If you've encountered Volumes 1, 2 and 3 you'll know that Fats started life running and rarely slowed down. Born in New York in 1904, he showed early signs of the gifts that would sustain him throughout his career - musical skill and unlimited charm. Aged sixteen, he attached himself to the circle of James P Johnson, a leading stride pianist - and traces of the stride style would feature in virtually all Fats' work. He first recorded in 1922. For a time he was used as an accompanist for recording sessions before, in 1926, recording under his own name. From then until his death he was a star whose output and series of hits was unmatched. In 1929, Fats recorded what is generally accepted as the first jazz recording with a band composed of black and white musicians. Routine now, it was revolutionary then. By the time of the opening tracks here, Fats had married Edith, separated (she was in eternal pursuit of him for alimony) and had set up a new household with the more tolerant Anita. He was a leading recording star, appeared frequently on radio and was almost continually taking a show on tour. He had also appeared to good effect in a couple of Hollywood movies. His records sold in North America and throughout the free world. By September 1936, the personnel of Fats' band had settled onto the musicians listed in the discography. There would be few changes from now on. 1936 was spent mainly on the road. Fats was under financial pressure from the IRS and his ex-wife, Edith - it would be difficult to calculate who was the more formidable. In addition, his recording company was constantly pressing for more sessions. If this sounds like a treadmill, it was - justified by the fact that Fats was almost infallible in the recording studio - his bonhomie, invention and virtuosity rarely deserting him.
J**N
Fats - The Master of Small Group Swing
Volume 4 of the complete recordings of Fats Waller shares the same comments I made for Volume 3. The Rhythm sides for Bluebird were, by this time, more formulaic than the mid-thirties recordings featured in volumes two and three, but this is still Fats and that's all that needs to be said about the performances. As mentioned in my earlier review, Fats was a workhorse in the studio and because of his popularity, was often forced to record some truly forgettable tunes - BUT - although the lyrics were often puerile and silly, Fats was able to have fun with them by employing vocal embellishments that were often truly funny. But above all there was the alchemy he brought to the most mundane stuff. The wonderful swinging treatment by Fats and the Rhythm essentially salvaged virtually every cut. There is gold to be found in every tune, and Fats' enormous talent at the keyboard shines despite some of the material. This isn't to suggest that many of the sides are second-rate. There are abundant examples of inspired recordings in his prodigious output. The sad fact is that Fats' agent, Ed Kirkeby, managed, as did Irving Mills with Duke and Cab, to put his name on most of the works Fats composed so he could collect composer royalties as well as his agency fees. This was a common and reprehensible practice that explains in part why Fats was hounded to record as often as possible. Black artists were routinely deprived of full credit for their work. Ellington was especially victimized by Mills as Jelly Roll Morton was by the Melrose brothers, and Louis was by Joe Glaser. This was truly a shameful exploitation of their talent which, incidentally, continued well into the fifties with Black performers who rarely, if ever, saw royalty payments for their songs or recordings. This volume is wonderfully remastered by Ted Kendall and at the price JSP charges for these reissues, is not only a steal, but an essential addition to any jazz lover's collection. Recommended without reservation
D**R
DON'T LET THE COMEDY DECEIVE YOU. FATS WAS A MASTER
Take a few minutes and listen to Fats play solo on `I Ain't Got No Body', which starts off CD # 3 in this stellar compilation of all, ALL, of Fats' recorded works from 1936-38. Sure, there are throwaway songs and performances in this compilation, and the backup band, though it (usually) swings is never more than adequate. But Fats was a superb piano player both in solo and accompaniment. All of his virtues show up in these renditions, produced at a time when he wasn't yet worn out from too frequent trips to the recording studio, reduced to recycling his schtick. The worst ensemble songs on these discs occur when Fats, in a fit of musical blindness, introduced a steel guitar into the rhythm section. Even then, thought\, Fats plays and sings over the Hawaiian-ish backdrop with great aplomb.Fats was a virtuoso of stride piano, who just happened also to be good at comedy as well. He could play up tempos with the best but I like these discs most in the moments when Fats turns down the temperature and noodles along slowly and tenderly. No more words about him! Just listen to him! Play `I Ain't Got No Body.' It's masterful. And moving.
J**T
This is the one
If you buy only one of these boxes - anyway, I think you're crazy if you don't buy all of them - this is the one you need. Fats Waller and His Rhythm were at their height during this period: still alive to challenges, still keeping it fresh. And the solo session of June 11, 1937 contains five of the greatest solo piano recordings of all time. So effortless, so musical and swinging. You also get a rare glimpse into the world of Waller's Big Band - not amazing, but very interesting. He toured with this group more often than his recording history would lead you to believe. I'm always tempted to go point by point on the Rhythm recordings - but I resist. Some of them are like candy; delicious and forgettable, or at least evanescent...but each one has its moment of the most perfect piano playing. More details? Why?
J**R
Sound Quality is Excellent
Great collection of Waller at his peak. Highly recommended for those who want to take a deep dive into Waller's recordings.
T**L
Worth having
Volume 4 is not as interesting as Volume 3, but it's still worthwhile, especially the Big Bandsides. More marginal tunes, but Fats rises above his material.
L**N
Five Stars
Really like Fats Waller and "Spring Cleaning" is my favourite. Used in the Karcher commercial.
R**F
Five Stars
HE WAS ALWAYS MY DADS FAVORITE AS HE IS MINE.
L**R
One of four desert-island choices
I have four desert-island music choices.On the classical side:Beethoven--needs no reasonBela Bartók--a mysteriously great composerOn the "popular" side:Frank Sinatra--needs no justification--and you gotta sing along with somethingThomas E Fats Waller--no day is terrible if you can listen to Fats
L**N
Indulge yourself many happy hours with Fats Waller.
"In memoriam John R T Davies" says the cover.The engineer of these 4 CD-set is Ted Kendall and he has done a splendid job with the transfers on this material and will be loved in the first place by those listeners who do not like a little hiss and some background noise from the 78's. My ears prefer the US-BLUEBIRD issues from the 90's but this JSP-set is recommended to the rest of the world.The music then? Well, the most enjoyable, swinging, happy music you can find in the world.And Fats' piano skills are out of this world. I am listening when I write this and I can ensure you that I have a very happy smile on my face and it will stay there for a long time. Leif Hallin
M**T
Five Stars
this is part of an excellent series on one of the greatest jazz pianists
B**E
Fats Waller The complete recorded works
Sind Sie traurig ? Habens Lebensschwierigkeiten ? Mit Fats Waller verschwinden alle ihre Unannehmlichkeiten. Keine andere Musik ist so anregend und freudig. Diese Bemerkungen gelten für die 6 Teile dieser unvergleichbaren und vollständigen Ausgabe.
A**R
Fats Waller
C'est un coffret du génial qui se situe dans une intégrale. Celle-ci n'est pas tout à fait exhaustive mais la musique de Fats est géniale et doit plaire à tout le monde par ses mélodies, son humour, son swing... Alors, achetez l'intégrale !
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