The Art Of Tatum - Art Tatum

 

Love Me

The Art Of Tatum

Piano Solos

Art Tatum

Decca Records DL 8715

1958

From the back cover: The first true jazz virtuoso, Tatum essayed interest in music at thirteen. His family encouraged him to take music lessons. Starting on violin, Art changed over to piano after a short while, and found the instrument more compatible to his musical needs. At 18, (1928) he initiated his professional career with a radio show over station WSPD in his home town, Toledo, Ohio.

Piped across the board on NBC Blue Network, the 15 minute program helped Tatum to a reputation that would mushroom to fantastic proportions before long. In addition to his radio work, Art worked in clubs, and often frequented 'after hours' spots where he felt free, and could play as he pleased.

In 1932, he joined singer Adelaide Hall as her accompanist, and came to New York for the first time. His first recordings and a succession of appearances around town, notably at the Onyx Club, were catalytic to engendering great interest in the pianist.

A period spent in Chicago followed (1935). Already a legend, musicians passing through, as well as native 'Windy City' players, filled The Three Deuces to hear the piano man who Fats Waller felt was of 'god-like' proportions.

In 1937, Tatum worked in Hollywood; in 1938, he toured Britain briefly, playing a series of music hall engagements; and in 1941, The Art Tatum Trio was born. With Tiny Grimes, guitar; and Slam Stewart, bass; Art became a major commercial attraction along New York's "Swing Street" – 52nd Street.

Fascinating interplay, and whirlwind Tatum gave the group an identity, musical stature. However, a tendency to a commercial brand of humor, lapses in taste, and what some writers considered (rightfully so) a constricted Tatum, made for reservations in certain quarters.

With the turn in public and trade interest to the boppers, "modernism", in general, in the late forties, Tatum went into a temporary eclipse. This is somewhat humorous in the light of the fact that Tatum was one of the direction-givers for the modernists.

The return to favor of the 'mainstream' artist in the early 'fifties brought Tatum back to the forefront. Unfortunately, the time left for "the big man' was short. Living life to the hilt had already affected his health. Warned by doctors to slow down, he heeded them with half an ear. Soon his playing began to suffer.

By mid-October of 1956, Tatum found it increasingly difficult to play at length. One evening during a night-club engagement, fatigue took hold, and he found he could not continue after the second set. Cancelling out the rest of that engagement, the pianist returned to his home in Los Angeles to rest, hoping to return to action as soon as he came to himself. This never happened.

On November 4, 1956, Tatum was hospitalized; on November 10, he was dead. Like many of the giants of jazz, life was comparatively short (46 years), but the legacy left behind was large and lasting.

This collection with the exceptions of "I Would Do Anything For You," cut by the trio – Slam Stewart, bass: Tiny Grimes, guitar; on January 5, 1944, and "Indiana," etched on June 26th, 1940 (solo), was recorded in Los Angeles on February 22, 1940. This is Tatum in his "middle period," the most fruitful, creative period of his career.

The much discussed interpretations of classical pieces – "Hunoresque" and "Elegie" – speak well for Tatum's inclination to do the unconventional in a striking manner. The former, most notably for striking contrasts, apt development of relatively banal material, the pyrotechnics, leave this writer aghast.

"Get Happy" is Tatum 'the flying orchestra'; the wideness of his conception and technical facility permitting incorporation of a variety of elements; his extraordinary imagination and harmonic sense creating a feeling of modernity years ahead of its time. And "Cocktails For Two", the fully investigated ballad, illustrative of a restless bu organized talent.

These, and the rest of the selections in this set delineate a talent of mammoth proportions. An unusual feeling for dynamics is underlined throughout; his feeling for musical color belies an almost complete blindness; his redressing of selections in almost new vestments  by vital utilization of variations is quite unforgettable. – Burt Kroall

From Billboard - May 26, 1958: Many jazz buffs will be interested in this re-release of piano solos by the late, great Art Tatum during his most fruitful era, the early 1940s. All but one of the selections was written by Tatum in 1940, with the other written in 1944 with his trio, Slam Stewart on bass and Tiny Grimes on guitar. The selections demonstrate the amazing inventiveness of Tatum on such selections as "Elegia," "Humoresque," "Sweet Lorrian," "Get Happy," and other standards.

Elegie

Humoresque

Sweet Lorraine

Get Happy

Moonglow

Indiana

Lullaby Of The Leaves

Tiger Rag

Cocktails For Two

Emaline

Love Me

I Would Do Anything For You