Art Tatum Performance Solo Piano Recordings From 1933 to 1952
Art Tatum
Arthur Tatum (October 13, 1909 – November 5, 1956) was a swell American jazz pianist.
Tatum grew up in Toledo, Ohio, where he began playing piano professionally and had his own radio program, rebroadcast nationwide, while notwithstanding in his teens. He left Toledo in 1932 and had residencies as a solo pianist at clubs in major urban centers including New York, Chicago, and Los Angeles.
Throughout his career, Tatum also played in after-hours venues – at which he was said to exist more spontaneous and artistic than in his regular paid performances.
In the 1940s, Tatum led a commercially successful trio for a short time and began playing in more formal jazz concert settings, including at Norman Granz-produced Jazz at the Philharmonic events.
Granz recorded Tatum extensively in solo and small group formats in the mid-1950s, with the last session occurring just two months earlier the pianist'due south death from uremia at the age of 47.
Tatum is widely regarded equally ane of the greatest jazz pianists. His playing encompassed the styles of before greats while adding harmonic and rhythmic imagination and complication.
Acclaimed for his virtuoso technique, Tatum extended the vocabulary and boundaries of jazz pianoforte and established new ground in jazz through the innovative use of reharmonization, voicing, and bitonality.
Early life
Tatum's mother, Mildred Hoskins, was born in Martinsville, Virginia, effectually 1890, and was a domestic worker. His father, Arthur Tatum Sr., was born in Statesville, Due north Carolina, and had steady employment as a mechanic.
In 1909, they made their mode from N Carolina to begin a new life in Toledo, Ohio. The couple had four children; Art was the oldest to survive. The Tatum family unit was regarded as conventional and church-going.
From infancy, Tatum had impaired vision. He had eye operations, which meant that at the historic period of eleven he could meet things that were close to him, and perhaps could distinguish colors. Whatever benefits from these procedures were reversed, however, when he was assaulted, probably in his early twenties.
As a result, he was completely blind in his left eye and had very limited vision in his right. Despite this, in that location are multiple accounts of him enjoying playing cards and pool.
He also began playing the piano from a immature age, playing by ear and aided by an excellent retentiveness and perfect pitch. As a child, he was sensitive to the piano'due south intonation and insisted it be tuned often. He learned tunes from the radio and records and copied piano coil recordings.
He had a lifelong involvement in sports and displayed an encyclopedic memory for baseball statistics.
Tatum first attended Jefferson School in Toledo, and then moved to the School for the Blind in Columbus, Ohio, tardily in 1924. In less than a twelvemonth he transferred to the Toledo School of Music.
He had formal piano lessons with Overton Yard. Rainey at either the Jefferson School or the Toledo School of Music. Rainey, who was also visually dumb, taught the classical tradition, equally he did not improvise and discouraged his students from playing jazz.
Therefore, information technology is reasonable to assume that Tatum was largely self-taught as a pianist. By the time he was a teenager, Tatum was asked to play at various social events.
Growing upward, Tatum drew inspiration principally from Fats Waller and James P. Johnson, who exemplified the stride piano style, and to some extent from the more modern Earl Hines.
Tatum identified Waller as his biggest influence, while pianist Teddy Wilson and saxophonist Eddie Barefield suggested that Hines was one of his favorite jazz pianists. Another influence was pianist Lee Sims, who did not play jazz, merely did utilize chord voicings and an orchestral approach (i.east. encompassing a full audio instead of highlighting one or more timbres) that appeared in Tatum'south playing.
Later life and career
1927–1937
In 1927, after winning an amateur competition, Tatum began playing on Toledo radio station WSPD during interludes in a morn shopping programme and soon had his own daily program.
After regular club dates, Tatum often went to afterwards-hours clubs to be with other musicians; he enjoyed listening to other pianists and preferred to play last subsequently all the others had finished. He often played for hours on end into the dawn; his radio testify was scheduled for noon, allowing him fourth dimension to residual earlier evening performances.
