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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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 – 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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GENE SEDRIC – 1938-1947 | The Classics Chronological Series – 1181 (2001) FLAC (tracks+.cue), lossless

Most people who are hip to Eugene "Honeybear" Sedric know him as the man who was Fats Waller's chosen handler of clarinet and tenor saxophone, usually paired with trumpeter Herman Autrey as the front line of the little "Rhythm" band, between the years 1934 and 1943. To be able to savor an entire CD containing virtually everything that Sedric recorded as a leader is a musical treat beyond belief. Any true Waller devotee would jump on this without hesitation. The first four tracks, recorded in November 1938, feature Waller's touring band, heard here with Hank Duncan at the piano and featuring spunky vocalist Myra Johnson, who livened up several of Waller's three-minute movies, including "The Joint Is Jumpin'." Sedric's version is fun enough, but Waller fans will get extra kicks from "Off Time," as it's rare to hear anybody singing this delightful tune, one of many great songs that the pianist composed but didn't live long enough to record for posterity. Also included in that category would be "Choo-Choo," co-written by Waller, Sedric, and Andy Razaf. It is a tight shuffle dolled up with toots from a small train whistle by Slick Jones, Waller's trusty percussionist and sound effects man. Gene sings pleasantly, seeming not at all ashamed to voice what others might have felt were foolish lyrics. "The Wail of the Scromph," a slow and easy blues by Sedric, opens with clarinet. Autrey is warm as always, Al Casey dexterous and cool. Now here's the curious part of the package: in August of 1946 Sedric's band accompanied vocalist Ruby Smith, who based her career on the fact that she was Bessie Smith's husband's niece. Sounding tough and somewhat brittle on "Chicago Woman Blues," Ruby's presence with Sedric seems surprising at first. "Baby, Baby, Baby Blues" is more subtle as Sedric talks back at her in the same way that Fats usually enjoyed cajoling his guest vocalists, particularly Una Mae Carlisle. Ruby in fact sounds more than a little like Una Mae on the moody "Sedric's Blues." Four more sides were cut on that same day without Ruby, giving this excellent band a chance to strut its stuff. "Forget It" and "Bootin' and Swingin'" are solid extensions of Fats Waller's early-1940 instrumental jam style. Eight sides recorded in New York for the Swing and Keynote labels represent Sedric's band at the apex of its creative success. Each instrumental track is outstanding, while the carefully rehearsed theatrically hip group vocals are dazzling in their complex fluidity. Sedric's last stand as a leader occurred in January of 1947, when his band once again found itself supporting Ruby Smith. Who wrote these tunes, and why? Never mind. It doesn't matter. What's important is that Al Casey seized upon the opportunity to play electrically amplified guitar behind the vocal on "You Satisfy," and "Hot Sauce Susie" enabled Sedric to yell about chops and corn bread, drawing once again upon the training he received throughout nine years of dedicated service as Thomas "Fats" Waller's right-hand man. arwulf arwulf  
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SAM PRICE – 1942-1945 | The Classics Chronological Series – 1083 (1999) FLAC (tracks+.cue), lossless

A nice collection of Price's 1942-1945 recordings that spotlights this highly undervalued boogie pianist. Kicking off with four sides backing Mabel Robinson, the set also includes ten sides that Price's small groups cut for the Decca label, as well as ten piano solos recorded in New York but originally issued in France. A stray duo track with drummer Big Sid Catlett rounds out the collection. A hidden treasure. Cub Koda
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PAT FLOWERS – 1941-1945 | The Classics Chronological Series – 1060 (1999) FLAC (tracks+.cue), lossless

Pat Flowers was a fine stride pianist whose dedication to playing in a style similar to Fats Waller's at first helped and then ultimately hurt his career. His jivey remarks and vocals lacked Waller's humor and warmth, being a bit distracting and annoying at times, but his piano playing was excellent. This CD has Flowers' first recordings: two trios from 1941 when he was 21, a couple of solo piano-vocals from 1944 (originally put out as V-Discs), and four instrumentals from 1945 (including "Chopin E Minor Waltz" and "Canteen Honky Tonk Boogie") that are enjoyable. The bulk of the CD is taken from a radio broadcast on Feb. 11, 1945, that was a tribute to the recently deceased Fats Waller. All of the selections that involve Flowers are included: piano solos, sextet selections with Fats Waller's former group (including trumpeter Herman Autrey, Gene Sedric on clarinet and tenor, and guitarist Al Casey) plus numbers with a variety of guest stars. Xylophonist Red Norvo is featured on "Honeysuckle Rose," Louis Armstrong is showcased on "On the Sunny Side of the Street" and "I Got Rhythm," and there are spots for trombonist Tommy Dorsey, pianist James P. Johnson, and singers Mildred Bailey and Red McKenzie. Overall this is an interesting CD, but one wishes Pat Flowers did not talk quite so much! Scott Yanow  
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PAT FLOWERS – 1945-1947 | The Classics Chronological Series – 1093 (1999) FLAC (tracks+.cue), lossless

Pianist and vocalist Pat Flowers wanted to be Fats Waller. As a young man Flowers would follow Waller, trying to get gigs playing in the lobby of the hall at which Fats would be performing. For his own recording sessions he would hire musicians like Herman Autrey, Gene "Honey Bear" Sedric, Slick Jones, and Cedric Wallace, all members of Fats Waller's Rhythm. Flowers was even managed for a short time by Waller's manager Ed Kirkeby making records under the moniker Pat Flowers and His Rhythm. These 24 sides recorded between 1945 and 1947 showcase Flowers piano playing and singing in the '30s style of, guess who. Featured are four recordings for the Hit Record label, including "Aint Misbehavin" and the Fats inspired "Bach Prelude and Fugue." The remaining tunes are mainly novelties like "Save the Bones for Henry Jones," "Aloysius Do the Dishes," and "Exhilarated, Exasperated, Exhausted" recorded for RCA Victor (the label Fats Waller recorded for.) Al Campbell  
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