art tatum - masterpieces

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JA ZZ M A STER S



JAZZ MASTERS

by Jed Distler

Amseo PublkatiomNew Yo rk lLondon lSydDey



ACKNOWLEDGEMENTS

I would like to thank. CUfford Ja y Safane fo r his help in getting th i s p ro j e c t o ff th e ground

and c on tr ib utin g re se ar ch m ate ria l~ a s w e ll a s Gary Giddens an d Felicity Howlet t

f o r p rov id iDI recordings and vital information. MOSl of all, I thank two exceptional musicians and f r iend s ~D ick H ym lD and A ndrew T h oma s. T h ei r insights and sugges tion s were invaluable tom e in my wode.

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C o p y r i J h t C 1981 by CoDlOHdated Music Publishers,

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au·

Art Tatum 6

The Art Tatum Style 7

Notes on the Sol08 10Ain't Misbehavin' 15

Fine and Dandy 2 2

Moonglow 3 5

I Surrender Dear 4 6Sweet Lorraine (I) 56

Sweet Lorraine c n ) . 62

A Selected Discography 70



(1910-1966)

Art Tatum was born October 18th, 1910 in Toledo, Ohio, totally blind in

one eye and with only slight vision in the other. He studied the violin fortwo years and then changed over to the piano when he was about fourteen

years old ..·Within a few years, Tatum had made incredible progress" establishing

an unprecedented degree of pianistic control and maturity for i. t eenager .At eighteen Tatum became staff pianist on a Toledo radio station, WSPD.

As "Arthur Tatum, Toledo's blind pianist," he played background music for

Ellen Kay's dajly shopping chat program ..Tatum. first came to New York in

1932 as an accompanist for singer Adelaide Hall. and it was with her that he._

made his first recordings. He cut his rlrst 8010 record; uTiger Rag, , : I on Aug..

ust 5th, 1932.

Tatum worked primarily in nightclubs throughout the a O s f He led a small

band for a long run at the Three Deuces in Chicago and played at the legend·

ary Onyx Club in New York. In late 1937 he embarked on a small Europeantour. His first major concert appearance, however. was-with a band consist-

ing of the winners of the first annual Esquire poll at the Metropolitan Opera

House in January, 1944~ The concert was recorded in its entirety (on Radi-

ola 2MR..5051) and is a rare and instructive examp le of Tatum succesafully

working with his peers in a live performance. Tatum also placed first in the1945 Metronome Readers' Poll and in the Down Beat C r it ic s' P o U from 1954

to 1956.After 1945 Tatum began to play jazz concerts regularly, although he still

made frequent nightclub appearances as a solo artist and with his trio. Tatum

died of uremia on November 4th, 1966, in Los Angeles. Almost twenty-five

years after his death and with the significant developments in jazz piano, Art

Tatum '8 music still remains the standard by which the mainstream of jazz

solo piano is measured.



TheArt Tatum S tyle ,. ; 1 1 '

. . . .

A rt Tatum made his first commercial solo piano recordings in 1932 and

1933. These records, aJong with an e~j5tiril ' 1934 aiicheckt show an accom..

p1t.hed YirtuOiO steeped in the roots of Fat& Waller and Lee Sims; two pian-

isb who made deep impreaions upon the young Tatum. Lee Sim~ was a"pop" pianilt who often uaed arpeggios,· runs; and extended harmonic struc-

turea to embellish the melodies be used. ·TheWaller influence, however, has

a pealer bearlnr on Tatumta style in terms of his left·hand conception and

hit overa1llenJe of swing ..LikeWal le r , Tatum often "strides in tenths" (the lett

hind using patterns alternating tenths in the baa s . r eg i .s t er with full chords in

the middle register) and also like Waller , seldom uses the hem.iola or drop..

bass left-hand patterns developed by James P. JohI;J.lOn and Will ie "The Lion' t

Smith. From a musical standpoint these recordings. a r e faecinatinl and ove r -

whelming ..The younl·Art Tatum sho~ off his taehnique, freq~~ntly destroy ..

inl the momentum of a ballad. by suddenly falling into v~ fast stride tem-

pOI and embroidering his naturally swinging melodic phrases with glib arpeg.

gios. The overall importance of these recordings Iiesin. theit awesome pian-

istic authority and control. Even at breakneck tempos Tatum managed to

BOu n d completely re laxed and at ease .

