Fats Waller The Ultimate Discography Interactive Edition This discography has been compiled using my own extensive Fats Waller record collection, new original research material from the Library of Congress, Washington D.C., the BMG Archives, and other private and public sources. Previously published discographies listed in the Discography Pub- lished Resources section have been consulted, but this listing contains numerous corrections and additions to these sources. This version includes Interactive links for some label scans in blue in the listing, with the actual files being stored online. HMV, Columbia, and other issues have “A” and “B” side designations for convenience when the original records do not have such designations. Links provided for a selection of Ep and Lp covers but these show only the front cover, although the back cover has also been scanned and available here. Links are also provided for scans of the available Recording Sheets for each recording session, for the matrix numbers in the left-hand column of the listing, starting with the first number on the sheet, and also shown in blue. The Recording Sheets are available online under the folder “Fats Waller Recording Sheets.” The Gennett recording card scans kindly provided by the Institute of Jazz Studies, Rutgers University. In addition, links have been provided for the Fats Waller appearances on film, and to a selec- tion of music files which are of equal or better sound quality than commercial issues. The file is only available in Adobe Acrobat PDF format. If using the Google Chrome browser, and the links seem not to work, try going to “Settings,” then “Show Advanced Settings...” at the bottom of the screen, then deselect the box for “Predict network actions to improve page load performance.” Please let me know of any errors, missing or faulty links. Spelling of tune titles including punctuation marks is generally given according to the original record labels and recording sheets where available, but in some cases they have been modified for consistency due to differences in spelling on commercial issues and between different “takes” on the recording sheets. For example, I have listed as “[Oh Suzanna] Dust Off That Old Pianna” for the Rhythm recording, not “Susannah,” and “Lucia di Lammamore” for the Lang–Worth transcrip- tion, not “Lammermoor.” Details of spelling variations are outside the scope of this listing. The personnel listed for each recording session are from the original recording sheets, or cross- checked from other sources including record liner notes. Where the names of the participants are in doubt, these are indicated with a question mark or in the related notes. Although the listing includes all known Fats Waller recordings to date, it does not include those on the original recording sheets, including alternate takes, which have been destroyed or which prob- ably no longer exist. It is quite possible that additional recordings may still survive in some private or public collections. In addition, I have omitted details of original record labels and their variations, 1 2 Fats Waller Ultimate Discography and the title, country of origin (except as noted in the “Equivalent Issues” section), and date of issue of subsequent reissues. Cassette tape issues are not included in the listing. Where more than one “take” of a particular tune has survived, I have provided a description of the differences between the takes, to enable accurate identification of the matrix number. Please note that record liner notes are often unreliable, and checking the recording audibly is the only effective way of identifying which take has been used. Some original 78 rpm issues (such as Victor records) have the matrix number inscribed in the “wax,” while others (Bluebird issues) do not. The CD listing includes most issues up to 21 May 2005, the 101st anniversary of Waller’s birth in 1904, but does not include compilations by various artists unless they contain an unusual track or some other special feature such as a previously unissued take. In recent years there has been a large and increasing number of new issues from small record producers which tend to go out of print in a relatively short period of time. Please be aware that although the Discography includes most of these CD issues, it does not include every issue, and the listing cannot therefore be regarded as truly com- prehensive. Many CD issues are remastered from previous Lp/CD issues rather than from original source material, and the sound quality varies depending on the skills of those carrying out the remastering. There is a tendency by some producers to minimize the background noise inherent in old recordings using different types of audio restoration processors which, if not done with care, can lead to a dull and lifeless sound due to attenuation of the higher frequencies which are already under-recorded due to the limitations of the recording technology of the period. Even with some Lp issues, some produc- ers have tried, mistakenly