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I Cant Give You Anything But Love (Fats Wallers Conception)

The script also required Armstrong to play "Ain't Misbehavin'" in a trumpet solo, and although this was initially slated only to be a reprise of the opening song, Armstrong's performance was The song became associated with Waller who ad-libbed his own lyrics such as "Your pedal extremities are colossal, to me you look just like a fossil" and his catchphrase, "One never knows, do one?

He worked with Eddie Durham and Eddie Barefield in the s, and remained active almost up until his death, though he never recorded as a leader. References Donald Clarke writer. Retrieved November 8, Oxford Index, Oxford University Press. Scott Yanow, Slick Jones at Allmusic The song was copyrighted in November, Copyright Office, The Library of Congress, A Discography of Recordings, - Volume 2: New York Sessions It is built on the call "Water boy, where are you hidin'?

From onwards, many blues and folk artists have performed their own arrangements of it. The opening call to the "water boy" has been said to bear a resemblance to melodies found in classical works by Cui, Tchaikovsky and Liszt, as well as a Jewish marriage song and a Native American tune. Fats Waller - Fats Waller in Lon Some authors say that Fats Waller was the composer, but he sold the rights to the song. Richman and Ted Lewis enjoyed hit records with the song in In , right after its publication, a very large number of different recordings were made see below ; afterwards, the song has become a popular standard, recorded by many people.

Recorded versions Gene Austin recorded June 26, , released by Victor Records as catalog number , with the flip side "Maybe Who Knows"[1] Smith Ballew and his orchestra recorded April 3, , released by OKeh Records as catalog number , with the flip side "A Garden in the Rain"[2] Continental Dance Orchestra recorded April 17, , released by Oriole Records as catalog number , with the flip side "She's Got Great Ideas",[3] also by Jewel Records as catalog number , with the flip side "Huggable Kissable You"[4] Jesse Crawford organ instrumental; recorded May 7, , released by Victor Records as catalog number , with the flip side "She's a New Kind of Martin with Sylvester Weaver Sara Martin June 18, — May 24, was an American blues singer, in her time one of the most popular of the classic blues singers.

She began a successful recording career when she was signed by Okeh Records in He plays in three styles: After hearing The Doors in , he was inspired to start playing the organ.

Fats Waller | Revolvy

The short's centerpiece is a fantasy sequence derived from Clampett's black and white Looney Tunes short Porky in Wackyland As such, the film and other Warner Bros. Plot The cartoon opens with a cat who resembles a Fats Waller caricature going out for a night on the town. He is about t The film first appeared on January 20, at the Sundance Film Festival. It was later shown at the Berlin International Film Festival.


  • Fats Waller!
  • Ain’t Misbehavin’ – The Fats Waller Musical Show!
  • Ain't Misbehavin' (musical) - Wikipedia.
  • Ain’t Misbehavin’ – The Fats Waller Musical Show.

The title is inspired by a phrase that was commonly displayed on VHS rental cassettes in America during the medium's heyday. Elroy Fletcher Danny Glover is due to be demolished to make way for high-end development due in large part to the refusal of Mr. Fletcher to rent out DVDs unless he can find the money to renovate his building, despite his claims that jazz pianist Fats Waller was born in that building. Fletcher leaves on a trip for several days to join friends and memorialize Waller, as well as visiting a DVD rental It was based on an old blues song called "The Boy in the Boat".

The lyrics were credited to publisher Clarence Williams, although Andy Razaf has claimed to have actually written the lyrics. Notes Squeeze Me at jazzstandards. Nat Jaffe January 1, — August 5, was an American swing jazz pianist.

`AIN'T MISBEHAVIN' ' SALUTES FATS WALLER

He was married to singer Shirley Lloyd. Upon his return to the U. Jaffe died in as a result of complications from high blood pressure at the age of Five Years in Review Bloomsbury Publishing - "city's music scene, leading to setting up a jazz quintet and the Orchestra of Life for young classical musicians who, like Kennedy, have a jazz bent. Analysis The song contains abrupt key changes between A-flat major and C-major. The song also consists mostly of dotted eighth and quarter notes. Alec Wilder described these features as being uncharacteristic of a great theatrical song but acknowledged the song's great success regardless.

Christine McVie was present at the recording sessions and contributed backing vocals, keyboards and cover art, although she was not a full member of the band until shortly after the album's completion. The house now a grade II listed building was leased by the band, who lived there communally, with their families, for a six-month period in Mick Fleetwood was married to his wife at the house on 20 June He was a stride pianist in the tradition of James P. Johnson and Fats Waller.

After the war, he played at various venues in Missouri, eventually ending up at Eddie Condon's club in Greenwich Village. In , he relocated to San Francisco, California, where he recorded several albums with Bob Scobey's dixieland band. From the s onward, he worked mostly on his own. However, when the World's Greatest Jazz Band was established in , he was the natural choice for piano. He left that band in due to the extensive travel involved, and joined an old sidekick, Peanuts Hucko, in a quartet in Denver, near his home in Evergreen, Colorado.

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The song was released as a 78 single by both Paul Whiteman and Fletcher Henderson. The reference is to lyricist Jo Trent as the co-author. Paul Whiteman recorded the song on 11 August and released it as a Victor 78 single, A. The music incorporates the themes, motifs, and style of Paul Whiteman.