From 1928 to 29, the radio program was re-broadcast nationwide past the Bluish Network. Tatum also began to play in larger cities outside his hometown, including Cleveland, Columbus, and Detroit.
Equally word of Tatum spread, national performers passing through Toledo, including Duke Ellington and Fletcher Henderson, dropped in to clubs to hear him play. They were impressed by what they heard: from virtually the start of the pianist'southward career, his accomplishment was of a different society from what most people, from what even musicians, had ever heard. It made musicians reconsider their definitions of excellence, of what was possible.
Although Tatum was encouraged by comments from these and other established musicians, he felt that he was non notwithstanding, in the late 1920s, musically ready to relocate to New York City, which was the centre of the jazz world and was home to many of the pianists he had listened to when growing upward.
By the time vocalizer Adelaide Hall, touring the United States with two pianists, heard Tatum play in Toledo in 1932 and recruited him to play in her band, he took the opportunity to go to New York Metropolis.
On August five that year, Hall and her band recorded ii sides ("I'll Never Be the Same" and "Strange as It Seems") that were Tatum'southward first studio recordings. Two more than sides with Hall followed five days later on, every bit did a solo pianoforte test-pressing of "Tea for Two" that was not released for several decades.
After his arrival in New York, Tatum participated in a cutting contest at Morgan's bar in Harlem, with the established stride pianoforte masters – Johnson, Waller, and Willie "The Lion" Smith.
Tatum played his arrangements of "Tea for Two" and "Tiger Rag". Reminiscing about Tatum'south debut, Johnson said, "When Tatum played 'Tea for Ii' that night I guess that was the first time I always heard information technology really played."
Tatum thus took over equally the rex of jazz piano players. He and Waller became good friends, with similar lifestyles – both drank prodigiously and lived likewise equally their incomes permitted.
Tatum'southward first solo piano task in New York was at the Onyx Club, which was i of the get-go jazz clubs to open up on 52nd Street, and became the city's focal signal for public jazz operation for more than a decade.
He recorded his starting time four released solo sides, for Brunswick Records, in March 1933: "St. Louis Blues", "Sophisticated Lady", "Tea for Two", and "Tiger Rag". The concluding of these was a small-scale hit, impressing the public with its startling tempo of approximately 376 (quarter note) beats per minute, and with right-hand 8th notes adding to the technical feat.
During the hard economic times of 1934 and 1935, Tatum generally played in clubs in Cleveland, merely also recorded in New York iv times in 1934 and one time in the following twelvemonth. He also performed on national radio, including for the Fleischman Hour broadcast hosted past Rudy Vallee in 1935.
In August of the same year, he married Ruby-red Arnold, who was from Cleveland. He began a residence of most a yr at the 3 Deuces in Chicago the post-obit month, initially as a soloist and and then in a quartet of alto saxophone, guitar, and drums.
Art Tatum Documentary
At the end of his first 3 Deuces stint, Tatum moved to California, traveling by train because of his fright of flying.
In California, Tatum also played for Hollywood parties and appeared on Bing Crosby's radio program late in 1936. He recorded in Los Angeles for the first fourth dimension early on the post-obit year – four tracks every bit the sextet named Art Tatum and His Swingsters, for Decca Records.
Standing to travel past long-distance train, Tatum settled into a blueprint of performances at major jazz clubs in Los Angeles, Chicago, and New York, interspersed with appearances at minor clubs.
1938–1949
In March 1938, Tatum and his wife embarked on the Queen Mary for England. He performed at that place for three months and enjoyed the placidity listeners who, unlike some American audiences, did non hash out his playing.
While in England, he twice appeared on the BBC boob tube programme Starlight. Iv of his very limited compositions were also published in Britain.
The overseas trip appeared to have boosted his reputation, particularly with the white public, and he was able to have club residencies of at to the lowest degree several weeks at a time in New York over the following few years, sometimes with stipulations that no food or drink would be served while he was playing.
