BUCK CLAYTON – 1953 | The Chronogical Classics – 1394 (2005) FLAC (tracks+.cue), lossless

The third installment in the Classics Buck Clayton chronology documents the trumpeter's European adventures with recordings made between April 2 and October 21, 1953. Clayton had toured Europe in 1949, and after savoring the social atmosphere in the U.S. was happy to head back to France in February 1953 with drummer Kansas Fields, pianist Red Richards, and trombonist Big Chief Russell Moore, a Native American whose Pima heritage places his ancestral turf within the Gila and Salt River valleys in southern Arizona. In addition to playing live gigs with Mezz Mezzrow, the North Americans made phonograph records. On April 2, the Buck Clayton Quintet cut five sides for the Vogue label; "Patricia's Blues" is a particularly attractive example of Clayton at his most subtle, sensual, and soulful. A concert performance by this band led by Mezzrow with Gene Sedric in the front line took place at the Theatre de Champs-Elysee near the end of May. The recordings made at that event have been reissued under Mezzrow's name. Buck Clayton and Kansas Fields participated in four different recording sessions in Brussels, Belgium, between August and October, 1953. These would be the only records ever released under the name of Marion Joseph "Taps" Miller, a trumpeter and rowdy vocalist who became marginally famous for a minute when Count Basie named a tune after him in 1944. The heavy-handed Belgian musicians who participated in these sessions made enough noise to match Miller's extremely boisterous vocals. "Hot Dog," with its repeated demands for mustard and pickles, epitomizes Miller's approach to entertainment. Fortunately, tracks 16-23 find Clayton sitting in with a big band led by Django Reinhardt session man Alix Combelle, an intelligent, hip, and sophisticated tenor saxophonist whose complete chronological recordings occupy their own niche in the Classics Chronological series. arwulf arwulf  
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MEZZ MEZZROW – 1951-1953 | The Chronogical Classics – 1393 (2005) FLAC (tracks+.cue), lossless

 This seventh volume in the Chronological Classics series documenting the wildly flamboyant personality Mezz Mezzrow is finally nearing the end, focusing in on the last decade of his life as a recording artist; he lived for another 14 years after he stopped. This set features Mezzrow in the company of Claude Bolling, Red Richards, Buck Clayton, Red Richards, Mowgli Jospin, Big Chief Russell Moore, Zutty Singleton and others. The program is all the old tunes, played and played again, from Mezzrow's own minor classic "Really the Blues" (the title of his memoir as well), to "Royal Garden Blues," "When the Saints Go Marching In," "Honeysuckle Rose" and many more; the feel is relaxed and easy. There is little real innovation going on here, but the sound is terrific and the tunes themselves are timeless. Mezzrow collectors will want this addition to the catalog.
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MEZZ MEZZROW – 1953-1954 | The Chronogical Classics – 1449 (2007) FLAC (tracks), lossless

Volume eight in the Mezz Mezzrow department of the Classics Chronological Series contains selected recordings cut for the Vogue label between March 1, 1953 and November 21, 1954 in Paris, France. Mezz sounds entirely at home as leader and participant in 17 relaxed rituals of old-fashioned jazz, including ten minutes of the "Basin Street Blues" and a nine-minute romp through the changes of "I Can't Give You Anything But Love." Like volume seven, this is an exciting and entertaining if technically incomplete representation of the artist's professional activity during the designated time period. The first two tracks are excerpts from matinee and evening concerts given at the Theatre des Champs-Elysees on March 1, 1953. Although other excerpts appeared at the end of volume seven, the omission of numerous titles from these gigs leaves a gap in the Mezzrow discographical timeline that is uncharacteristic of the Classics reissue label. Tracks three-nine were recorded in Paris on April 2, 1953, ten-fourteen from a little known session featuring Fats Waller's chief saxophonist Eugene "Honeybear" Sedric (without a doubt some of the best Sedric ever preserved on record!) and the final three jams were taped at the Salle Pleyel concert hall on November 21, 1954 with pianist Claude Bolling, drummer man Freddie Moore, trombonist Jimmy Archey, and one of the first trumpeters ever to make records with Jelly Roll Morton, the great Lee Collins. Other key participants in this excellent collection of traditional New Orleans/Chicago styled jazz and swing are trumpeter Buck Clayton, trombonist Big Chief Russell Moore, pianist Red Richards, bassist Pierre Michelot, tap dancer Taps Miller, and primal jazz and blues drummer Kansas Fields. Once again, Mezzrow's amazing homegrown ability to surround himself with legendary jazzmen yields honest and intimate good-time music that comes across friendly and for real. arwulf arwulf  
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McKINNEY'S COTTON PICKERS – 1930-1931 + DON REDMAN AND HIS ORCHESTRA – 1939-1940 | The Chronogical Classics – 649 (1992) FLAC (tracks+.cue), lossless