It was later a Top 40 Country hit for Slim Whitman, reaching 21 on the 'Top Country Singles' chart in , from the album of the same name. Ahlert and lyrics by Joe Young. It was popularized by Fats Waller, who recorded it in at the height of his fame. American Public Media's business-news program, Marketplace, uses a portion of Fats Waller's version to open its weekly letters-from-listeners segment.

Recordings The song had a major revival in in a Coral recording on April 3 by Billy Williams with orchestra directed by Dick Jacobs. Honeysuckle Rose may refer to: In the years following Idol, Studdard has released seven studio albums, including his platinum-selling debut, Soulful, and the top-selling gospel follow-up, I Need an Angel. He is most well known for his recording career, which has produced hits including "Flying Without Wings", "Sorry ", and "Change Me", but he has also segued into television and stage work.

Most notably, he starred as Fats Waller in a national tour revival of Ain't Misbehavin',[2] which spawned a Grammy-nominated soundtrack. In , Studdard appeared as a contestant on the fifteenth season of weight-loss competition show The Biggest Loser. He later signed to Verve Records and collaborated with the label's chairman, David Foster, on Studdard's It is also performed by, then child star, Sammy Davis, Jr. The song can also be found in the Gary Co Pianist Fats Waller turned the tune into a novelty hit which was subsequently recorded by numerous other artists and became a jazz standard.

From he led his own big band; they toured the East Coast and recorded a demo. He recorded over one hundred songs that became hits on the pop charts. His trio was the model for small jazz ensembles that followed. Cole also acted in films and on television and performed on Broadway. He was the first black man to host an American television series.

Eddie — , Ike — , and Freddy b. We Have No Bananas" at the age of four. Milky Way is the third studio album by American rapper Bas. The album was supported by two official singles: The album debuted at number 35 on the US Billboard , selling 13, album-equivalent units in the first week. We go looking for love in all the wrong places. We go on radio shows looking for love from the hosts and their audience. We put out albums, ou The Broadway production opened on January 26, at the Minskoff Theatre[1]and closed on January 20, after performances and 32 previews.

According to Will Friedwald in the Wall Street Journal, Paxton is "virtually the only music-maker of his generation—playing guitar, banjo, piano and violin, among other implements—to fully assimilate the blues idiom of the s and '30s, the blues of Bessie Smith and Lonnie Johnson. After spending time listening to his hometown blues radio station, as well as the old Cajun and country blues songs his grandmother used to sing, Paxton became interested in these early sounds, developing a breadth of knowledge pertaining to such music along the way.

Archived from the original on April 6, Retrieved July 10, Encyclopedia of World Biography vol. The Castle on the Parkway. In Price, Emmett G. Encyclopedia of African American Music. Johnson American composer and pianist". Retrieved May 13, The Twenties in America. All You Need Is Love. Retrieved April 4, The Life and Lyrics of Andy Razaf. Retrieved June 27, Annual Review of Jazz Studies 7: Thomas Wright "Fats" Waller: Performances in Transcription, —, Volume Waller, Maurice and Anthony Calabrese. Fats Waller, Schirmer Books, Vitery, Institute of jazz studies, Edwin.

The Music of Fats Waller. The Book of Lists 3. From "Gone with the wind, sort of: Retrieved October 30, Archived from the original on January 22, The Story of Ralph Sutton, p. Archived from the original on March 29, Retrieved July 31, Fats Waller topic Thomas Wright "Fats" Waller May 21, — December 15, was an American jazz pianist, organist, composer, singer, and comedic entertainer.

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Rose Murphy I can't give you anything but love

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Two hours of sublime singing and dynamic dancing at the service of Fats Waller's music

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Member feedback about Six or Seven Times: Perhaps to my shame, before I saw this musical revue I couldn't tell you much of anything about Fats Waller. I did manage to glean some things about him from watching it: He was a piano player who wrote some truly amazing songs, some of which I'd heard "I Can't Give You Anything but Love," to name one , more of which I hadn't. As far as I could tell, Waller reached the height of his popularity sometime in the Twenties or Thirties, given his music and the abundant references to an affluent Harlem.

And while my ignorance could easily be considered a hindrance to my evaluation of this TexARTS Equity production of the Seventies musical revue that made Nell Carter a star, I can tell you this for certain: You don't need to know a thing about anything to know when you're entertained.

Entertain is exactly what this production does, before all other things which include delivering a cultural attack stunning in its simplicity. You get better than two dozen of them in the evening, and almost every one a musical gem. And about the five performers who give us all those songs: While some have moved away, all have strong ties to Austin, and each looks like a polished professional. Arnold, Dorothy Mays Clark, Rodnesha Green, Quincy Kuykendall, and Devere Rogers appear to love this material and one another, and that love glows in this sweet and sexy show.

Credit to director Bernard Dotson, who, along with musical director Austin Haller, not only has these five working like a fat and greasy machine see the show, and you'll know what I mean , but his choreography is also snappy and sassy and expertly executed, especially by Green and Kuykendall. And when the five black singers sit on stools and, without embellishment, in harmony sing "Black and Blue," about wishing one's skin were a different color and the sadness accompanying that wish, you will marvel at the courage of the performers and the emotional power of the moment.