Fats Domino - Out of New Orleans Bear Family

Fats Domino Obituary

Like the slap-up Louis Armstrong earlier him, Fats Domino was a perfect ambassador for New Orleans music.

Even at the height of the mid-'50s rock and scroll explosion, when Elvis and Chuck Berry were scaring the bejeezus out of parents with their central rhythms and suggestive stage antics, Fats was a cherubic presence when seated behind a piano with a sweet grin on his face and a fat horn section by his side. No wonder he was one of the era's most prolific and universally accustomed hitmakers; with trumpeter/bandleader Dave Bartholomew as his co-writer and producer, Domino unleashed an incredible run of hits on Purple Records that were irresistible to teenagers and their parents alike. Fats always did the Crescent City proud.

Domino, who died at the age of 89 in his beloved home in Harvey, Jefferson Parrish in New Orleans, Louisiana, at nighttime on the 24 ^th  of October 2017 , had been bilious in recent years afterward surviving the wrath of Hurricane Katrina in 2005 (he had to be rescued from his 9th Ward home, which was utterly devastated). Just prior to his hea

lth woes, Fats never stopped rocking like it was 1957 all over again, always fronting a rollicking ring soaked in second-line rhythms and jabbing horns. Domino never seemed like he was just going through the motions; whenever he launched into his raucous ready closer When The Saints Go Marching In , it was instant Mardi Gras time.

Antoine Domino

Built-in February 26, 1928 in the Big Like shooting fish in a barrel, Antoine Domino, Jr. was a shy lad of Creole descent who spoke French before he learned English. Influenced by boogie piano specialists Albert Ammons (whose Swanee River Boogie became i of Domino's indelible showpieces), Meade Lux Lewis, and Amos Milburn, Fats was given his nickname by bassist Billy Diamond, whose ring he played with at the Hideaway Guild beginning in 1946. Domino was making a proper name in his own right by '49, when he met Bartholomew, who brought Imperial owner Lew Chudd to the Hideaway to bank check out the promising newcomer. The end result was a record contract that would make immense profits for the label and Domino equally information technology stretched for more a decade.

The Fat Man, a cleaned-up adaptation of Champion Jack Dupree'southward Junker Blues, was Domino's Imperial debut and just missed the top of the R&B striking parade in early 1950. Fats achieved R&B stardom long before rock and roll reared its impudent head, scoring major hits with Every Night Nigh This Time (1950), Goin' Home, Going To The River (both 1952), and Please Don't Exit Me and Something's Wrong (both 1953). Everything changed when Domino released the stop-time rocker Ain't It A Shame in 1955.

Typically a Domino/Bartholomew collaboration, it not only paced the R&B charts but went Top X pop despite a Pat Boone cover. Rock and roll was exploding all over, and Fats was one of the rowdy music's first true heroes. Of form, having a scissure band at his behest whenever he ventured into Cosimo Matassa'due south studio in the French Quarter sure didn't hurt. Herbert Hardesty, who was prominently featured with Domino's band for decades, took the lion'due south share of the sax solos on Domino'southward hits, with studio stalwart Lee Allen handling the rest.

Domino was a rock and roll superstar

For the rest of the decade, Domino was a stone and roll superstar, cheers to blockbusters that included I'm In Love Over again, When My Dreamboat Comes Home, Blueberry Loma (his height seller of all), and Blue Monday in 1956, I'chiliad Walkin' the next yr, Whole Lotta Loving in '58, I'one thousand Ready, I Want To Walk You lot Home, and Exist My Guest in '59, and the plaintive Walking To New Orleans and My Girl Josephine at the first of the new decade. Domino memorably guested in the stone and roll flicks 'The Girl Can't Help It,' 'Jamboree,' and 'The Large Trounce,' headlined countless package shows that barnstormed the U.S. and helped knock down segregation barriers, starred on network TV programs, and remained singularly gratis of scandal every bit he loyally doted on his huge family back habitation when he wasn't on the road.

Afterwards an amazing run on Imperial (all of his masters for the label are bachelor on Bear Family's viii-CD boxed set 'Out of New Orleans'), Domino moved over to the ABC-Paramount characterization in 1963. But by then, the glory years of New Orleans rock and roll were long in the history books. Domino made more platters for Mercury and Reprise, often recording abroad from his habitation base of operations, and toured far and wide every bit the oldies circuit welcomed him with open arms. Somewhen Domino decided to retire from the road altogether, limiting his performances to venues that were shut to habitation.

New Orleans was filled with slap-up performers during the '50s, simply there was but i Fat Man. Monumentally influential to a generation or ii of Louisiana musicians (especially the pioneers of the swamp popular movement), he was the very definition of New Orleans rock and curlicue—as all the gold records adorning his wall during the pre-Katrina days and then eloquently attested.

 --Beak Dahl

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