The Classics label's superb series of McKinney's Cotton Pickers releases continues with this set, which features recordings from the original group as well as performances from Don Redman's swing orchestra of the late 1930s. Jason Ankeny
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FATS WALLER – 1929-1934 | The Classics Chronological Series – 720 (1993) FLAC (tracks+.cue), lossless

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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 – 1935-1936 | 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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FATS WALLER – 1937, Vol. 2 | The Classics Chronological Series – 857 (1995) FLAC (tracks+.cue), lossless

This might be a good choice for those who are just finding out about Fats Waller and want to hear him at the top of his form. Not every segment of the Waller chronology would necessarily serve as such an excellent introduction to the man's work. The second half of 1937 was an artistically fruitful time for Fats. On June 11, he rendered five very sensitive, ruminative piano solos, gracious and subtle, reflective and peaceful. This meditative persona is an aspect of Thomas Waller that is too often overlooked. On September 7, 1937, the Rhythm band spun out a series of delightfully rambunctious tunes. "Beat It Out" resounds with coordinated handclapping, "You've Got Me Under Your Thumb" has Waller timing his remarks perfectly over the music, and "I'd Rather Call You Baby" works up to a lather, all on account of a clever set of lyrics that were good enough for Fats to really do something with. "You're My Dish," containing a lot of involved descriptions of fancy foods, was fated to work perfectly as a vehicle for this man's merriment. The session of October 7, 1937, is important on a number of levels. On that day, Fats recorded two songs about heartbreak that should never be left out of introductory Waller studies: "How Can I?" and "What Will I Do in the Morning?" were both co-composed by Fats. Maybe that's why he seemed so comfortable, sounding completely natural as he took his singing down to the level of spoken conversation, as if arguing with the woman who had caused him such grief. Fats also had a hand in writing "How Ya, Baby?," which takes the form of a happier exchange with a prospective female party companion. But the real party tune from this session is the original version of "The Joint Is Jumpin'," made a bit more authentic by the inclusion of several invited guests who created a raucous atmosphere as the song worked itself up to a tussle topped by a police whistle. Waller soon hit the road and the next studio recordings he managed to make were waxed in Hollywood on December 16, 1937. Fats found himself working with an entirely different group from his usual Rhythm band; the drummer was Lester Young's little brother, Lee, and a fellow by the name of Ceele Burke sat in on steel guitar. This livened up the date, but the steel guitar presence didn't assert itself until the second half of the session, which appears on the next volume in the Waller chronology, Classics 875: 1937-1938. "Every Day's a Holiday" proves that sometimes Fats could take any trivial bit of pop and transform it into joyousness well beyond the potential of the song as originally written. And that's why some folks can't ever get enough of Fats Waller. arwulf arwulf
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FATS WALLER – 1937-1938 | The Classics Chronological Series – 875 (1996) FLAC (tracks+.cue), lossless

