BIOGRAPHY AND DISCOGRAPHY

A legendary, and legendarily eccentric, pianist and songwriter whose greatest prominence came as Atlantic Records top session musician in the early 1950’s when the company began asserting itself in the rock scene thanks in part to his contributions behind the scenes.

He was born in 1918 as Harry Vann, later taking the last name of his stepfather (Walls) and ostensibly using his own surname as his new first name. He began playing piano at six years old and was already making a living touring in tent shows while still a teenager. After playing in more formal bands Walls was recruited by saxophonist Frank “Floorshow” Culley in 1949 to join his group who had just signed with Atlantic where his talents were quickly put to use backing other artists on the label as well.

With his distinctive look – a Sherlock Holmes type outfit complete with hat, pipe and cape – he gained a reputation as an eccentric but was in high demand by most East Coast labels seeking a versatile, reliable pianist to help their budding rock acts.

Like most musicians of the era Walls was robbed of songwriting credit, most notably for Big Joe Turner’s “Chains Of Love”, an aching ballad that was propelled by Walls’s stark piano accompaniment. Despite this he remained primarily associated with Atlantic into the mid-1950’s upon which he formed his own band, The Nite Riders, who had limited output on record but became a popular touring act, particularly in Canada where Vann Walls relocated permanently in the 1960’s after marrying a local woman.

Over the next few decades his musical output performed in clubs was incredibly varied, mastering all types of styles from around the world, but no more recording opportunities were forthcoming until he hooked up with Dr. John for a series of concerts in the early 1990’s that led to renewed interest in his work. A documentary on his life followed and he was received a Pioneer Award from The Rhythm And Blues Foundation in 1997.

Two years later, after a battle with cancer, Harry “Piano Man” Vann Walls died at the age of 80, playing piano in the hospital to the very end. Though few contemporary accounts of the countless hits he played on had ever mentioned his role the success of those records at the time and their enduring popularity ever since are a testament to his brilliance.
 
 
HARRY “PIANO MAN” VANN WALLS DISCOGRAPHY (Records Reviewed To Date On Spontaneous Lunacy):

COLE SLAW
(Atlantic 874; March, 1949)
As sideman for Frank Culley

CENTRAL AVENUE BREAKDOWN
(Atlantic 874; March, 1949)
As sideman for Frank Culley

FLOORSHOW
(Atlantic 880; August, 1949)
As sideman for Frank Culley

THE SNAP
(Atlantic 880; August, 1949)
As sideman for Frank Culley

AFTER HOUR SESSION
(Atlantic 888; November, 1949)
As sideman for Frank Culley… A really good musical change of pace for the honking sax player whose interplay with pianist Harry Van Walls is sublime, but the record is dragged down by unintentionally comical faux hipster patter that can’t be explained or excused. (5)

RUMBOOGIE JIVE
(Atlantic 888; November, 1949)
As sideman for Frank Culley

WAXIE MAXIE BOOGIE
(Atlantic 902; March, 1950)
As sideman for Frank Culley… A noisy, wild, joyous record, albeit with a few missteps along the way to keep it from true greatness, this is the kind of rave-up performance the band was capable of delivering and shows what a potent duo Vann Walls and Culley could be. (6)

HOP ‘N’ TWIST
(Atlantic 902; March, 1950)
As sideman for Frank Culley

EASTER PARADE (a/k/a EASTER BOOGIE)
(Derby 733; March, 1950)
As sideman for Freddie Mitchell… An audacious and compelling reworking of the hallowed Irving Berlin standard strangely enough works exceedingly well in a rock arrangement, a testament to the inspired playing of both Mitchell and Vann Walls that creates a rousing atmosphere. (7)

IDAHO BOOGIE
(Derby 733; March, 1950)
As sideman for Freddie Mitchell

TEE NAH NAH
(Atlantic 904; March, 1950)
A cover record that is a virtual carbon copy of the recent Smiley Lewis release and since Brownie McGhee (guesting as Spider Sam) isn’t as distinctive a vocalist as Smiley, there’s not much Vann Walls and company contribute to make this stand out against the original. (5)

AFTER MIDNIGHT
(Atlantic 980; December, 1952)
A good idea, a late night mood piece, has a decent start but quickly goes array as Van Walls never develops a consistent theme, choosing instead to play unrelated jazzy licks without establishing a groove underneath or a sax solo to break it up. (2)

BLUE SENDER
(Atlantic 980; December, 1952)
Everything that was wrong about the top half is done right here, as Van Walls piano is much more focused with a nice nod to “One Mint Julep” to start things off, while the tenor solo gives this an added layer to its late night ambiance. (5)