Tatum recorded 16 tracks in August 1938, but they were not released for at least a decade. A similar thing happened the following twelvemonth: of the eighteen sides he recorded, only two were issued as 78s.
A possible explanation is that big band music and vocalists were pop, so very few jazz pianists made solo recordings, and in that location was a very limited market for them. One of the releases, a version of "Tea for Ii", was added to the Grammy Hall of Fame in 1986.
I recording from early on in 1941, however, was commercially successful, with sales of perhaps 500,000. This was "Wee Baby Blues", performed by a sextet and with the addition of Big Joe Turner on vocals.
Informal performances of Tatum's playing in 1940 and 1941 were released after his death on the album God Is in the House, for which he was awarded the 1973 Grammy for All-time Jazz Performance by a Soloist.
The anthology title came from Waller's words when he saw Tatum enter the order he was playing in: "I but play the piano, but tonight God is in the house."
Tatum formed a trio with guitarist Tiny Grimes and bassist Slam Stewart. With the trio, he enjoyed more than popular success, although some critics expressed disappointment. However, Tatum was awarded Esquire magazine'southward prize for pianists in its 1944 critics' poll.
All of Tatum's studio recordings in 1944 were with the trio, and radio appearances continued. He abandoned the trio in 1944, possibly at an agent's behest, and did not record with one again for viii years.
Early in 1945, Billboard reported that Tatum was being paid $1,150 a calendar week every bit a soloist by the Downbeat club on 52nd Street to play four sets of twenty minutes each per night. This was described much afterward every bit an "unheard-of figure" for the time.
The Billboard reviewer commented that "Tatum is given a jerry-built instrument, some bad lights and nothing else", and observed that he was almost inaudible beyond the front seating because of the audience racket.
Tatum in 1946
Aided by name recognition from his record sales and reduced entertainer availability because of the World War 2 draft, Tatum began to play in more formal jazz concert settings in 1944 – actualization at concert halls in towns and universities all effectually the U.s..
The venues were much larger than jazz clubs – some had capacities in excess of 3,000 people – allowing Tatum to earn more than money for much less work. Despite the more formal concert settings, Tatum preferred not to adhere to a set programme of pieces for these performances.
Performances at concert settings connected in the second half of the 1940s, including participation in Norman Granz-produced Jazz at the Philharmonic events. In 1947 Tatum again appeared on movie, this time in The Fabulous Dorseys.
In 1949 he signed to Capitol Records and recorded 26 pieces for them. He too played for the first time at Social club Alamo in Detroit only stopped when a black friend was non served. The owner subsequently advertised that black customers were welcome, and Tatum went on to play there frequently in the post-obit few years.
Although Tatum remained an admired effigy, his popularity waned in the mid-to-late 1940s. This was considering of the appearance of bebop – a musical manner that Tatum did not encompass.
1950–1956
In 1951 Tatum began working with a trio with bassist Stewart and guitarist Everett Barksdale. In 1952 Tatum toured the U.s. with fellow pianists Erroll Garner, Pete Johnson, and Meade Lux Lewis, for concerts billed equally "Piano Parade".
Tatum's four-twelvemonth absenteeism from the recording studios every bit a soloist ended when Granz, who owned Clef Records, decided to tape his solo playing in a fashion that was unprecedented in the recording industry: invite him into the studio, start the tape, and let him play whatever he felt like playing.
At the fourth dimension this was an astonishing enterprise, the most extensive recording that had been done of any jazz figure. Over several sessions starting belatedly in 1953, Tatum recorded 124 solo tracks, all only three of which were released, spread over a total of 14 LPs.
Granz reported that the recording record ran out during ane piece, only Tatum, instead of starting once more from the offset, asked to heed to a playback of just the concluding eight bars, so continued the operation from at that place on the new tape, keeping to the same tempo as on the first endeavor. The solo pieces were released past Clef as The Genius of Art Tatum and were added to the Grammy Hall of Fame in 1978.