It is December 1937, Fats Waller has landed in Hollywood. Five musicians have been rounded up to form a sort of West Coast rhythm band. Waller plays the introduction to a pretty love song, one with enough merit that he will savor its nuances rather than ripping it to shreds. The very title, "Am I in Another World?," obviously appeals to the pianist's poetic sensibilities, and he handles the melody gently as the tune unfolds. Then, it happens. Ceele Burke moves his hands over the strings of a steel guitar, lazily sending ripples up through the simple structure of the song. Among hundreds of three-minute Fats Waller recordings, these are the only ones that feature steel guitar. "Why Do Hawaiians Sing Aloha?" is very funny and it gives Burke a chance to swing a little harder with his axe. After "turning the band loose" Waller scats up a bit of his own imitation "Hawaiian" dialect for a weird coda. Back in New York three months later, he remounts the Victor treadmill to grind out six more sides in the company of his regular working band. "I Love to Whistle" is outrageous enough to work well for Waller, and he finds ways to turn "You Went to My Head" and "Don't Try to Cry Your Way Back to Me" into entertaining performances that swing deliciously. Now it is April 12, 1938. Fats Waller & His Rhythm has been augmented by his orchestra. There are three trumpets, two trombones, five saxophones and the rhythm section. Fats always said that he preferred a smaller band on account of the fact that 12 pieces need to follow a chart and "this lacks a certain spontaneity, if you get what I mean." But here in the dismal post-modern landscape of the 21st century we should be grateful that Waller made more than just a few big band recordings. The dynamic works remarkably well: Fats roars at the band, they roar back at him. In the case of a beautiful instrumental like "In the Gloaming," this ensemble created a marvelous piece of work that will never tarnish or fade. "You Had an Evening to Spare" is surprisingly attractive and well-written. Waller brings out the best in each song. Too bad we don't get to hear the alternate take of "I Simply Adore You" where Fats sings "let me love you forever" in shrill imitation of a white pop vocalist. Duke Ellington's "Skrontch" was a natural choice for this band, and Fats does it up royally. "The Sheik of Araby" and "Hold My Hand" are both very exciting. If the band seems lightly tethered by its arrangements, Waller more than compensates with his inexhaustible supply of spontaneity. The small group recordings made on July 1, 1938 are suffused with this same refreshing energy. "There's Honey on the Moon Tonight" is gleefully romantic. "Wide Open Spaces" refers to New York nightclubs that apparently never close. This song served as a much-needed hedonistic rebuttal for hundreds of wholesome Tin Pan Alley cowboy songs. Fats looks forward to "getting high-oh -- silver off my chest," bluntly makes a reference to getting "high as a kite" and closes the song by addressing an imaginary bartender: "Tony? Fix me another one!" arwulf arwulf
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FATS WALLER – 1938 | The Classics Chronological Series – 913 (1996) FLAC (tracks+.cue), lossless

Fats Waller seems never to have suffered from seasickness. Every photograph and eyewitness account of his transatlantic nautical adventures indicates a strong constitution, unfazed by rough seas even if the rest of the passengers were hanging over the rails. When Waller invaded London in August 1938, a team of Anglo and European musicians were assigned the task of accompanying him through the grooves of six phonograph recordings. Known for the rest of time as "Fats Waller & His Continental Rhythm," this band hammered out one amazing performance after the next. "Don't Try Your Jive on Me" and "Ain't Misbehavin'" both feature the organ, cool at first but gradually gathering steam and finishing grandly with horns in the air. "Music, Maestro Please" is late-'30s sentimentality at its finest, with tinkling celeste and even a bit of romantic violin. After Dr. Jekyll goes off to mope behind the potted palms, Mr. Hyde bursts in on a riotous version of Slim Gaillard's "Flat Foot Floogie" and an alarming ode to disappointed hopes with the catchy title "Pent Up in a Penthouse." Here Waller threatens to "step out the window and turn left," a frightening proposition for anyone occupying a suite so many floors up from the street. Fats's maniacal treatment of "A-Tisket A-Tasket" surpasses even the original version, made famous by its composer Ella Fitzgerald. One week after this combustible session, Fats placed himself at the console of a pipe organ, that instrument so dear to his heart. It is a crying shame that no recordings were made when Waller was granted access to the organ of the Cathedral of Notre Dame in Paris. Fats later said he considered that to have been the greatest moment of his life. Back in London, the organist pointedly concentrated on spirituals, the music his father the Baptist preacher would have preferred. "Swing Low, Sweet Chariot" is gorgeous. Near the end the music, the song seems to become partially composed of light as Waller's fingers create swirling tides of heavenly tonalities. Before the session was over, Fats was given the opportunity to accompany the lovely Adelaide Hall, famous for her wordless vocal on Duke Ellington's original version of "Creole Love Call." Some music critics, unable to enjoy Hall's diva approach, insist that she was "not a jazz singer." This is a very odd assessment considering all the wonderful jazz recordings she made throughout her long life, much of which was spent in Scandinavia, where she always received respectful admiration. Here Fats teases her with quips that help to spice up a very sweet pair of love songs. Back in New York and bolstered by His Rhythm, Fats wrestled with his repertoire, still saddled with droopy titles like "I'll Never Forgive Myself." While "Two Sleepy People" is pleasant, it pales when compared with Waller's lusty V-Disc version of 1943. Here in the waning weeks of 1938, "You Look Good to Me" is the best of the vocal tracks, second only to the bouncy instrumental "Yacht Club Swing." arwulf arwulf
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FATS WALLER – 1938-1939 | The Classics Chronological Series – 943 (1997) FLAC (tracks+.cue), lossless

