Fats Domino The Paramount Tapes 2-CD

Fats Domino: The Paramount Tapes 2-CD

(1999/Repertoire Records) 59 tracks.

Songs

Artikeleigenschaften von Fats Domino: The Paramount Tapes 2-CD

• Interpret: Fats Domino

• Albumtitel: The Paramount Tapes 2-CD

• Artikelart CD

• Genre Rock 'n' Roll

• Music Genre Rock 'n' Roll
• Music Style Rock & Roll
• Music Sub-Genre 201 Rock & Roll

• Label REPERTOIRE

• SubGenre Rock - Rock'n'Roll

• EAN: 4009910473726

• Gewicht in Kg: 0.200

Interpreten-Beschreibung "Domino, Fats"

Fats Domino

Die kreative Partnerschaft von Fats Domino und Dave Bartholomew machte New Orleans in den 50er-Jahren zu einer Rock'n'Roll-Hochburg. Es gab jedoch zu Anfang eine kurze Phase, in der die beiden getrennt wurden, weil der Chef von Imperial Records, Lew Chudd, sich weigerte, dem Trompeter, Bandleader und A&R-Mann das zu zahlen, was ihm seiner Meinung nach zustand. Fats Domino war gezwungen, ohne Bartholomew weiter Aufnahmen machen, und so waren er und seine Band am 26. April 1952 für eine Session unter der Leitung von Chudd selbst in Nashville. Der aus dieser Stadt stammende Songschreiber Ted Jarrett lieferte dafür das raketengetriebene Trust In Me, das sich durch ein verrücktes Gitarrensolo von Dominos regulärem Saitenmann Walter 'Papoose' Nelson auszeichnet. Antoine Domino, Jr. ist stolz darauf, aus dem Neunten Bezirk der 'Crescent City' New Orleans zu stammen, wo er am 26. Februar 1928 geboren wurde und in einer Familie aufwuchs, die kreolisches Französisch sprach.

Als Zehnjähriger begann er in die Tasten zu hauen und spezialisierte sich bald auf Boogie-Woogie. 'Ich mochte Albert Ammons. Ich mochte sein Klavierspiel', sagt Fats Domino, der auch Amos Milburn bewunderte. 'Ich mag seinen Klavierstil wirklich', erklärt er. 'Ich begann 1947 in den kleinen Clubs von New Orleans zu spielen.' Chudd kam Ende 1949 im 'Big Easy' an und setzte sich sofort mit dem Top-Bandleader der Stadt, Dave Bartholomew, in Verbindung. 'Er sagte: 'Wie sieht’s mit neuen Talenten aus?'', erzählt Bartholomew. 'Ich sagte: 'Da gibt es einen Typ, über den ich immer in der Zeitung hier lese, er ist richtig toll.' Er fragte: 'Wie heißt er?' Ich sagte: 'Jeder nennt ihn Fats Domino und er spielt in einem Laden namens Hideaway.' Also gingen wir da hin, und uns gefiel sehr gut, was wir von Fats Domino hörten.'

Die erste Single, die Dave mit Domino im Dezember 1949 in Cosimo Matassas J&M Studio produzierte, der Houserocker The Fat Man, mit dem sich Domino selbst vorstellte, war ein riesiger R&B-Erfolg. Als Fats und Dave gegen Ende 1952 wieder zusammenkamen, ging’s auch mit den Hits weiter. In 1955 machte Ain't It A Shame plötzlich aus Domino einen Rock'n'Roll-Star ersten Kalibers. Er ließ danach nie nach und erreichte eine goldene Schallplatte nach der anderen für Imperial bis 1962, immer mit Bartholomew sicher am Steuer. 'Ich blieb mit ihm zusammen, bis die Firma verkauft wurde', sagt Fats. 'Ich konnte machen, was ich wollte – das heißt, ich konnte ins Studio gehen und Dave sagen, was ich gemacht haben will, und ich sagte dem Studio, wie ich aufgenommen werden wollte, und der Plattenfirma, wie es veröffentlicht werden sollte.'

