Fats Domino and New Orleans are inseparable. He was born there and nearly died in the
disaster that nearly obliterated the city that he knew. That New Orleans was not the city of Jackson Square, the French Quarter, or even Bourbon Street, the city of tourists
and romantic imagination. His was the city under the levee, the crowded, poverty stricken, and intensely Black Lower Ninth Ward where he was
born and spent most of his life.
Antoine Domino Jr. was delivered in
his parent’s home on February 25, 1928 by his midwife grandmother. The
family was native Creole—a Black French dialect—speaking family
recently arrived from rural Vacherie,
Louisiana. Most of their neighbors settling in the then
relatively newly developed section of the city were likewise country folk and
had a culture distinct from Blacks of longer residency in the city—the mix of
former Freemen and liberated slaves
who had given rise to the city’s legendary Jazz
culture.
The
rural Creoles brought their own musical traditions built around a stew of
influences including Cajun dance
music, field chants, country blues, and Anglo white hillbilly music.
It was lively and melodic with a driving rhythm. The extended Domino family was quite musical. Antoine Sr. was a popular fiddle player. Uncle
Harrison Verrett was a jazz guitarist.
Young
Antoine picked up the parlor piano
and by his teen years was pounding out a mean stride style and entertaining at community gatherings. It was at just such an event in 1947, a big
neighborhood barbeque, where bandleader Billy Diamond first heard him and offered him a job with
his Solid Senders, the house band at the Hideaway Club. During this
extended gig Diamond hung the moniker Fats on his rotund young piano
pounder, an obvious tip-of-the-hat to
Fats Waller.
Domino
was soon not just playing the piano but composing and singing his own songs,
increasingly fronting Diamond’s band. By
the late ‘40’s he was on his own with a small combo.
In
1949 Domino was signed by producer Dave
Bartholomew to Los Angeles based
Imperial Records, a major label
specializing in Rhythm and Blues, country, and Tex-Mex music. Bartholomew
built up a substantial stable of New Orleans artists for the label and became
Domino’s personal producer and creative collaborator. Together they assembled a tight band led by Fred Kemp and featuring a strong sax sound behind Domino’s piano. It was a fresh, new sound.
In
1950 Domino’s The Fat Man became a No. 1 R&B
hit spurred by sales of more than 10,000 copies in its first week out in the Big Easy alone. The song featured Domino singing over a
strong back beat with a stripped down strike piano style, a four piece sax
section, and Fats scatting wha wha
in two choruses. Sales of the song remained
strong and by 1953 reached one million units.
Music historians consider The Fat
Man one of the first true rock and
roll songs.
In
collaboration with Barholomew Domino had five gold records for Imperial before
1955, but remained unknown to most white audiences. That changed with the release of Ain’t
That a Shame. It was his first
cross over to pop hit, but sales of
his original version were hurt by Pat
Boone’s hasty release of sanitized and toned down cover. Boone built his career ripping off Black
artists like Domino, Little Richard,
and Chuck Berry and was resented by
all of them.
Blueberry
Hill in
1956 was a cover for the 1940 song by 1940 Vincent
Rose, Al Lewis, and Larry Stock which had previously been
recorded successfully by artists ranging from Glenn Miller to Gene Autry to
Louis Armstrong. But after Fats Domino, those were
forgotten. It sold more than 5 million
copies in its first two years and shot to No. 2 on the Top 40 and remained No. 1 on the R&B list for 11 weeks.
That
ushered in years of fabulous success. By
1963 he had laid down 60 singles for Imperial, 40 of them charted hits on the
R&B and Pop charts. He appeared on
the Ed
Sullivan Show and Dick Clark’s American Bandstand and his musical
performances were featured in two 1956 movies Shake, Rattle & Rock! for poverty row studio American
International and The Girl
Can’t Help It with Jayne Mansfield, Tom Ewell, and Edmond O’Brien for 20th Century Fox which turned out to be one of the most influential
of all of the rock and roll movies of the mid ‘50s. Domino also became one of the first rockers
to have success with the release of an LP.
Most
artists of humble background quickly left their old neighborhoods and built mansions on the right side of the tracks, country estates, or moved to posh digs in
Los Angeles or New York. Not Fats. He had no desire to leave the Lower Ninth
Ward. He built a large, comfortable home
there, surely the most impressive residence in the neighborhood where he was
surrounded by his extended family and friends.
There he and his wife Rosemary raised
eight children.
Domino
continued to score big into the early ‘60’s with songs like Walkin’
to New Orleans and My Girl Josephine. But then in 1963 Imperial was sold to
outside interests. He had been intensely
loyal to the label and to his production partner Bartholomew and had frequently
turned down lucrative offers to move to bigger labels. But he was uncomfortable with the new management. “I stuck with them for as long as I could,”
he said, “but then they sold out.”