Fats Waller had become a bit of an institution by the end of 1938. As an internationally famous pianist, organist, vocalist and bandleader, he was also known as the man who could make an enjoyable three-minute jazz record out of nearly any lousy song that was put in front of him. For the true Waller devotee there is something magical about each and every recording. Sympathetic listeners are able to feel as if they are sitting in front of the band, breathing the same night air as the musicians, and finding the time to fully enjoy each song as it is performed. "Imagine My Surprise" is not a great tune, but it becomes worthwhile when Fats Waller puts his personality around it. "I Won't Believe It" would have been a weepy bit of tripe if anyone besides Fats tried to float it. "The Spider and the Fly" is even more interesting. Waller wrote it himself, he delights in presenting the tale, his band sings along, and the combined topics of seduction and entomology carry a bit more weight than the generic heartthrob ditties of Tin Pan Alley. "Patty Cake, Patty Cake" was the beginning of a trend for Fats. Over the next couple of years he would record quite a number of songs which appear to be puerile until you realize the musicians are swinging like crazy and Waller is referencing all kinds of adult topics. On paper this might seem to be about cake, but off the record it appears to have more to do with playing hot music, dancing with wild abandon and chasing after elusive pleasures. The session of January 19, 1939 was to yield even more substantial results. Beginning with the definitive "A Good Man Is Hard to Find" (possibly the best version ever recorded by anyone!) Waller relishes each song, polishing "You Outsmarted Yourself" until it positively glows with articulated irony and exquisite instrumentation. "Last Night a Miracle Happened," "Kiss Me With Your Eyes" and "Good for Nothin' but Love" are slow and romantically endearing, strong enough material for the band to develop relaxing and wistful moods, particularly when Fats trundles out the Hammond organ. Most people would consider "Hold Tight (Want Some Seafood Mama)" to be the best song of the entire session. It's certainly the funniest, liveliest and hottest of the lot. Pop crooner Gene Austin had a lasting friendship with Fats, and they managed to record together from time to time. The two sides included here are goofy fun for anybody who's not too uptight to relax and enjoy the unlikely combination of two very different artists. The session of March 9, 1939 is full of surprises. "You Asked For It -- You Got It" is fast and funny, full of vinegar, perfect kindling for Waller's mischievous mannerisms. "Some Rainy Day" is slower but just as spiteful, with Fats imitating the accents of a highfalutin pretty boy vocalist. "'Tain't What You Do" is outrageous compared to other versions of this big band hit. Fats, who always managed to infect the band with his own contagious strain of mayhem, squeaks as high as his voice will go on the syllable "do-it." Wistful and calm, "Got No Time" is an ode to relaxation and whimsy, the deliberately slow testimony of a man who refuses to be bothered by anything. "Undecided," composed by Charlie Shavers, unfolds at an unusually slow tempo, allowing the musicians to flesh out the melody while Fats carefully outlines each and every segment of the lyric. Well-known for finishing his songs with off-hand one-liners, he simply ends by quietly saying: "I got to know what you're gonna do." arwulf arwulf  
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FATS WALLER – 1939 | The Classics Chronological Series – 973 (1997) FLAC (tracks+.cue), lossless

