New Orleans is located near the mouth of Mississippi River and called as "Crescent City" after its lay of the land. Though this local city is not so large, it had been quite essential to the music scene until '60s. As I heard the critical damage of Hurricane Katrina reached many musicians, I re-realized that New Orleans is still a music city. Large cities come to lead the vogue of music, however, its profound heritages of cajun, zydeco or Dixieland jazz cannot be washed away by occasional floods. I hope these things and now it's time to talk about R&B. Who had the largest list of R&B hits in the '50s? Not any person in New York or Los Angeles but Fats Domino in New Orleans. Together with his portly physique and charming smile, his fingers buoyantly roll over a keyboard and play the rhythm of boogie woogie, and his higher baritone is familiar and cheerful rather than passionate or oppressive. In the broad-minded and rich age when hidden problems like the civil rights movement had not been seen, Fats' comical role might have been accepted by the white.
At the special counter for oldies fans in an export-disc store in Shibuya, I found a disc with a sleeve photo of a conspicuous face and knew the name of Fats Domino. Since I didn't have the courage to buy his CD without listening, I borrowed his best compilation from a library and heard his masterpieces also included in the bests I have now like "The Fats Domino Jukebox" or "The Fat Man". Each tune of around 2 minutes was familiar but short, and I had thought it went through from my left ear to my right ear. For its code progression and its lyrics are simpler, please don't accuse me of my first impression which was derived from today's music environment. Despite it, I am enchanted by the charm of his vivid works: from The Fat Man's jest through the hooking groove of Ain't It a Shame , easy-going I'm in Love Again, Blueberry Hill which is unique and supreme when a funny man sometimes sings honestly, the speed of I'm Walkin' , Whole Lotta Loving whose miss-tones are forgiven, to I Want to Walk You Home which is well suited for a couple's slow dancing with their cheeks almost sticking together. It was the time when hits of the black were quickly covered by the white who stole the larger audience, however, his long series of hits inevitably got the increasing number of the white who thought better to listen to his joyful orignals than the shabby covers.
Among the pianists in the rolling New Orleans-style such as Professor Longhair, Huey Smith, Allen Toussaint or Dr. John, Fats Domino lept into stardom thanks to Dave Bartholomew, the A&R man of the Imperial label. He became the leader of the band featuing saxophonist Herbert Hardesty, Lee Allen or drummer Earl Palmer, and produced most of hits of New Orleans in the '50s : Shirley & Lee, Smiley Lewis, Archibald (Stack-A-Lee), Lloyd Price (Lawdy Miss Clawdy), Chris Kenner, Earl King and so forth. The compilations mainly contains such tunes like "The Big Beat of Dave Bartholomew" or "Let the Good Time Roll" bring the ones co-written by Dave and Fats, and the originals which were more sold by Fats. If you compare them with his, you should find them interesting. Smiley Lewis seems to be plain but is really a fine singer who delivers weary sentiments. Blue Monday has lyrics which was suited for both Smiley and bright Fats, and I cannot say which one is better (his I Hear You Knocking and One Night which is famous for Elvis's softened rendition can be heard on "The Best of Smiley Lewis"). Chris Kenner's blunt Sick and Tired became more bouncing. Bobby Mitchel's sonorous I'm Gonna be a Wheel Someday was done with funny choruses. Roy Brown's sharp Let the Four Winds Blow was added with light saxophones. These flavorings are cheerful to the end.
According to the episode from "Sam Cooke's SARS Story", Sam's partner J. W. Alexander tried to explain the securing of publishing rights to Fats but he was sniffed at. As a result, time went by for Sam and his buddy. It was in the restriction of the years that R&B stars in the '50s rushed not into the royalty of the future but into the money of the day. Hits dried up and Fats sang the same old songs. He is still loyal to New Orleans when he sings Walkin' to New Orleans co-written by Bobby Charles or Jambalaya (on the Bayou) by country singer Hank Williams. The live album recorded in Texas in '89 "Antoine "Fats" Domino" brings us his un-fallen voice and piano with his old friend musicians of New Orleans. When I listen to his reading of Professor Longhair's Goin' to the Mardi Gras or When the Saints Go Marching in, the joy of Mardi Gras appears in my eyes, like "It's so muggy that we're gonna care no miss and make a mess". (2007/09/29)