Tatum was, variously, criticized for not playing real jazz, the choice of fabric, and existence past his best, and praised for the enthralling intricacy and detail of his playing, and his technical perfection.
Nevertheless, the releases renewed attending on the pianist, including for a newer generation; he won DownBeat magazine'southward critics' poll for pianists three years in a row from 1954.
Following a health warning, Tatum stopped drinking in 1954 and lost weight. That year, his trio was part of bandleader Stan Kenton'southward x-week bout named "Festival of Modernistic American Jazz".
The trio did not play with Kenton's orchestra on the tour, but they had the same performance schedule, meaning Tatum sometimes traveled long distances by overnight train while the others stayed in a hotel and so took a morning time flight.
By 1956, Tatum'due south health had deteriorated due to avant-garde uremia. Nevertheless, in Baronial of that year, he played to the biggest audition of his career: nineteen,000 gathered at the Hollywood Bowl for another Granz-led result.
The following month, he had the last of the Granz group recording sessions, with saxophonist Ben Webster, and and so played at least two concerts in October. He was too unwell to continue touring, so returned to his habitation in Los Angeles. Musicians visited him on Nov 4, and other pianists played for him every bit he lay in bed.
Tatum died the following mean solar day, at Queen of Angels Medical Center in Los Angeles, from uremia. He was buried at Rosedale Cemetery in Los Angeles but was moved to the Forest Lawn cemetery in Glendale, California in 1992 by his second wife, and then she could exist buried side by side to him.
Tatum was inducted into the DownBeat Jazz Hall of Fame in 1964 and was given a Grammy Lifetime Achievement Accolade in 1989.
Personality and habits
Tatum was independent-minded and generous with his time and money. He avoided joining the Musicians' Marriage for every bit long as he could considering he felt that he would be restricted past having to follow its rules.
He besides disliked anything that drew attending to his blindness: he did not want to be physically led, then planned his independent walk to the piano in clubs where possible.
People who met Tatum consistently "describe him equally totally lacking in arrogance or ostentation", and every bit being gentlemanly in behavior. He typically gave very niggling data almost himself in interviews and preferred not to discuss his personal life or history with others, even with people he knew.
Afterward hours and repertoire
Tatum was said to be more spontaneous and creative in free-form nocturnal sessions than in his scheduled performances.
In a professional person setting, he would often give audiences what they wanted – performances of songs that were similar to his recorded versions – but decline to play encores.
In afterwards-hours sessions with friends, he would play the blues, improvise for long periods on the same sequence of chords, and move even more abroad from the tune of a composition. Tatum also sometimes sang the blues in such settings, accompanying himself on piano.
In after-hours performances, Tatum'south repertoire was much wider than for professional appearances, for which his staples were American popular songs.
During his career, he also played his own arrangements of a few classical piano pieces, including Dvořák's Humoresque and Massenet'due south "Élégie", and recorded around a dozen blues pieces.
Over time, he added to his repertoire – by the tardily 1940s, nigh of the new pieces were medium-tempo ballads but too included compositions that presented him with harmonic challenges, such equally the simplicity of "Caravan" and complexity of "Have You Met Miss Jones?" He did non add together to the classical pieces he had used earlier.
Style and technique
Saxophonist Benny Light-green wrote that Tatum was the only jazz musician to "effort to conceive a style based upon all styles, to chief the mannerisms of all schools, and then synthesize those into something personal".
Tatum was able to transform the styles of preceding jazz pianoforte through virtuosity: where other pianists had employed repetitive rhythmic patterns and relatively simple ornamentation, he created "harmonic sweeps of color and unpredictable and ever-irresolute shifts of rhythm."
Musicologist Lewis Porter identified three aspects of Tatum's playing that a casual listener might miss: the dissonance in his chords; his avant-garde use of substitute chord progressions; and his occasional utilize of bitonality (playing in two keys at the aforementioned fourth dimension).
On occasion, the bitonality was against what another musician was playing, as in "Lonesome Graveyard Blues" with guitarist Oscar Moore. Prior to Tatum, jazz harmony was mainly triadic, with flattened sevenths and infrequent ninths.