Domino
signed a new deal with ABC-Paramount
Records. The experience was not a
happy one. He could not work with
Barholomew because of the producer’s contractual obligations to Imperial. The label insisted he record in Nashville with producer Felton Jarvis and a new arranger Bill Justis. They wanted modernize and brighten Domino’s
sound. They added countrypolitan choral backups and even strings to his driving, stripped down
sound. Audiences were no more thrilled
with the product than Domino was. He
recorded 11 singles for Paramount and only one, Red Sails in the Sunset made
the pop charts. After two years he left
the label in 1956.
The Beatles and the British Invasion were changing the face
of rock and roll and leaving behind its pioneers like Domino. Fats recorded for other companies. Mercury, Bartholomew’s small
independent Broadmoor label, and Reprise.
The records, singles and albums, achieved niche market successes, but mainstream Pop success was mostly
behind him.
There
was a spike in interest in his music by younger fans when The Beatles and other
British acts cited his influence on their music. Paul
McCartney wrote Lacy Madonna in Domino’s style as a sort of tribute. Fats must have recognized it, because in 1970
he covered it in a Reprise single, which was his last charted hit.
Through
the ‘70’s Domino played the oldies circuit
of state fairs, festival, and reunion reviews. But he grew tired of the road and
announced in 1980 that he would not leave New Orleans again. The royalties from his many hits—more charted
records than any artist of the classic rock and roll era except Elvis Presley—were enough to support
him comfortably in his home. Besides, he
said, he couldn’t get good food anywhere else.
Domino
was serious about his pledge. He could
not be lured away even when inducted into the Rock and Roll Hall of Fame or an invitation to perform at the White House. He did play around his home town including annual
turns at the New Orleans Jazz and
Heritage Festival and some of those Lower Ninth Ward neighborhood bashes
like the one at which he was first discovered.
In
1987 he was honored with a Grammy
Lifetime Achievement Award. And in
1998 he actually agreed to go to Washington
to allow President Bill Clinton to
drape a National Medal of the Arts around
his neck. In 2004 Rolling Stone rated Domino
No. 25 on a list of the 100 Artists of
all Time.
Despite
the accolades, Domino lived happily retirement.
Then tragedy struck.
Fats Domino's flood ravaged Lower Ninth Ward Home. |
He
was warned to evacuate his home before Hurricane
Katrina hit New Orleans in
August of 2005. But his wife Rosemary
was in poor health and he decided to try to ride out the storm in his sturdy
home. Unfortunately, the levee broke and
the whole Lower Ninth Ward was devastatingly inundated. Domino’s home was flooded and all of his
belongings, including a lifetime of career
memorabilia were destroyed. For
three days Fats and his family were considered missing. Many presumed them to be among the dead,
perhaps to be discovered later as bodies bobbing in the water. Someone scrawled “RIP Fats” on the shell of
his home and photos were shown on national TV.
Luckily,
a Coast Guard helicopter had plucked
them to safety. With most communications
out, Fats had been unable to contact family members or business associates. He was located among the refugees and taken
to Baton Rouge where an LSU quarterback took the family in
where they slept for some days on the couch and floor. The family resided in Harvey, Louisiana during the long process of restoring his home and
office which began in January 2006 and took years to complete.
To
prove he was alive and to raise money for New Orleans musicians wiped out by
the storm who had fewer resources than he did, Domino released Alive and Kickin’, an album of material recorded in the ‘90’s in
early2006 to benefit Tipitina’s
Foundation. By 2007 the Foundation
was operating out of a trailer next
to Dominos restored office. Fat’s
devoted much time and energy to the project.
Yet
the staggering costs of restoration of his own home taxed even Domino’s
resources. He was also too ill to
perform for some time, having to take a pass on his annual appearance at the
Jazz festival in 2006. National
musicians rallied to raise money to help restore his home.
He
was visited by President George Bush who
presented him with a replacement for his Medal of the Arts and his Gold Records were replaced by the RIAA and Imperial Records catalog owner
Capitol Records.
Fats endures. |
Fats
Domino became a symbol of the city he loved as it struggled—and continues to
struggle to this day—to recover from the devastating blow of the hurricane and
the loss of much of its population, including many of his Lower Ninth Ward
neighbors. On January 12, 2007, Domino
was honored with OffBeat magazine’s Lifetime Achievement Award
at the annual Best of the Beat Awards
held at House of Blues in New
Orleans. Mayor Ray Nagrin declared
it Fats Domino Day. An all-star musical tribute followed.
Later
that year on May 17 Domino felt well enough to take the stage for the first
time since the storm and performed a rollicking set to a packed house at Tipitina’s, the legendary New Orleans music venue that
inspired the foundation.
Since then Domino has been showered with more honors
and support, but lives quietly with his family in his beloved city. He is 83 years old.
No comments:
Post a Comment