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CD |
| 3.324 Ft
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| 1. | Verve Blues
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| 2. | What Is This Thing Called Love?
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| 3. | Plaid
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| 4. | Somebody Loves Me
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| 5. | September Song
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| 6. | Deep Purple
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| 7. | September Song [78rpm Version]
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| 8. | What Is This Thing Called Love? [Alternate Version]
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| 9. | What Is This Thing Called Love? [Trio Version][*]
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| 10. | Trio Blues [*]
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| 11. | September Song [Trio Version][*]
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Jazz / Stride
Recorded: Los Angeles, California, September 7, 1955
Art Tatum (p), Harry Edison (tp), Lionel Hampton (vib), Barney Kessel (g), Red Callender (b) & Buddy Rich (d)
* Bonus Tracks:
#9: Art Tatum (p), Lionel Hampton (vib), Buddy Rich (d)
Recorded in Los Angeles, California, August 1, 1955
#10: Art Tatum (p), Red Callender (b), Jo Jones (d)
Recorded in Los Angeles, California, January 26, 1956
#11: Art Tatum (p), Everett Barksdale (g), Slam Stewart (b)
Recorded in New York, December 20, 1952
Colaborations: Harry Edison, Lionel Hampton, Barney Kessel, Buddy Rich
The complete album with alternate takes + bonus tracks. Tatum's magic complemented by the skills of Harry Edison, Lionel Hampton, Barney Kessel, Red Callender & Buddy Rich.
"Improbable as it may sound, the sextet was one of the largest groups that Art Tatum ever worked with; it may even be the largest for Tatum, who worked for most of his life with no accompaniment at all, towards the end showed a marked preference for a trio, but rarely ever appeared as one of six. The reasons are easy enough to surmise. Tatum, being a colossus, needed as much room as possible in which to operate, and the more other soloists there were to take solo time and to demand of Tatum the duties of an accompanist, the more Tatum must have felt like a thoroughbred on a light rein. For Tatum, when he worked with other musicians, would sometimes temper his genius with a little tact, for the sake of the cohesion of the performance as well as in deference to the egos of the other musicians involved. Now the listener never cared anything for all this.
Of the supporting musicians, the one with the longest list of battle honors was the founder of the vibes. Lionel Hampton, a musician who, having worked with both Armstrong and Tatum without exhibiting even a flicker of inhibition or loss of nerve, may therefore be said to have done and see everything there was to do and see. Harry Edison, who plays trumpet with Tatum, spent many years in the Basie band, where he perfected a personal manner which consists of paring down the content of every solo to the practical minimum. The rhythm players include Barney Kessel, who was one of the very first musicians to become associated with "Jazz at the Philharmonic", and the Granz recording labels. The drummer, Buddy Rich, is in his own way as remarkable a technical wizard as Tatum himself, although on the Tatum sides the demand for wizardry was limited. Instead Rich laid down a strong, solid beat, assisted by the bass playing of Red Callender."
--- Benny Green (From the original liner notes)
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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