He went beyond this, influenced by the harmonies of Debussy and Ravel. He incorporated upper intervals such as elevenths and thirteenths and added tenths to the left-manus vocabulary of the earlier stride piano way.
Tatum had a unlike way of improvising from what is typical in modernistic jazz. He did not try to create new melodic lines over a harmonic progression. Instead, he implied or played the original melody or fragments of it, while superimposing countermelodies and new phrases to create new structures based on the variation.
"The harmonic lines may be altered, reworked, or rhythmically rephrased for moments at a time, but they are still the base of operations underneath Tatum's superstructures. The melodic lines may be transformed into fresh shapes with only a note or a beat or a phrase particle retained to associate the new with the original, nonetheless the melody remains, if only in the listener's imagination."
This flexibility extended to his use of rhythm: he employed "always-changing combinations of notes per beat fifty-fifty in the most rapid passages. He could apply different variation techniques simultaneously, and used subtle rhythmic intensification and relaxation to give articulate identity and shape to his phrases."
His rhythmic sense allowed him to move away from the established tempo of a piece for extended periods without losing the beat.
For critic Martin Williams, there was as well the matter of the pianist's sly humour when playing: "when nosotros fear he is reaching the limits of romantic bombast, a quirky phrase, an exaggerated ornament will remind us that Tatum may be having us on.
He is also inviting the states to share the joke and heartily kidding himself as well every bit the concert hall traditions to which he alludes."
Prior to the 1940s, Tatum'due south way was based on popular vocal class, which often meant two bars of melodic development followed by ii more than melodically static bars, which he filled with very fast runs or arpeggios.
From the 1940s, he progressively lengthened the runs to viii or more than confined, sometimes continuing them beyond the natural eight-bar boundaries within a composition's structure, and began to use a harder, more than aggressive set on.
He besides increased the frequency of harmonic substitutions and the variety of musical devices played by his left paw and developed a greater harmonic and contrapuntal balance across the piano's upper and lower registers.
Critic Whitney Balliett commented on the overall class of Tatum'south manner: "his strange, multiplied chords, nonetheless largely unmatched by his followers, his laying on of 2 and iii and 4 melodic levels at once was orchestral and even symphonic."
This style was non one that could be adjusted to the form of bebop: "the orchestral approach to the keyboard was as well thick, as well textured to work in the context of a bebop rhythm section."
A full general criticism of him in a group setting was that he overwhelmed the other musicians, and appeared to compete with any soloist that he was ostensibly supporting.
Clarinetist Buddy DeFranco said that playing with Tatum was "like chasing a train", and the pianist himself said that a band got in his fashion.
Tatum was serious at the keyboard, not attempting crowd-pleasing gestures, and he maintained a calm demeanor. This accentuated the impact of his playing on observers, as did his seemingly effortless technique, as fellow pianist Hank Jones noted – the manifestly horizontal gliding of his hands across the keys stunned his contemporaries.
Tatum'southward relatively straight-fingered technique compared to the curvature taught in classical training contributed to this visual impression: a critic wrote in 1935 that, when playing, "Tatum'south hand is almost perfectly horizontal, and his fingers seem to activate around a horizontal line drawn from wrist to fingertip."
Tatum was able to use his thumbs and little fingers to add melody lines while playing something else with his other fingers.
Drummer Bill Douglass, who played with Tatum, commented that the pianist would "do runs with these two fingers up here and and so the other two fingers of the same mitt playing something else down in that location. Two fingers on the black keys, and and so the other two fingers would be playing something else on the white keys. He could practice that in either hand".
His large hands allowed him to play a left-mitt trill with his thumb and forefinger while also using his little finger to play a notation an octave lower.
He was also capable of reaching twelfth intervals in either paw and could play a succession of chords at rapid tempos. He also had a strong sense of time and was able to play whatsoever of his chosen cloth in whatever key.