Die Geschichte von Papoose ist nicht so schön. Am 26. Juli 1932 im Tremé-Bezirk von New Orleans in ärmlichen Verhältnissen geboren, kam er von Professor Longhairs Band in Fats' Gruppe. Papoose war heroinabhängig, und das Zeug brachte ihn am 28. Februar 1962 in seinem Zimmer im Hotel Theresa um, während die Band in New York war, um in der Ed Sullivan Show aufzutreten. Er war noch keine 30 Jahre alt.

Bill Dahl aus PLUG IT IN! TURN IT UP! Electric Blues 1939-2005 - The Definitive Collection! - "Plug It In! Turn It Up! - Electric Blues 1939 - 2005" auf Bear Family Records hat bei den Blues Music Awards in Memphis, Tenneessee, am 9. Mai den prestigetraechtigen Preis in der Kategorie 'Bestes historisches Album' erhalten. Die einzigartige, 12-teilige CD-Dokumentation vermittelt erstmals einen umfassenden Blick auf die Geschichte dieses bedeutsamen Genres, unabhaengig von Grenzen, die einzelne Plattenfirmen aufzeigen. Unser Autor Bill Dahl aus Chicago war vor Ort und nahm den Preis vor etwa 1.300 Bluesmusikern, Journalisten und Fans entgegen. Die Blues Music Awards, die alljaehrlich in Memphis fuer die besten Blues-Veroeffentlichungen verliehen werden, gelten als wichtigste Auszeichnung weltweit und werden auch als 'Oscars des Blues' bezeichnet..

Fats Domino

Though others were flashier, wilder, louder, and sexier, Fats Domino was the bedrock of rock 'n' roll and rhythm & blues in the 1950s and the early 1960s. Without him, his fellow rock pioneers would not have existed in any meaningful way, as he laid the foundations of rhythm and emotional expression on which he and others built the booming two-minute musical telegrams that changed the world. I wrote the first biography on Fats Domino last year,'Blue Monday: Fats Domino And The Lost Dawn Of Rock 'n' Roll,' for which the definitive Bear Family Fats Domino boxed set 'Out Of New Orleans' is the perfect soundtrack. But sometimes you just want to hit the high spots…hence this great CD.

For over a century before Antoine Domino was born, his French-speaking 'Creole' family had been sugarcane workers in St. James Parish, about 30 miles up the Mississippi River from New Orleans. He was born on February 26, 1928 after his family moved to the rural Lower Ninth Ward of New Orleans. From an early age Antoine loved music, and that love took off after his brother-in-law, Harrison Verrett, a talented jazz banjoist, taught him the basics of piano playing. From then on, Antoine practiced constantly, leading to his departure from school in the fourth grade. He worked at various odd jobs, including as an iceman's helper, a stable boy, and a mechanic. After he took a steady job in his late teens at the Crescent City Bed Factory, Antoine began playing local bars, running into his first band member, saxophonist Robert 'Buddy' Hagans and bandleader Billy Diamond, who soon dubbed Antoine 'Fats' during a stint in which Diamond's band played the Robin Hood club. One of the songs that Domino played during this time was Albert Ammons' Swanee River Boogie (based on Stephen Foster's The Old Folks At Home), which Fats later recorded as Swanee River Hop.

After quitting Diamond's band, Fats led his own band at the Hideaway, a hole-in-the-wall club on Desire Street, where in late 1949 local bandleader Dave Bartholomew and Imperial Records owner Lew Chudd (who was visiting from Hollywood), discovered him playing the popular piano blues favorite The Junker's Blues. Bartholomew and Domino changed the song's drug lyrics into The Fat Man, which became Fats' theme song and his first national hit in the R&B charts in 1950. After two unsuccessful tours with Bartholomew, the pair split up for over a year, in which time Domino developed his style and formed his own band, achieving his first R&B #1 hit with Goin' Home in 1952. Just before their official reunion, Bartholomew got Domino to sit in on piano on Lloyd Price's Lawdy Miss Clawdy that year, leading to the classic 'New Orleans Sound' – combining a strong beat, layered rhythms, and a shouting vocal – and a major crossover which knocked Goin' Home from its perch at the top of the R&B charts.