Between 1934 an d 1941 Tatum recoJ'ded. many so1oa tor the. Brunswick

and ·Decca labels (reissued in ~e United States by MeA). These leslioni in..

clude hia m.ost famous, and probably deftnitive, ve~ons ot I!uch •• clards u

"Tea for Two,'" "Tiger Rag,Jt liGet Happy."; "Sweet .LQ~et'l uEJegie,t' and

"HumorBIQue_" All the facets ot his style have become ~Q~. tOCUled . He

u aea lU na a n d arpeggios more discreetly. 8 1 ; 1 . d the P 4m utjc tex ture s are both

trailIparent and yet full bodied. :

The first recordings ot the Art Tatum Tr io appeared.in 1943. The clever

enaemble arrangements and often humoroUi interplay between Tatum, guitar-ist Tiny Grimes, and bUliit Slam Stewart added to the group's popularity ..

Although. tlJe trio was 8 tempting format to r ditplaylnl the flashy &ideof his

talent Tatum could, and often didt deliver driVing, non-stop, l~ear improvi-

sations that hinted at what Bud Powe]1 would be doing in the late 40s and

wha t OlCar Peterson would do vwry loon after. He worked on and o ff in a

trio letting until .hortly before his death in 1956.

Tatum recorded .poradically from 1946 to the middle of 1949 ..HiJ re-

cordinp from the latter part of that yaar , , ·however , . reveal ..a ign if ic an t mus ica l

ItOwth and a r e important in comparison to bis subsequent recordinpt His

playing on the three 1010 sessions fo r Capitol and on the Columbia LP reM

corded in concert is richly textured, rhythmically adventurous, an d sophia·

ticated harmonically. The role of the left hand hu in~~ considerably;Tatum 'a bass lines are more adventurous. frequently using walking left.hand

chords with tenths as the outside interval. (This is particularly significant

since the bop pianists who were coming of age lett their left hands at home,

with the notable exceptions of George Shearinl,. Dave McKenna, and Hank

Jones.) TatulUts lett hand frequently breaks away from its accompanying

.role and becomes an equal partner with the right 'hand, Iharing roles .and

embellimQlents and providing countermelodies. This mUlical development

. can be o~ in the transcriptions in ~ v~lume. (CoJDP~f tor e.z.ample,

,.AiD~ Misbehavin I' " with "-Moollllow" or the two ve_ona qt I·Sweet Lor-. . . . .



" , ' _ -----:--- .:Between ntc4UPber, 1953 and January, 1955 Tatum recorded four mara-. . . . . . . _. --.

thon solo pi8no sessions for jazz producer and entrepreneur Norman Granz. - " ~ :

that ·resulted" .It,. the releoe of four teen long-playing albums ..Granz .also re-

corded Tatum·bi:a myriad of small group settings with such.featured artists, , . . " 1 " .. .,

a s L d on el H a m p ~ : · ' B e n r t y carter, Buddy de Franco. Roy Eldridge, Jo Jones,