Tatum's bear upon has also attracted attention: for Balliett, "No pianist has ever hit notes more beautifully. Each i was light and complete and resonant, like the letters on a finely printed page. Vast lower-register chords were unblurred, and his highest notes were polished silver."
Tatum could maintain these qualities of touch on and tone fifty-fifty at the well-nigh rapid tempos when about all other pianists would be incapable of playing the notes at all.
Pianist Chick Corea commented that "Tatum is the only pianist I know of earlier Bill Evans that too had that plumage-light affect – even though he probably spent his early years playing on really bad instruments."
Among the musicians who said that Tatum could make a bad pianoforte sound good were Billy Taylor and Gerald Wiggins. The latter revealed that Tatum was able to identify and avoid using whatever keys on a bad piano that were not working, while guitarist Les Paul recounted that Tatum sometimes resorted to pulling upward stuck keys with 1 hand, mid-functioning so that he could play them again.
Influence
Tatum'south improvisational way extended what was possible on jazz pianoforte. The virtuoso solo aspects of Tatum's style were taken on past pianists such equally Adam Makowicz, Simon Nabatov, Oscar Peterson, and Martial Solal.
Even "musicians of radically dissimilar outlook, such as Bud Powell, Lennie Tristano, and Herbie Hancock, learned key Tatum performances by rote, though few could compass his technical range or copy his inimitable, plush tone." Although Powell was of the bebop movement, his prolific and heady style showed Tatum's influence.
Mary Lou Williams said, "Tatum taught me how to hit my notes, how to command them without using pedals. And he showed me how to keep my fingers apartment on the keys to get that clean tone."
Tatum's influence went beyond the piano, however: his innovations in harmony and rhythm established new footing in jazz more broadly. He fabricated jazz musicians more than aware of harmonic possibilities by irresolute the chords that he used with keen frequency; this helped lay the foundations for the emergence of bebop in the 1940s. He also pioneered modern chord voicing and chord substitution in jazz.
Other musicians sought to transfer elements of Tatum's pianistic virtuosity to their own instruments.
When newly arrived in New York, saxophonist Charlie Parker worked for 3 months as a dishwasher in a restaurant where Tatum was performing and frequently listened to the pianist.
"Possibly the most important idea Parker learned from Tatum was that any notation could exist made to fit in a chord if suitably resolved." Trumpeter Airheaded Gillespie was too affected by Tatum's speed, harmony, and daring solos.
Vocalizer Tony Bennett incorporated aspects of Tatum into his singing: "I'd listen to his records almost daily and try to phrase like him. I only take his phrasing and sing information technology that way."
Saxophonist Coleman Hawkins changed his playing fashion after hearing Tatum play in Toledo in the 1920s: Hawkins's "arpeggio-based style and his growing vocabulary of chords, of passing chords and the relationships of chords, were confirmed and encouraged by his response to Art Tatum."
Some musicians were negatively affected by exposure to Tatum's abilities. Many pianists tried to copy him and accomplish the same level of ability, hindering their progress towards finding their own fashion.
Others, including trumpeter Rex Stewart and pianists Oscar Peterson and Bobby Short, were overwhelmed and began to question their own abilities.
Some musicians, including Les Paul and Everett Barksdale, stopped playing the pianoforte and switched to another instrument after hearing Tatum.
Critical standing
At that place is little published data bachelor about Tatum's life. One total-length biography has been published – Too Marvelous for Words (1994), written by James Lester.
This lack of detailed coverage may be attributable to Tatum'southward life and music non fitting whatsoever of the established critical narratives or frameworks for jazz: many historians of the music have marginalized him for this, so "not only is Tatum underrepresented in jazz criticism only his presence in jazz historiography seems largely to prompt no particular endeavor in historians beyond descriptive writing designed to summarize his pianistic approach".
Critics have expressed strong opinions most Tatum's artistry: "Some applaud Tatum equally supremely inventive, while others say that he was boringly repetitive and that he barely improvised."