Major R&B hits followed in 1953, including Going To The River, Please Don't Leave Me, and Rose Mary. By 1954 jukebox operators declared Domino the top R&B seller in the country, but that was just a prelude to Domino's dramatic crashing of pop hit parade party in 1955 with the booming rhythms of Ain't It A Shame, a landmark top ten pop crossover hit (following Pat Boone's lame cover version) in the summer of 1955.  Soon afterwards, Chuck Berry, Little Richard, Elvis, and others followed in Domino's mighty footsteps. However, Domino's follow-ups, All By Myself and Poor Me, also #1 R&B hits, failed to make the pop charts.

A Domino session at Cosimo Matassa's J&M Studio in New Orleans in October 1955 would help to remedy the situation, as it produced Bo Weevil, which put Fats back into the pop top 40 in early 1956, as well as the I'm In Love Again, which was so easy-going and conversational with its stomping beat that its romped all the way to #3 in the pop charts in mid-1956, becoming Fats' biggest hit to date. The B-side was Domino's rocking, drawling interpretation of My Blue Heaven, a massive 1927 pop hit by Gene Austin and Paul Whiteman that was even in the repertoire of blues icon Robert Johnson. The song established the precedent for rocking pop standards and attracted a substantial adult audience to Fats' records for the first time. Domino's version of When My Dreamboat Comes Home continued the trend, with a blasting cover of a 1936 Guy Lombardo hit. Sax man Herbert Hardesty blew sweet rocking solos on both records.

The third of Domino's 1956 standards' trilogy was Blueberry Hill, first recorded by Gene Autry for the 1940 movie 'The Singing Hill' and a number one hit that year by Glenn Miller. Fats heard Louis Armstrong sing it and wanted to record it someday. Unfortunately, he didn't get a full take when his band recorded it in Hollywood in June 1956. Engineer Bunny Robyn pieced it together, and Lew Chudd of Imperial Records made it the b-side of the riff rocker Honey Chile, which Fats plugged in the movie 'Shake, Rattle And Rock!' instead. Fats sang Blueberry Hill on the Ed Sullivan show on November 18, 1956 and the rest is history. Elvis Presley's obsession with the song is especially notable, as he would always 'hound' Fats to play it for him in Las Vegas.

Blue Monday, written by Dave Bartholomew after a painful 1950 club stand with Domino in a blizzard in Missouri, where he afterwards witnessed Kansas City's Blue Monday nightclub performances. The favorite song of Domino, Bartholomew, and Lew Chudd, Fats played it in the movie 'The Girl Can't Help It.' Everyone from Buddy Holly to Bob Seger and Fleetwood Mac recorded this workingman's anthem, which also influenced #1 hits like Staggerlee, The Wanderer, and That'll Be The Day musically.

Fats wrote I'm Walkin' without Bartholomew, performing it on piano at Lew Chudd's house in the fall of 1956. The great parade rhythms of Domino, drummer Earl Palmer, bassist Frank Fields, and guitarist Papoose Nelson, as well as Herbert Hardesty's fine solos, add immeasurably to thrill of this scintillating rocker, which also kicked off Ricky Nelson's career. It has been recorded by both jazz and country greats, including Ella Fitzgerald, Count Basie, and Hank Williams, Jr.

In 1957 Fats recorded a number of more pop-oriented hits, which were solid, though not quite as monumental as earlier hits. It's You I Love (b-side of Valley Of Tears) and Wait And See (from the 1957 movie 'Jamboree!') had solid grooves, unlike The Big Beat, the title song of a 1958 movie that belied its name with an annoying tinny piano. Its b-side, I Want You To Know, however, was a haunting minor-key song that impressed both Buddy Holly & Crickets and the Everly Brothers when Fats performed it on the late 1957 Alan Freed New York Paramount shows that he headlined over them. Both Sonny Curtis and Jerry Allison (who still plays it) recall Holly's love of the song, while the Everlys later recorded it.

Fats Domino Fats Domino - Fats Rocks
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