Biography
Pat Flowers absorbed the pervasive influence of Thomas "Fats" Waller early on and mastered the intricate demands of Harlem stride piano, forging an impressive command of the keyboard in the process. During the mid-'40s he briefly served Victor as a deliberate Fats Waller stand-in, an effort by the label to match Vocalion's earlier Putney Dandridge and Decca's Bob Howard, whose own Waller-inflected performances continued into 1947. Each pianist reached his strongest form by remaining faithful to personal strengths while acknowledging Waller and the broader Harlem stride tradition. Flowers maintained a close friendship with stride master Donald Lambert, both musicians possessing extraordinary improvisational gifts; Lambert performed in silence at the keyboard, whereas Flowers devoted considerable effort to replicating Waller's vocal style. The trajectory of Flowers illustrates the rewards and pitfalls inherent in faithfully emulating another artist's approach.
Born Ivelee Flowers in Detroit, MI, on October 16, 1917, he obtained classical instruction at a local conservatory while devoting much of his youth to repeated listening of Fats Waller recordings and attending Waller's live appearances at every opportunity. Around age 19, Flowers established a personal connection with the celebrated pianist, who endorsed the younger musician's talent and encouraged him to turn professional. When Waller & His Rhythm took up residence at the Yacht Club on 52nd Street in New York City in 1939, Flowers secured piano work in the lobby, drawing the attention of producer John Hammond, who attempted to arrange engagements for the newcomer. After returning to Detroit long enough to initiate an enduring association with the operators of Baker's Bar at Eight Mile and Livernois, Flowers headed back to New York and appeared at the Swing Club, the Famous Door, and assorted venues throughout Greenwich Village. His initial recordings, cut in 1941, generated minimal notice.
Following Waller's sudden death in December 1943, Flowers persisted in playing and singing in the manner of his idol. Accepting an offer from Waller's final manager Ed Kirkeby, he headlined an all-star Tribute to Fats Waller broadcast in February 1945 and cut sides for Hit, Guild, and V-Disc. The 1945 instrumental sessions featured deft stride and swing treatments of compositions by J.S. Bach, Johann Strauss, and Frederic Chopin, together with ballads, standards, and boogie-woogie pieces such as "Eight Mile Boogie," a direct nod to his Detroit origins. In the summer of 1946 Flowers began recording for Victor alongside Herman Autrey, Gene Sedric, Cedric Wallace, and Slick Jones, the musicians who had long formed the nucleus of Waller's Rhythm unit; the ensemble was presented as Pat Flowers & His Rhythm.
Ed Kirkeby, who had earlier produced hot jazz and novelty discs with the California Ramblers, now managed Flowers and assisted in devising song titles such as "Bring Me Some Money Honey," "Exhilarated, Exasperated, Exhausted," and "Aloysius Do the Dishes." Additional repertoire drew from Louis Jordan, the King Cole Trio, and, naturally, Fats Waller. The 1948 AFM recording ban sidelined Flowers from the studio, prompting a return to steady engagements at Baker's Bar, later renamed Baker's Keyboard Lounge during his lengthy stay. In November 1955 he opened for Art Tatum; the following February he concluded his run at Baker's and relocated to the Danish Inn in Farmington while also completing a modest amount of recording for Dot. Although he toured Europe in the mid-'70s and made an album for Black and Blue featuring bassist Slam Stewart, Flowers spent most of his remaining years largely out of the spotlight. He died in Detroit on October 6, 2000. The bulk of his recordings has appeared in the Classics Chronological Series.
Born Ivelee Flowers in Detroit, MI, on October 16, 1917, he obtained classical instruction at a local conservatory while devoting much of his youth to repeated listening of Fats Waller recordings and attending Waller's live appearances at every opportunity. Around age 19, Flowers established a personal connection with the celebrated pianist, who endorsed the younger musician's talent and encouraged him to turn professional. When Waller & His Rhythm took up residence at the Yacht Club on 52nd Street in New York City in 1939, Flowers secured piano work in the lobby, drawing the attention of producer John Hammond, who attempted to arrange engagements for the newcomer. After returning to Detroit long enough to initiate an enduring association with the operators of Baker's Bar at Eight Mile and Livernois, Flowers headed back to New York and appeared at the Swing Club, the Famous Door, and assorted venues throughout Greenwich Village. His initial recordings, cut in 1941, generated minimal notice.
Following Waller's sudden death in December 1943, Flowers persisted in playing and singing in the manner of his idol. Accepting an offer from Waller's final manager Ed Kirkeby, he headlined an all-star Tribute to Fats Waller broadcast in February 1945 and cut sides for Hit, Guild, and V-Disc. The 1945 instrumental sessions featured deft stride and swing treatments of compositions by J.S. Bach, Johann Strauss, and Frederic Chopin, together with ballads, standards, and boogie-woogie pieces such as "Eight Mile Boogie," a direct nod to his Detroit origins. In the summer of 1946 Flowers began recording for Victor alongside Herman Autrey, Gene Sedric, Cedric Wallace, and Slick Jones, the musicians who had long formed the nucleus of Waller's Rhythm unit; the ensemble was presented as Pat Flowers & His Rhythm.
Ed Kirkeby, who had earlier produced hot jazz and novelty discs with the California Ramblers, now managed Flowers and assisted in devising song titles such as "Bring Me Some Money Honey," "Exhilarated, Exasperated, Exhausted," and "Aloysius Do the Dishes." Additional repertoire drew from Louis Jordan, the King Cole Trio, and, naturally, Fats Waller. The 1948 AFM recording ban sidelined Flowers from the studio, prompting a return to steady engagements at Baker's Bar, later renamed Baker's Keyboard Lounge during his lengthy stay. In November 1955 he opened for Art Tatum; the following February he concluded his run at Baker's and relocated to the Danish Inn in Farmington while also completing a modest amount of recording for Dot. Although he toured Europe in the mid-'70s and made an album for Black and Blue featuring bassist Slam Stewart, Flowers spent most of his remaining years largely out of the spotlight. He died in Detroit on October 6, 2000. The bulk of his recordings has appeared in the Classics Chronological Series.