Gary Giddins suggested that Tatum's standing has not been elevated to the very highest level of jazz stars among the public because he did non employ the expected linear style of improvisation, and instead played in a style that listeners have to listen to with concentration, and so he "becalms many listeners into hapless indifference".
Recognition outside music
In 1993, an MIT student in the field of computational musicology coined the term "tatum", which was named in recognition of the pianist's speed. It has been divers every bit "the smallest time interval betwixt successive notes in a rhythmic phrase", and "the fastest pulse present in a piece of music".
In 2003, a historical marker was placed outside Tatum's childhood domicile at 1123 City Park Avenue in Toledo, but by 2017 the unoccupied property was in a state of disrepair. At the Lucas Canton Arena of Toledo, a 27-feet-high sculpture, the "Fine art Tatum Celebration Column", was unveiled in 2009.
References:
James Lester: As well Marvelous for Words: The Life and Genius of Art Tatum.
Wikipedia.
Art TATUM LIVE
i.Tiny'due south Exercice, Three Deuces, New-York, 1943
2.The Fabled Dorseys (film), 1946
three.Yesterdays, Spike Jones Show, New-York, 17 April 1954
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Art Tatum – Humouresque – Alive
This is Tatum'due south version of Humoresque No 7 in G Apartment Major for piano past Dvorak.
Here is the original by Dvorak.
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Fine art Tatum plays Elegie – broadcast recording, 1940
This is Tatum'southward version of Élégie from Les Érinnyes (1872) for cello and orchestra (Op.10, no.5) by Jules Massenet.
Hither is the original past Massenet.
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THE All-time OF Fine art TATUM
Art Tatum: pianoforte solo
1 Become Happy (Arlen – Koehler) – february 22, 1940 (00:00)
2 Begin the Beguine (Porter) – july 26, 1940 (2:24)
3 Rosetta (Hines – Woode) – july 26, 1940 (v:24)
4 Tea for Two (Youmans – Caesar) – march 21, 1933 (08:xiii)
5 St. Louis Dejection (Handy) – march 21, 1933 (11:26)
six Sophisticated Lady (Ellinngton – Mills) – march 21, 1933 (14:02)
7 Tiger Rag (La Rocca) – march 21, 1933 (17:19)
viii Stardust (Carmichael – Parish) – august 24, 1934 (xix:38)
9 I Ain't Got Nobody (Williams – Graham) – august 24, 1934 (22:51)
x Stormy Weather condition (Arlen – Koehler) – november 29, 1937 (26:xi)
11 Humoresque (Dvorak) – february 22, 1940 (29:24)
Art Tatum Trio: Fine art Tatum (piano), Oscar Pettiford (bass), Sidney Catlett (drums)
12 Sweet Lorraine (Burwell – Parish) – january xviii, 1944 (32:28)
Fine art Tatum and His Band: Joe Thomas (trumpet), Edmond Hall (clarinet), Art Tatum (Piano), John Collins (guitar), Billy Taylor (bass), Eddie Dougherty (drums)
xiii Bombardment Bounce (Tatum) – january 21, 1941 (35:55)
14 Stompin' at the Savoy (Sampson – Webb – Goodman) – january 21, 1941 (38:26)
Art Tatum Trio: Art Tatum (pianoforte), Tiny Grimes (guitar), Slam Stewart (bass)
15 On the Sunny Side of the Street (McHugh – Fields) – may 1, 1944 (41:41)
16 Flying Abode (Hampton – Goodman) – may 1, 1944 (46:06)
17 Dark Eyes (traditional) – may 1, 1944 (fifty:16)