This is worth having just for the sake of the "London Suite," a set of six piano impressions conceived, composed and recorded in England during the summer of 1939. The music is as much about Fats Waller's Harlem as it is about that older metropolis on the other side of the Atlantic. There are gentle moments of deep reflection, a bluesy portrait of the red light district and a healthy dose of full-tilt Harlem/London stride piano at its hottest. It's a musical lexicon of the artist's every mood. "Piccadilly" runs like hot butter. "Chelsea" is precious as dew clinging to long blades of sweet grass. The beautiful "Soho" seems like an ennobled version of "Stompin' at the Savoy." "Bond Street" is more working class, almost as if patterned after the rhythms of feet on pavement. "Limehouse" is all delicacy, and "Whitechapel" disarmingly somber. Fats finished up his English adventure with two performances on pipe organ, then attempted a quick tour of mainland Europe. Passing through Germany, he stepped off the train for a beer and met up with a team of goose-stepping Nazis! Re-boarding as swiftly as possible, Fats could not be persuaded to budge from his seat until the locomotive had escorted him permanently off of German soil. Waller was well-informed: "That rascal Hitler don't like my kind of music!" Back in New York, Americans were consuming his records as fast as he could make them. Fats said that he heard the melody he used for "Honey Hush" in bird songs at dawn after staying up all night walking through London. "Anita" was written in honor of his beautiful wife. He poured equal amounts of humor and musical dexterity into "What a Pretty Miss" and especially "You Meet the Nicest People in Your Dreams." The session of August 10, 1939 is notable for a sultry version of Waller's early hit, "(When You) Squeeze Me," and a splendid ensemble setting of "Bond Street" from the "London Suite." It would have been wonderful if they'd adapted all six movements for this band, but there wasn't time. And Fats didn't even make it to the age of forty. "Abdullah" is a fine example of Tin Pan Alley's penchant for ethnic confusion; the subject of this song was apparently the "king of Amazoola" who "took a trip to Honolulu" where, of course, he became infatuated with a Polynesian woman named Lulu. Luckily, Fats and His Rhythm make wonderful sense out of this inane exercise. Three sides cut on November 3, 1939 round off this chronology nicely: "It's You Who Taught It to Me" begins with a strange group vocal, while "Suitcase Susie" depicts a young lady who traveled extensively and then "married the guy next door." "Your Feet's Too Big" is deservedly famous, but seems to have been made after the version used in a short film. Anyone who listens to both renditions will agree that on this Bluebird recording, Fats appears to be trying to re-create the spontaneously clever things he said on the film soundtrack, right down to the pedal extremities being "obnoxious" and that famous last line: "one never knows, do one?" arwulf arwulf  
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FATS WALLER – 1939-1940 | The Classics Chronological Series – 1002 (1998) FLAC (tracks+.cue), lossless

Back in the 1920s and early '30s, Fats Waller sold a lot of songs for next to nothing. Much to his consternation, some of these melodies turned up later as hugely successful hits with other peoples' names attached. He adamantly insisted that he'd written both "On the Sunny Side of the Street" and "I Can't Give You Anything But Love," gorgeous tunes that do seem to be cut from the same fabric as "Honeysuckle Rose," "My Fate Is in Your Hands," and "Keepin' Out of Mischief Now." Bearing this in mind, Waller's magnificently cynical duet with Una Mae Carlisle is not only one of the most skillfully humorous records he ever made, but might also have served as a sort of artistic vengeance upon Jimmy McHugh and Dorothy Fields. In any case, Una Mae has a wonderfully sultry voice and Fats is remarkably funny. "The Darktown Strutters' Ball" features a non-electric taxi cab horn and a very hot band, goaded by Waller's shouting and piano plunking. "Swinga-Dilla Street" demonstrates his mature bouncing Hammond organ style. "At Twilight" was composed by Thomas and Anita Waller. It is romantic, soft, and lovely, like something from Duke Ellington. "Black Maria," that cheerful ode to a paddy wagon, swings hard. Rosy and idyllic, "Mighty Fine" is most memorable for its interesting punch line: "Exuberance is the spontaneity of life." Waller's band had already recorded two excellent versions of "The Moon Is Low" in 1939. The first 1940 take is a nice hasty jam, but nothing could top what they'd done with it a few months earlier. Unissued until the 1970s, "The Moon Is Low, Pt. 2" uses the Hammond organ in place of piano. Fats slips into in a strange key at one point, which is probably why this take was rejected. "Fat and Greasy" is a remake of a nasty tune recorded in 1935 by Waller's big band. This version actually includes the verse, for what it's worth. It's kind of strange to hear Fats making fun of obesity. "You Run Your Mouth" is famous for its prickly assertiveness. This is much better than the sloppy, apparently inebriated second take. Fats makes all kinds of weird noises with his lips during "Eep, Ipe, Wanna Piece of Pie," a very funny song for children or twisted adults. "My Mommie Sent Me to the Store" is even better, with a hilarious vocal exchange between the bandmembers and their fearless leader. Does the word "rye" refer to bread or liquids? Only mother knows for sure. "Dry Bones," cast in a minor mode, is wonderfully spooky and expertly timed. It's much better than anyone else's version of this old song. Deep in the throes of his own theater of the absurd, Fats invokes "fine neck bones and rice" with almost religious fervor. arwulf arwulf  
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FATS WALLER – 1940-1941 | The Classics Chronological Series – 1030 (1998) FLAC (tracks+.cue), lossless

