Fats Domino

By Isaka Shamsud-Din
“Fats Domino’s music wasn’t just about notes and rhythms; it was about joy, about connection and about having a good time. He placed a premium on feel, particularly how rock should also roll…” 
––Stephen Thomas Erlewine, Billboard Magazine 
 
Fats Domino is credited as one of the artists who created rock and roll. His song “The Fat Man,” recorded in 1949, is regarded by many music critics as the first recorded rock and roll song in history. He was a fantastic performer and headlined shows in the mid-1950s that were second in attendance only to Elvis Presley’s, but he was a humble man who stayed at the piano, anchored his band’s sound, and avoided the flashy antics that made performers like Jerry Lee Lewis and Little Richard stand out. Rolling Stone called him “the quiet giant of rock & roll.” His humility and his choice to "just play the piano” and sing without showboating are cited as reasons he doesn’t always get the attention of other performers. 

In the summer of 1957, Fats rolled into Portland to play a show at the Crystal Ballroom. This was during the Crystal’s era of eclectic line ups that included high-society old-time dances, sorority pajama parties, community gatherings of the Roma people, and concerts featuring R&B and soul artists. James Brown, Tina Turner, Etta James, Little Richard, BB King, Wilson Pickett, and The Temptations all played at the downtown venue during this era.  

Isaka Shamsud-Din depicted many of these Black artists in panels that hang at Ringlers Pub and Lola’s Room. Our collaboration with Isaka on the Crystal Blocks’ artwork began around 2001 and continued for over a decade. The purpose was to bring attention to a part of Portland music history that had been neglected and almost forgotten. He created art panels and headboards for Crystal Hotel rooms 307 and 309, featuring artists Wilson Pickett and Little Richard. The Fats Domino panel was completed as part of the work done for the hotel, which opened in 2011. 

In the panel, Fats is smiling at the piano. He is bordered by dominoes – a nod to his last name, of course – and surrounded by the names of white musicians he influenced with his joyfully infectious music. The names are of white men who are accustomed to the spotlight and who are often the focus when the origins of rock and roll are discussed. In this scene, they are in the background and their names are difficult to make out. Fats Domino is centerstage and they are there to watch his show.