18 Honeysuckle Rose (Waller – Razaf) – c. may, 1943 (54:57)
19 Liza (Gershwin – Kahn) (V-Disc version) – october 26, 1945 (57:eighteen)
Art Tatum: piano solo
20 Trunk and Soul (Dark-green – Sour – Heyman) (5-Disc version) – c.1945 (59:17)
21 Fine and Dandy (Swift) – november 21, 1944 (ane:02:30)
22 Midnight Melody (Tatum) – c. 1944 (ane:05:eighteen)
23 Ja-Da (Carleton) – november 21, 1944 (1:09:17)
24 Information technology Had To Be You (Jones – Kahn) – nov 21, 1944 (1:11:45)
25 52nd Street Blues (Tatum) – c. 1944 (i:14:21)
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Art Tatum – Dancing In The Dark (Full Anthology)
1 | 00:00 | Art Tatum – Blue Skies
2 | 02:53 | Art Tatum – When A Adult female Loves A Man
3 | 05:57 | Art Tatum – Ill Current of air
iv | 08:54 | Art Tatum – Mean To Me
five | 11:36 | Art Tatum – Someone To Sentry Over Me
6 | xiv:27 | Art Tatum – I'll Never Exist The Same
7 | 17:52 | Art Tatum – Tea For Two
8 | 21:07 | Art Tatum – Moonglow
9 | 23:49 | Art Tatum – Exactly Like Yous
10 | 28:57 | Art Tatum – I Know That Y'all Know
11 | 33:eighteen | Art Tatum – Esquire Bounce
12 | 35:23 | Art Tatum – Beautiful Love
13 | 38:37 | Art Tatum – Tiger Rag 2
14 | twoscore:58 | Art Tatum – Aunt Hagar's Blues
15 | 43:41 | Art Tatum – In A Sentimental Mood
xvi | 47:02 | Art Tatum – Tin can't We Be Friends
17 | 49:36 | Fine art Tatum – The Man I Love
18 | 54:40 | Art Tatum – Three Little Words
19 | 57:04 | Art Tatum – Limehouse Blues
20 | 59:28 | Fine art Tatum – Dancing In The Nighttime
21 | ane:02:26 | Art Tatum – Fourth dimension On My Hands
22 | 1:05:31 | Art Tatum – Why Was I Born
23 | 1:08:16 | Fine art Tatum – Willow Weep For Me
24 | 1:11:eleven | Art Tatum – Yesterdays
25 | 1:xiv:xviii | Fine art Tatum – Night And Day
26 | 1:17:49 | Art Tatum – Sombody Loves Me
27 | one:20:36 | Fine art Tatum – Got Rhythm
28 | i:22:55 | Art Tatum – I Gotta Right To Sing The Blues
29 | one:25:51 | Art Tatum – Crazy Rhythm
thirty | 1:28:11 | Art Tatum – My Heart Stood Still
31 | 1:31:22 | Art Tatum – Simply-a-sittin' And A-rockin'
32 | 1:34:x | Art Tatum – Dark Optics
33 | 1:38:54 | Art Tatum – Later on You've Gone
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Art Tatum – Tea for Two (1933 – 1939 – 1953)
3 versions in comparison:
0:00 – 1933
3:15 – 1939
5:54 – 1953
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The Incredible Art Tatum – Anthology of inhuman stride
excerpts from:
one. Chinatown, my Chinatown – 1934 (0:00)
two. Lulu'southward Back in Town – 1934 (ane:17)
3. Liza – 1934 (2:26)
4. I Would Do Annihilation for You – 1934 (4:04)
5. Halleluja – 1939 (5:09)
6. The Shout – 1938 (five:58)
vii. Tiger Rag – 1935 (half-dozen:55)
8. I Would Do Anything For Y'all – 1935 (7:38)
9. Happy Feet – 1938 (9:09)
10. Song of the Vagabonds – 1946 (x:42)
11. The Shout – 1935 (11:37)
12. Elegie – 1940 (12:11)
13. I Got Rhythm – 1940 (12:59)
14. Ain't Misbehavin – 1944 (13:52)
xv. I Know That You lot Know – 1949 (14:38)
–
As well Marvelous for Words (1940 – 1950)
Two versions:
1940: broadcast – Los Angeles
1950: recorded at the home of Ray Heindorf in Hollywood (at two:29)
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Source: https://ecstep.com/art-tatum/