Cut just few years prior to Waller's untimely death, these Bluebird sides find the irrepressible pianist and singer on yet another of the many combo dates which featured his rhythm band. Full of his usual wit and vigor, Waller dominates the program with a mix of his usual zingers ("All That Meat and No Potatoes") and some well-worn standards ("Everybody Loves My Baby"). With Waller in fine form on both the vocal and piano end of things, top-notch contributions by rhythm soloists Gene Sedric, Al Casey, and John "Bugs" Hamilton add some unexpected delights. Even with a generous 23 tracks to get through, the going is never less than enjoyable. Stephen Cook
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FATS WALLER – 1941 | The Classics Chronological Series – 1068 (1999) FLAC (tracks+.cue), lossless

Just a few days short of his 37th birthday, Thomas "Fats" Waller recorded five outstanding piano solos. These would turn out to be the last unaccompanied studio piano records of his career, with the exception of those somewhat alcohol-driven V-Disc platters from September of 1943. The 1941 Victor solos are studies in immaculate ease. The artist's choices are fascinating: two pleasantly reflective Hoagy Carmichael reveries, James P. Johnson's throw-down showpiece the "Carolina Shout," a delicate rendering of Duke Ellington's "Ring Dem Bells" and the ultimate interpretation of Waller's own "Honeysuckle Rose." The original 78rpm label bore the distinctive subtitle: "à la Bach-Beethoven-Brahms-Waller." Classics (1068) would be worth having just for the piano solos, even if it didn't convey all the excitement of Waller's small and large band recordings from this very transitional year. "Twenty Four Robbers" is particularly funny, and "Sad Sap Sucker" is an example of the kind of song Waller wrote in collaboration with his manager Ed Kirkeby. They also came up with several saucy numbers that Fats would record with his big band in Los Angeles during the summer of '41. The "Rump Steak Serenade" is an over-the-top paean to red meat, resounding with Waller's refrain: "let me stick my fork in the gravy!" The boisterous "Come and Get It" has more than vaguely sexual overtones, but "Ain't Nothing to It," which posed the question "Gettin' much lately?" was considered too near the bone and remained unissued until many years after Waller's demise. "Chant of the Groove" has a shouted scat intro by the pianist. Interestingly, his first two syllables come out as "be bop," but this is straightforward big band swing. The small group session of October 1, 1941 is most notable for Al Casey's guitar work on "Buck Jumpin'," Gene Sedric and John "Bugs" Hamilton's lively interplay in front of Waller's bubbly Hammond organ on "Clarinet Marmalade" and a lovely understated opus inspired by "The Bells of San Raquel." While "That Gets It, Mr. Joe" is rowdier, and the more-than-somewhat misogynistic "Bessie, Bessie, Bessie" is much saltier, "San Raquel" allows Waller to reveal the quieter side of his personality. For this reason the song never makes it on to any Waller "Best Of" collections. Be grateful that we have the Classics chronological series, for this is the only way to truly get to know someone who was so complex. "Winter Weather" is another heartwarming example of that marvelous creature, the relaxed Fats Waller. "Cash for Your Trash," an entire song devoted to the subject of metal recycling, was his first contribution to the war effort. By December 1943 he had literally worked himself to death by entertaining troops at all hours and selling U.S. bonds on the air. These 1941 sides could be considered the first of what would be his last studio recordings. arwulf arwulf  
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FATS WALLER – 1942-1943 | The Classics Chronological Series – 1097 (1999) FLAC (tracks+.cue), lossless

These are the last recordings in the Fats Waller legacy. The 22 tracks are drawn from sessions recorded in March and July of 1942 and January and September of 1943. Featuring the last recordings with his rhythm, a version of "That Ain't Right" with Ada Brown on vocals and V-disc recordings made for soldiers overseas during World War II. It is the V-disc material that proved Waller wasn't just a jovial clown, which he makes obvious on his version of "Sometimes I Feel Like a Motherless Child" performed on organ. Anyone only familiar with the Waller hits like "Ain't Misbehavin'" (included here in two separate versions) should hear this to gain perspective on his career. Al Campbell
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