There are a playfulness and charm underneath Jones' solos that repeatedly surface throughout his excellent renditions on this disc dedicated to Fats Waller's music. While 10 of the 16 songs are Waller compositions, those that aren't, like "How Come You Do Me Like You Do" and "Your Feet's Too Big," are closely identified with him. Jones' flourishes, expert handling of stride rhythms, and delicate but skillful reworkings not only capture the flavor Waller brought to such songs as "Ain't Misbehavin'," "Honeysuckle Rose" and the title track, but add his character to them with tricky phrases, quick melodies and nimble lines.

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…

Thomas Wright "Fats" Waller (May 21, 1904 – December 15, 1943) was an American jazz pianist, organist, composer, singer, and comedic entertainer. His innovations in the Harlem stride style laid the groundwork for modern jazz piano. His best-known compositions, "Ain't Misbehavin'" and "Honeysuckle Rose", were inducted into the Grammy Hall of Fame in 1984 and 1999…

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."

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…

A masterful stride pianist, a playful vocalist, and an influential jazz figure who was enormously popular in the '30s and '40s.
Not only was Fats Waller one of the greatest pianists jazz has ever known, he was also one of its most exuberantly funny entertainers - and as so often happens, one facet tends to obscure the other. His extraordinarily light and flexible touch belied his ample physical girth; he could swing as hard as any pianist alive or dead in his classic James P. Johnson-derived stride manner, with a powerful left hand delivering the octaves and tenths in a tireless, rapid, seamless stream…

A masterful stride pianist, a playful vocalist, and an influential jazz figure who was enormously popular in the '30s and '40s.
Not only was Fats Waller one of the greatest pianists jazz has ever known, he was also one of its most exuberantly funny entertainers - and as so often happens, one facet tends to obscure the other. His extraordinarily light and flexible touch belied his ample physical girth; he could swing as hard as any pianist alive or dead in his classic James P. Johnson-derived stride manner, with a powerful left hand delivering the octaves and tenths in a tireless, rapid, seamless stream. Waller also pioneered the use of the pipe organ and Hammond organ in jazz…

The second in a series of five CD packages that reissue all of Fats Waller's Victor recordings with his Rhythm, this two-CD set traces the pianist/composer/ vocalist/personality's career during a nine-month period. Among the sidemen are trumpeter Herman Autrey and either Rudy Powell or Gene Sedric on reeds; highlights include the hit version of "I'm Gonna Sit Right Down and Write Myself a Letter," a rambunctious "There'll Be Some Changes Made," "Truckin '," "Got a Bran' New Suit" and four performances from a big-band session. All of the Waller Victor recordings are full of joy and infectious swing.

This two-CD set has the first 42 recordings of Fats Waller with his Rhythm. The brilliant stride pianist/vocalist/ composer/personality became very popular due to these 1934-35 recordings which feature either Herman Autrey or Bill Coleman on trumpet, Gene Sedric, Ben Whitted, Mezz Mezzrow or Rudy Powell on reeds, guitarist Al Casey and a rhythm section. All of Waller's Victor recordings have been reissued on CD and this two-fer (which includes such memorable numbers as "A Porter's Love Song to a Chambermaid," "Serenade for a Wealthy Widow," "How Can You Face Me," "Honeysuckle Rose," "Believe It, Beloved," "I Ain't Got Nobody," "Oh Suzannah Dust Off That Old Pianna" and "You've Been Taking Lessons in Love") is a perfect place to start.