Art Tatum - The Tatum Group Masterpieces - Vol. 7 - FLAC

Art Tatum
The Tatum Group Masterpieces, Vol. 7
1991
FLAC


Personnel:
Art Tatum
Buddy DeFranco
Red Callendar
Bill douglass


1. Deep Night (Album Version)
2. This Can't Be Love
3. Memories Of You
4. Once In A While
5. A Foggy Day
6. Lover Man
7. You're Mine You
8. Makin' Whoopee
9. Deep Night (Alternate Take)
10. Once In A While (Alternate Take)
11. This Can't Be Love (Alternate Take 2)


Thank you. enjoy!

--
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