Buddy Rich ..and Ben W~~ster. The solo piano project however was probably• - ! : J •

the most ambitious and, considering Granz's intentions, it was only partially

auccessful, According to his liner notes on the original Clef and Verve LPs.Granz intended to record and release as many Art Tatum 8010 selections as

pOMib l e , th~~y building an uArt Ta tum library. " ·Most o f the· tun es w ere

recorded in one-take: the producer apparently assumed that h~ pianist could

do no wronga The end results are always diffuse an d uneven because Tatum's

health \vu ·failing around the time of these sessionsl This writer thinks the

Norman Granz sessions were more of 8token to posterity than-an attempt topreserve a f in·ished product. Nevertheless, Tatum"s 8ccompiishmentaareoften

fascinating~ There are times when it seems that Tatum was searching for a

new musical language, and some of the startling harmonic and rhythmic

complexities in these selections partly indicate that Tatum listened to and

had absorbed the innovations of the bop musicians, However, Tatwn re..

mained a swing player in his overall conceptions of time and phrasing~ Al-

though Tatum played informally with Charlie Parker and other modem mu-

sicians one wonders how Ta tum. 's music· would have been affected if he had

collaborated with these players on a regular basis (as Coleman Hawkins did

throughout his career, successfully and uncompromisingly)~ It is alIo a pity

that, in a project undertaken to preserve huge dOl8l of exceptional pianism,

Tatum re-recorded his '''semi-claasical'' a r rangements ot "Humoresque" and

"Elelie" when he .could very wel l have recorded some ot the ela'sical piano. .

literature that be knew. such .. ·the·Chopin waltzes or the Chopin Prelude in

B& .minor op. 28, No. 16. (There is a private t B J ? " existinl of Tatum impro-

vising on the Chopin ·C # minor waltz that must be heard to be belieYed.

Unlike the music making of other major jazz figure8~ little ot Art Tatum's

music h as .been transcribed for publicaticn. There were two books published.in the 408 that··consisted of one chorus piece edited from longer improvisa-

tions ·and which cannot be considered representative· of Tatum's improvisa-

tional techniques, A very fine tnlnscnption otthe 1949~'AuntHapr~.Blues"

is available in John Mebegants book Ja:zz Rhythm and the lmproviled Line

(Amsco Musie Publishing Company). Jazz Masters: Art Tatum is the first

book consisting exclusively of complete piano 80101 t ranscr ibed from Art

Tatum's released recordings. . ..

The six pieces ·included herein were recorded between 1938 and 1955 and

together display a good representation of Art Tatum·, muJti-faceted style.

'l'he sound quality of the original· recordinp used for these transeriptions

varies from each session.. UAm tt Misbehavin' ,,, an d "Fine and Dandy" were

. not originally recorded for commercial release and their sound quality ispoor. I have used parentheses encasing I} certain notes that are not clearly

'audible but which were possibly played and 2) notes that are not actually

. played but- which a r e indisputably parts of a musical phrase.

·Unfortunately, for transcribers and listeners alike, the remaster ing of the

Norman G~ solo sessions th.at-were reissued on Pablo is extremely poor.

The clarity' of tbe·b~··tegister is all but totally lost and in general the piano

sounds muffled ..< W h a t - - one hears o n these recent presaings simply cannot

compare to ~e beautifully clear and close-miked piano sound captured on

the ori8inaJ Clef an d Verve LPs. (To be fm. the sound on The Tatum Group

MCUl terp iecea is very good ..)

8



Because of. divergencies in·.fingering, ~iq,.:.~c;mIP~ts I have·not indi-

cated any fingerings (not wishini tb b 1 l p O t e m y ow n b8d babiu!)~ Some

pianists m a y find many ot the le~haJ?d tenth. ~ond their natural span.

Whenever posaible one can substitute the right hand for the upper voice of

the tenth, or else execute a quick, alpeggiated tenth emphasizing the upper

note a "clipping·· device that Tatum often used. AI, far as realizini a con..

vincin~ musical interpretation of· the notes, when all is said and done, the

real essence of this musi~ lies in the original .:~ozdiD.p and no~in ·the plinted

transcriptions. Ifeel it ismore important to emulate the spirit ·of the music,

to aim for a style With a ceitain kind of scund and ·ph~mg than to tJy toplay ~ last grace note verbatim. ~deedt· if you are 10 incliDed, be en-

couraged to interpolate your own impro~ phrases or runS into these. . . .

