro's best work. Featuring Waller's longstanding Fats Waller & His Rhythm band, the 22 numbers may not include any original material, but there is still more than enough in the way of indelible performances. This is especially true for a wonderful "Lulu's Back in Town," the Coots and Gillespie rarity "Whose Honey Are You?," and "Rosetta." An enjoyable if non-essential Waller collection. Stephen Cook
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FATS WALLER – 1935, Vol. 2 | The Classics Chronological Series – 760 (1994) FLAC (tracks+.cue), lossless

Among his many unfulfilled plans, it was Fats Waller's ambition to tour with a large band, preaching the Gospel as his father had before him. The closest he came to realizing this dream was "There's Gonna Be the Devil to Pay" and "Brother Seek and Ye Shall Find," both recorded during the summer of 1935. These are hot stomps but the inherent religious message is made abundantly clear by the piano player, who belts out Biblical references like "Samson, where lies thy strength?" at the top of his lungs. Fats would have made a good preacher. You get just a glimpse of this potential every time he raises his voice. 1935 was a particularly successful year for this man and his hot little bands. This particular slice of the chronology happens to focus upon a short period of time during which reedman Gene Sedric was replaced by an expressive clarinetist and alto saxophonist named Rudy Powell. It's easy to see why this band was so popular. Every sort of mood and subject matter is given the Waller treatment. Love songs become joyously moving testimonials, as in "My Very Good Friend the Milkman," or riotously gleeful celebrations like "Sweet Sue" and "Got a Bran' New Suit." Heartbreak is lampooned with gusto in "Sugar Blues," "Woe! Is Me," "Somebody Stole My Gal" and that incredible theatrically charged masterpiece "The Girl I Left Behind Me." Sloth actually becomes a virtue in "Loafin' Time." If you want to experience six men jamming with reckless abandon, go directly to "12th Street Rag." Records like these are literally unforgettable. Once heard they become part of the cerebral cortex and at any moment the record might start spinning again inside the memory bank where everything is allowed. "Truckin'" is a cousin to "Slummin' on Park Avenue" in that both songs describe white folks visiting Afro-American neighborhoods, wrinkling their noses while picking up on dances, speech patterns and clothing styles for their own gratification. The dance called "Truckin'" started up in Harlem where it was discovered by visitors who took it back with them to white society, where it became trendy. Sound familiar? The song was already quite a piece of work as written. Hearing Fats Waller and His Rhythm cook it up is one of the high points of this excellent album of classic small band swing. arwulf arwulf  
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FATS WALLER – 1935-1936 | The Classics Chronological Series – 776 (1994) FLAC (tracks+.cue), lossless

By the time of this ninth volume of French label Classics' chronological series, Fats Waller was among the most popular recording artists in the U.S., and the 24 selections here, drawn from sessions recorded in November and December 1935 and February and April 1936, reflect both that popularity and the kind of material necessary to maintain it. Nearly all the performances feature Waller's vocals, and there are a lot of pop songs, most of which are not of the highest quality. The better compositions include Jimmy McHugh and Ted Koehler's "Spreadin' Rhythm Around," and the Gershwins' "I Got Rhythm," and Leon Berry and Andy Razaf's "Christopher Columbus." Of course, Waller personalizes the songs no matter how good they are on paper, and he scored a series of hits from these sessions, including the chart-toppers "A Little Bit Independent" and "All My Life." Waller is accompanied throughout by the quintet His Rhythm, and soloing sidemen trumpeter Herman Autrey and clarinetist/saxophonist Sedric get plenty of playing time. The tracks, doubtlessly mastered from records, are often scratchy-sounding, but overall sound quality is good. William Ruhlmann  
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FATS WALLER – 1936 | The Classics Chronological Series – 797 (1994) FLAC (tracks+.cue), lossless

Often maligned, Waller's many sides from the mid-'30s actually qualify as some the pianist's most relaxed and enjoyable material. The groundbreaking solo and group work of the '20s behind him, Waller recorded reams of amusing and swinging combo tunes in the following decade for Bluebird; 23 of them are heard here. The fare ranges from the predictably tongue-in-cheek ("Big Chief De Sota") to classic standards ("Until the Real Thing Comes Along"). And finding room for some of that famous keyboard work, Waller lets loose on the instrumental "Fractious Fingering." Having fun the old fashioned way. Stephen Cook
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FATS WALLER – 1936-1937 | The Classics Chronological Series – 816 (1995) FLAC (tracks+.cue), lossless

Beginning in 1935 and continuing well into 1936, Fats Waller & His Rhythm occasionally cut two versions -- vocal and instrumental -- of the tunes they handled. This volume of the Classics Waller chronology opens with four such melodies spread over eight tracks. The effect is that of a band somewhat liberated from the time restraints of a three-minute record. During the instrumental sides the band is able to stretch out and exchange ideas without any lyrics getting in the way. Waller's vocals are delightful as ever, with his outbursts during the rowdy "Swingin' Them Jingle Bells" and repeated references to yard dogs and mutts during "I Adore You" bordering on the outrageous. Six sides cut on Christmas Eve 1936 reach even steeper heights of mischief. Waller sounds well oiled as he fricassees James P. Johnson's "Havin' a Ball," turns "One in a Million" into a riotous demand for unlimited cash, and pays hell-raising tribute to the emperor Nero as his hot little band boils over with ferocious drumming by Slick Jones. This group would make quite a number of outstanding records in 1937. Seven tracks from that year find Waller and his men doing everything they could do to make a series of Tin Pan Alley pop songs sound interesting. This relatively underappreciated segment of the Waller chronology is well worth exploring. arwulf arwulf
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FATS WALLER – 1937 | The Classics Chronological Series – 838 (1995) FLAC (tracks+.cue), lossless

1937 was an excellent year for Fats Waller, and volume twelve in his complete recordings as reissued in 1995 by the Classics Chronological Series focuses upon a relatively small portion of the year in question. Consisting of records cut between March 18 and June 11, 1937, this particular stash of goodies is remarkably satisfying, especially as 10 of the 22 performances are instrumental, which is an unusually high percentage given the fact that the men at Victor records exploited Waller's vocal talents with a vengeance once it became clear that his unorthodox delivery sold a lot of records. Waller the singer is at his very best on "Spring Cleaning," "You've Been Reading My Mail," "To a Sweet and Pretty Thing" and "Sweet Heartache"; he handles "Old Plantation" with dignity and ends it with a decisive invitation to "Drop the plow!" The wordless renditions of "Boo-Hoo," "The Love Bug Will Bite You," and the bluesy "San Anton" are remarkably satisfying. Fats Waller and His Rhythm as heard here included trumpeter Herman Autrey, reedman Gene Sedric, guitarist Al Casey, bassist Charles Turner, and drummer Wilmore Slick Jones, who takes a tidy vibraphone solo on the group's four-and-one-half-minute treatment of Waller's "Honeysuckle Rose." The other version of "Honeysuckle," backed with a superb take on the "Blues," comes from a "Jam Session at Victor" whereby Waller sat in with trumpeter Bunny Berigan, trombonist Tommy Dorsey, guitarist supreme Dick McDonough, and one of Eddie Condon's preferred drummers, George Wettling. This then is an invigorating ride through nearly three months of studio recording activity in the fast life of Thomas Fats Waller, and anyone lucky enough to glimpse a copy ought to pounce on it at once. arwulf arwulf
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