in my view, to improve the sound by introducing artificial stereo or addi- tional reverberation (echo) effects. Fortunately, there are sound engineers who appreciate these is- sues and who have produced excellent restorations, and they include Doug Pomeroy, Ted Kendall, and the late John R. T. Davies. I expect that future advances in computer technology will result in even better results. Please use the issues listed in the “All titles” sub-headings with caution, since there are some Lp/CD issues listed under the individual tune titles which are part of boxed sets or which form part of a comprehensive series of Waller issues by the same record producer. While I have attempted to be as accurate as possible, mistakes are bound to occur, and I wel- come any corrections or additions from readers. However, please bear in mind the above comments about unreliable record liner notes. I would like to thank all those who have contributed to this listing as noted in the Acknowl- edgments section of my book Fats Waller on the Air: The Radio Broadcasts and Discography (Scarecrow Press, March 2006). I extend my apologies to anyone I have inadvertently omitted. Please do not use this information for any commercial purpose without prior permission from the author. Stephen Taylor Tai Ping Towers, 582/194 Ekamai Road, Sukhumvit 63, Bangkok 10110, Thailand. Email: <[email protected]> Record types 78 = 78 rpm issues; TR = Transcription recordings (electrical transcriptions), which are usually recorded at 33⅓ rpm on 16″ discs (but occasionally issued on 8″ discs), but may sometimes be rec- orded at 78 rpm; 45 = 45 rpm records, either Standard Play (SP) or Extended Play (EP) issues; 7″, 10″, 12″ = Lp 33⅓ rpm microgroove issues; BD = Blu-Ray disc; CD = Compact disc; DVD = Digital video disc; VID = VHS video tape unless noted otherwise. Fats Waller Ultimate Discography 3 Record label abbreviations (USA unless noted) For country code, see the following listing for 78 rpm prefixes. ABC = Australian Broadcasting Corporation (Au), AFCDJ = Association Francais des Collec- tioneurs de Disques de Jazz (F), AFRS = Armed Forces Radio Service, ARC = American Record Company, ASR = Alberti Special Record (G), Ba = Banner, Bb = Bluebird, BBC = British Broad- casting Corporation (UK), Bm = Biltmore, Br = Brunswick, BRS = British Rhythm Society (Ameri- can despite the name), Bu = Buddy, CBS = Columbia Broadcasting System, Ce = Century, Ch = Champion, Ci = Circle, Cl = Clarion, Co = Columbia, Com = Commodore, De = Decca, Do = Dom- ino, El = Electrola (G), Ge = Gennett, Ha = Harmony, Hg = Harmograph, HJCA = Hot Jazz Club of America, HMV = His Masters Voice (mainly UK), Imp = Imperial, IAJRC = International Associa- tion of Jazz Record Collectors, JC = Jazz Collector (UK), JSo = Jazz Society, LMS = Liberty Music Shop, Lon = London (UK), Me = Melotone, MW = Montgomery Ward, Od = Odeon, OK = OKeh, Or = Oriole, OWI = Office of War Information, Pa = Parlophone, PA = Pathé Actuelle, Pe = Perfect, Pm = Paramount, RCA = Radio Corporation of America, Re = Regal, Ri = Ristic (UK), Rl = Royal (C), Ro = Romeo, RZ = Regal Zonophone, Sil = Silvertone, Sr = Sunrise, St = Sterling (C), TCF = 20th Century Fox, Te = Tempo, UHCA = United Hot Clubs of America, Ve = Velvetone, Vi = Vic- tor, VJM = Vintage Jazz Music (UK), Vo = Vocalion. Country of origin suffixes for 78 rpm issues (USA unless noted) Au = Australia, Ar = Argentina, B = Brazil, C = Canada, Ch = Chile, Cz = Czechoslovakia, D = Denmark, E = England, Ei = Eire, Eu = General European distribution, Ex = Export [used on those HMV issues produced specifically for export], F = France, Fi = Finland, G = Germany, H = Holland [The Netherlands], In = India, It = Italy, J = Japan, N = Norway, NZ = New Zealand, P = Poland, S = Sweden, SA = South Africa, Sc = General Scandinavian distribution, Sp = Spain, Sw = Switzerland, Tu = Turkey. HMV issues without a country code and with a “B”, “BD,” or “C” prefix to the record number denote UK, although some with a “B” prefix are also Australian issues [Jazz Records states incor- rectly that all are UK issues only]. For historical reasons I have retained the “E” designation for 78 rpm issues, although I acknowledge that some may prefer a “UK” designation. Instruments and abbreviations acc = accompanied by or accompaniment, as = alto saxophone, bb = brass bass (usually tuba or sousaphone), bj = banjo, bar = baritone saxophone, bsn = bassoon, bsx = bass saxophone, c = cornet, cel = celeste, cl = clarinet, d = drums, g = guitar, o = electric organ, p = piano, po = pipe organ, sb = string bass, sp = speech, ss = soprano saxophone, stg = steel (Hawaiian) guitar, t = trumpet, tb = trombone, ts = tenor saxophone, v = vocal, vn = violin, vb = vibraphone, xyl = xylophone. General information Where a 78 rpm record remained in the catalogue for an extended period, frequent changes in typography and layout may have occurred. For example an HMV issue might be BD1234, B.D.1234, BD.1234, all with or without spaces between the prefix and number.