pieces~ After all Tatum himself was always making chanl8l here and there in. .

his so-called '''set pieces It,

Art Tatum'. approach to improvisation has fa~inated and e1ud~ mUliciamt .

and critica for y e 8 1 8 1 t Compued with his co~temporaries Roy El~le, Cole ..

man Hawkins, and Teddy Wilson, Ta~uni was an atavilt, a throwback to an

older era of jazz pianists. Tatum.', method of adhering closely to the melody. . .

by use of omamentation and embellishment comes from James P. Johnson,

Fats Waller. and Willie ''The Lion" Smitht Like Tatuln, who "81often ac-

C U B e d of playing "set" improvisations. the iriiproviainl of J ohn son ,. Wa l le r, and

Smith consisted mostly. of embellishments and different turns of pluuea in

the pieces tha~ they played. B ut it must be r emembered· that ·their raper-

toR ~ consisted of their own elaborately _ multiaectioned. .

stride piecea which P'~w out of the fomu that SCott Joplin and Jelly Roll

Mor to n used. Tat1UD~. impr ov is in g ma te ri al almOst ezc lUl iYely cODl i&ted of

ltandard Tin Pan Al l ey longs . By virtue of his ex t ra .o r c ii li alY p i ano technique

and phenomenal ear Tauun created a Ityll that juxtapoaed th·. e1epnt melo-

diea of Teddy Wilson, the _ t roDg rhythmic underpinning oftheltridepiaDistl,

the rhythmic syncopations and trumpet.like phrases of:Earl m n e . , an d the

delicate passage work found i n the works of Ch~pin and Lint, u w e n as the

popular or semi-classical piano stylis~ of the day. .

It was a style that had a vacillating, mercurial nature with subtley chanl- ..

in, pianistic. textures and harmonic nuances, .Fo~this reason, an d alia per-

hap~ beca~e it presented somethiD.1 outs ide of .tI;lem~ of wha t mOlt

jazz musicians were doing, the Tatum style w~ hard to pupat first bearing.

Yet, his technique and his musicianship .eshed tol8ther o n suCh·. high lev..

el that he made everythinl he played soQlld easy, and his touch at tbe key-

b.oard. had. an e1cance and clarity tIt·at ca n ea iU, . be compared to the cl.. -

leal pianista V1~ i r ·de Pachmann ~d ~fr8d CortOt I n d · that ,· injUz, ODly

hiIm e nto r.ra ta W a lle r c ou ld match. . .

9



· · t ' ·. .

AiJi't M~behllVin' (1938)

..Thit.recording is a good introduction to the Art Tatum style. The opening

chorus CQntains all his styllatic traits Uling different registers·in an orcheltral

. . w a y ~ p__phrasing the m810dy '_rith runs, altematinl·w81king tenths with

.~e Pillages, and occasjonally using rehannonizations. One .ignificant as -pect o~ 1).tum's use of left-h~d tenths is the way he "'clips" or shortens the

. . . . .

baas note, leaving. his thumb on the upper note (see measures 1, 2, 4, 24).

. · T . i i i i technique i s explicitly used in the opening and in the last choftl8 of.. .. ...

· 4 :M oong low. , .

Notice how ~tw:n uses pure melodic phrases in the transitory meuures

before the beginning of the f oU ow i il g· A or B sections of th e tune (measures. .. .

7-8, 15..16, 23-2~, 31..82).· The bridge is the point of greatest harmonic ten ... .". . ..:

sion ..In contrast to the chromatic movemerit of the bass line in the A section

the root and third remain stationarywhile the fifth chromatically ascends to

the major sixth and again rises to the seventh along with the third fonning a

do~.nt seventh .cho~ .th~t ~expec:tedly resolves to a Va chord ..Tatum. tak. advan tage of thii structure by fashioning a stoptime chorus ea ch t im . e~

The first time ~ugh. ~e· k e e P s the ~elody virtUally intact, the second

bridge is much louder, engulfed ~th thick· chords an d brash o ctav es an d the

third ~e it is quieter, With elaborate right-hand runS and embellishments

wially .replacing .~e melody (lor ~ow many times do w e need. to hear it?).

