View credits, reviews, tracks and shop for the CD release of Alligator Crawl on Discogs. View credits, reviews, tracks and shop for the Shellac release of Alligator Crawl / Viper’s Drag on Discogs. In the beginning there was a composition by the young Fats Waller. He probably composed it in and he called it Alligator Crawl.
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I’m Crazy ‘Bout My Baby. It comprises eight segments: So I have to come to the conclusion that Waller probably wrote a bar theme as well as the famous theme when he originally composed the piece, but that he chose to re-write the tune, dropping the bar theme and replacing it with some new bar material, when he came to record it as a piano speciality seven years later.
You will find that Tuba Skinny take the tune a shade more slowly than Louis but they follow meticulously the structure and spirit of his recording, right down to that ‘extra’ bar I have called Segment 6 watch out for it at precisely 2 mins.
I nFats Waller himself recorded it as a piano solo.
Alligator Crawl – Fats Waller – 1934
It acquired words by Andy Razaf, so it was also available as a song: Release Date January 12, A theory of Erwin Elvers of Luetjensee, Germany, is that the Alligator Crawl played by Armstrong was based on a Spencer Williams composition from which Fats Waller adopted the theme for his own composition.
Jazz Latin New Age. Never fails to bring a happy feeling – Its tempo has a charm that grows and grows Perhaps that’s what influenced Erwin Elvers; but both alliigator title and the composer on this label are are surely incorrect: In most respects the Hot Seven interpretation is so different from the other that the two versions sound like two different pieces of music.
But this theory – though it appeals to me as plausible – seems unsupported by paper records. One bar in which Louis modulates the key back to F making the previous theme virtually stretch to a highly unusual 25 bars.
Parlophone put out a version with the title as Alligator Blues and the composer as ‘Williams’. Love Me or Leave Me. Even the four bar blues sequences especially the ensemble one that is repeated in the Armstrong version are not any old improvisations: Click hear to listen.
Alligator Crawl is so appealing – A creepy rhythm that will tickle your toes. With her classical training and skills as a jazz composer and arranger constantly in use with this band in the midsnot to mention that she plays the piano on the recording, I would not be surprised if there is as much Hardin as Waller in the Hot Seven recording. Because of Once Upon a Time. Drinking Hanging Out In Love.
Aligator Crawl (Waller, Fats) – IMSLP/Petrucci Music Library: Free Public Domain Sheet Music
Newer Post Older Post Home. Its structure is as follows.
Unless somebody finds a manuscript or orchestration fromwe may never know the full story. Bert Brandsma has kindly supplied me with an analysis of the structure: And if you would like to examine a 21st-Century version by the great young band Tuba FatxI can tell you they have recorded it on their Pyramid Strut CD, and you can watch them on YouTube, thanks to the generosity of the great video-maker digitalalexa playing it in public.
It plays the bar theme only once from 1 min. But of course, being Tuba Skinny, they in particular Shaye on cornet have introduced exciting alternative improvised phrasings of their own.
Posted by Pops Coffee at The fact that this collection contains mostly piano solos means that the very essence of Thomas Waller ‘s musical world is presented without a lot of distractions. It provides an excellent opportunity for understanding the man’s artistry on a deeper level than is often achieved or even hinted at by collections that focus upon his comedic talents.
Keepin’ Out of Mischief Now.
Pops Coffee’s Traditional Jazz: Post ALLIGATOR CRAWL
This led me to speculate that Armstrong and his pianist wife Lil Hardin took just a musical idea and the harmonies from the Waller bar theme and re-structured them in their own way, allowing for some tremendous fresh invention. His version makes it sound like a boogie-woogie blended with a rocking catchy song.
Cyr on guitar and Pete Briggs on tuba had made a lusty three-minute recording in Chicago of Alligator Crawl. Could the Hot Seven have started by looking fata the the same musical arrangement that Doc Cook used so precisely – re-interpreting it freely in their own way?
Their version has not much in common with the later recording by Fats Waller.