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| 4.806 Ft
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| 1. | Wrap Your Troubles in Dreams
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| 2. | Sittin' An' A Rockin'
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| 3. | You're Drivin' Me Crazy
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| 4. | Tenderly
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| 5. | Over the Rainbow
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| 6. | In a Sentimental Mood
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| 7. | You Took Advantage of Me
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| 8. | She's the Talk of the Town
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| 9. | She's Funny That Way
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| 10. | I'll Never Be The Same
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| 11. | Night and Day
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Jazz / Boogie-Woogie, Swing, Stride
Art Tatum - Solo Piano
"Disque d'Emoi" by Jazzmagazine
These rare and historic recordings were originally made on a private tape at Art Tatum's home, during his time in California at the end of the forties.
Harry Babasin Source Material
Jordi Pujol Producer
Mike Baillie Liner Notes
That Art Tatum was the single most astounding jazz musician ever will never be in dispute. Whatever controversy might surround the brilliant pianist is that he may have been at best a showoff, or at worst overwhelming. But there is no doubt that when Tatum stepped up to the piano bench, listeners were prepared to be dazzled and blown away, or left to mutter to themselves that somehow God had entered their lives on any given night when he performed. As very few unissued Tatum tracks exist, these solo piano home recordings done in California in the late '40s were unearthed by jazz bassist Harry Babasin, and they are a wondrous grog to guzzle and drink in without hesitation. These 11 standards fall along the lines of all of Tatum's conceptual deviations, but in some magical way he always breathed new life and fire into well-worn melodies, with his flair for the dramatic and penchant for startling flourishes indiscriminately tossed around every step of the way. How he wraps simple melodies around his dizzying arpeggios during "Wrap Your Troubles in Dreams" and the staggered phrasings he employs in and out of time during "Night and Day" should impress even the most jaded. Tatum also incorporates stride elements as much as his rapid runs, infusing the blues, too, on "She's Funny That Way," while playing nicer, prettier lines for "I'll Never Be the Same," though he still can't resist running the table. Compare his version of "In a Sentimental Mood" to Duke Ellington's original, and you'll hear Tatum taking multiple risks via abrupt thematic changes within a mellow melodic mood. Marvel at the astonishingly mad "You're Drivin' Me Crazy," where the confluence of virtuosity and stride meet halfway, the parlor trick tune "You Took Advantage of Me" in a demonstration of sheer wizardry and speed, the calmed down (for Tatum), relaxed, and refined "It's the Talk of the Town," and the internally toned tempo but still anxiously rendered "Tenderly." The sound reproduction and quality on this recording are excellent, with every phrase, nuance, and expression clearly heard. Though many other Tatum solo recordings rank high in his discography, In Private also has to be rated with his very best, and comes highly recommended. ~ Michael G. Nastos, All Music Guide
Art Tatum
Active Decades: '20s, '30s, '40s and '50s
Born: Oct 13, 1909 in Toledo, OH
Died: Nov 05, 1956 in Los Angeles, CA
Genre: Jazz
Styles: Boogie-Woogie, Swing, Stride
Art Tatum was among the most extraordinary of all jazz musicians, a pianist with wondrous technique who could not only play ridiculously rapid lines with both hands (his 1933 solo version of "Tiger Rag" sounds as if there were three pianists jamming together) but was harmonically 30 years ahead of his time; all pianists have to deal to a certain extent with Tatum's innovations in order to be taken seriously. Able to play stride, swing, and boogie-woogie with speed and complexity that could only previously be imagined, Tatum's quick reflexes and boundless imagination kept his improvisations filled with fresh (and sometimes futuristic) ideas that put him way ahead of his contemporaries.
Born nearly blind, Tatum gained some formal piano training at the Toledo School of Music but was largely self-taught. Although influenced a bit by Fats Waller and the semi-classical pianists of the 1920s, there is really no explanation for where Tatum gained his inspiration and ideas from. He first played professionally in Toledo in the mid-'20s and had a radio show during 1929-1930. In 1932 Tatum traveled with singer Adelaide Hall to New York and made his recording debut accompanying Hall (as one of two pianists). But for those who had never heard him in person, it was his solos of 1933 (including "Tiger Rag") that announced the arrival of a truly major talent. In the 1930s, Tatum spent periods working in Cleveland, Chicago, New York, Los Angeles, and (in 1938) England. Although he led a popular trio with guitarist Tiny Grimes (later Everett Barksdale) and bassist Slam Stewart in the mid-'40s, Tatum spent most of his life as a solo pianist who could always scare the competition. Some observers criticized him for having too much technique (is such a thing possible?), working out and then keeping the same arrangements for particular songs, and for using too many notes, but those minor reservations pale when compared to Tatum's reworkings of such tunes as "Yesterdays," "Begin the Beguine," and even "Humoresque." Although he was not a composer, Tatum's rearrangements of standards made even warhorses sound like new compositions.
Art Tatum, who recorded for Decca throughout the 1930s and Capitol in the late '40s, starred at the Esquire Metropolitan Opera House concert of 1944 and appeared briefly in his only film in 1947, The Fabulous Dorseys (leading a jam session on a heated blues). He recorded extensively for Norman Granz near the end of his life in the 1950s, both solo and with all-star groups; all of the music has been reissued by Pablo on a six-CD box set. His premature death from uremia has not resulted in any loss of fame, for Art Tatum's recordings still have the ability to scare modern pianists.
---Scott Yanow, All Music Guide |
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