Tatum ts deft use of Qlusical.quotation is characterised. in the unexpected

endin l wbere ··'Turkey ill the St r i lw" is tumed into it cleverly leharm.onized

II.V~i.aequen~. . . ~

FiDe ~< l D~dy (.1941)

~is is perhaps th~most rev~aIing o · t all Art Tatum·recordings. In this rare

document o t Tatum playing in one. of those leg~rid8ry Harlem at ter . .houra

clubs, we find his playblg to be leaner in texiure and eompletely uncluttered.n iB is , no doubt, partially due to the deficiencies ot the out-ot-tune, beat-up

piano and t he p re se n ce of t he t ime -k eeping whiskbrocms player. .

.·In r e&d in , t hr o ug h these :transcrIpt ions one 'not ices :-Tt i tum'. trequent use

of irace notes, trills, t remolos , and blues licks (pStterns using the flatted in..

~. of the 8rd, 6th. and ··7~ degrees of the ·major seale). what aets this. - .

• on of ·'Fine and. Dandy" apU1 froin his other recortiilip of standard. is

that T a t u n i u s e S these ·ublulsy'" .em~e~ts ai stnictUral oornerstones forthe ~ o u r improvised choruses ·foDo·Wingthe statement of the theme. He takes

.' . .

full advantage of the whiskbrooms. indUlging himself Ins ome "telling atop-

time ~I that are interspersed with intricate rilbt-hand phrases, not un..

like the solo work of Earl Hines ..lrideed,

the Hines influenceisapparentthroUlhaut thjs recording.

Although this piece is as full of stylistic juxtapositions as any of his other

reCordings, Tatum ~s unique fusion of blues, classical pima literature, ex-. .

ten~ed harmonic patterns, and straight-ahead swing is particularly successful

here. There is a structur8l momentum that builds throughout each momsbased upon the chord voicings and rhythmic pattems set up in the thematic

exposition and the stark rmt chorus (measures 39-40).

The elllbellished F riff (measures 39-42) ap~ears in different forms and

functions throUlhout the piece, most notably at the beginning of the second

_ 10



. .

chorus (meaaures 71-80)t the beginning ot the third chorus, in the form of a

trill (measures 103-112)~and in the syncopated left-hand pattern in the sec-

ond part of the third chorus (measures 120-~27)1 Tatum. frequently begins

phrases, introduces new ideas, and changes the pianistic texture on the. .' .

weak beats of a measure, thereby giving the material at hand a smoother

flow and creating a more flexible, transparent .mterplay be tween the right

and left hands. Note, for example, how the s~~~ right-hand line in meas ..

urea 57·58 actually begins on the upbea t of ..the bar, with the walking bass

starting a bit later and then stopping abruptly to let the right-hand run con ..tinue alone, only to be resolved by jabbing left..hand chords in me~ures 60-

61 which in turn prepare for another stop-time passage . The new material. ..

introduced at the beginning of the fjrst four choruses begins at least one bar

betore~and, thereby creating greater ~on~uity between choruses.

. I I I the Penultimate chorus, ~~e~ IOdy is restated in the style. of the open ..

ing, with some altered harmcnies (measures 154-1~4) that serve as a decep-

tive ending, then Tatum suddenly lets loose with a loud . , two..handed blues. . .

run that leads right into the last chorus.where he repeats the same proced ..

ure (measures 185-195); restating the 'melody and suddenly bursting into a

bluesy stride passage. This leads in to . a stop ...time coda which is a pretty har-'. . .

monic. sequence based. on the .laet four bars of the theme that humoroUsly

revolves with a two-bar blues phrase, Another interesting structural featureis the way the second eight bars of the theme are restated in each chorus in

right-hand octaves and walking tenth chords in ·~ e left hand .. The se chords

are harmonized differently each time and the melody also hu different" . .

rhyth~ic embe l l i shmen tS .

In "Fine a n d Dandy," Art Tatum created multi ..leveled variations on 8

theme in which the separateness of th e thematic components is maintained

by the way they are individually developed throughout the piece. Yet, due. ,

to ~atuin's innate sense of proportion and balance, there is an organic unity

, embracing these disparate elements, enabling them "to co-exist in a la rger

structure that transcends the confines of the thirty-two bar song fonn.Moonglow (1955 )

This little masterpiece captures Tatum in an eloquently reckless mood ..

The SUbtle harmonic shifts present in the walking left-hand chords slip by

so faS~ that they tickle the ear, the characteristic runs take on unexpected

tums (measures 62-66 are particularly delicious), and it seems as though no

matter what kind of trap Tatum falls into he works himself out of it quickly

. and p~lessly (see measures 47-48, 80~81, and 87-89 for such traps) ..Tatumts

clipped.basa note technique is effectively used in the exposition of the theme

(measure. 9..19) and in the thi ld chorus (me8sures ~O6-121); the latter meas-

ures are notable for Tatum's imqinative tehannonization of the theme.

I Surrender, Dear (1955) .

9'f all the components making up the Art Tatum ~tyle it is the art of ad lib

playing that is at ·once easy to approach pianistically yet musically very dif -ficult to pull offt Tatum created an excellent model for out-of-tempo solo

piano playing that c~ .serve as a strong vehicle for exprelsive~ lyrical, a n d vir-

tuosic m~i~ making in the hands of a skilled and sensitive pianist-musician.

In ballads, he: would play the theme ad libitum, often exploring different

~ys of iltering and revoicing the harmoriy. He would then use the last few

bars· ·of the the~e to' establish his tempo and execute a number of choruses.. . . ~

Toward the end of the piece he wou ld again play out of tempo, either re.-

s~ting .qr . paraphras~g _the th e m e a ria then would ·finiih with 'a little coda.

.. When T I l t u m p18yed tunes with sn iliA·structure he woUld close the im-

11· '



"

proviaation ~y repeating the B and the final A sections of the tune.

H I Surrender, Dear" is · a 'tine example of Art Tatunl"ts'baDad approach, al-

thoup he really does not play ad lib until the last fivemeasures o t the piece.

In this par: t icu1ar selection T atum sta te s the theme in tempo.. The first six-

teen bars are executed in a manner akin to' classical piano'styles in that the, '

rhythmic focus is centered within the highly ornamented treatmen't of the

melody in the ri&ht hand and in the connective runs. Tatum frequently

follows sec t ions of tender passage work with thick arpegiated chorda and

he makes effective use of left-hand counter-melodies and decorative harmon ..tc embellishments such as the whole tone scale inmeasures 18 and 20.

A D . importarit and revealing aspect of Tatum'. ballad style, in relation to

his recordings of 1949 and aftet, it found in the way he constantly wavers

from a I£straightt;t non-dotted, even rhythmic, pulse to tripleta' or 'dotted

eighths and sixteenths, of a standard jazz pulse often within the l81De bar

(measures 38-39 and 7S..s1; See Sweet Lorraine II). This technique illustrates

Tatum's romantic impulses and there are many other tunes that utilize this

vacUlating rhythmic approach in the Nonnan Granz solo aesaions (these in..

elude such tunes as "Lover Come Back to Me," "You're BIase,ii "Ina Senti·

mental Mood," "Don't Worry About Me, " HThe Way Y ou Look Tonight,"

"That Old Feeling~" "Memories 'of You,u "Danny Boy," and "Jitterbug

Waltz"). Indeed, Tatum would sometimes rhapsodize at, length before safelysettling into jazz tempo,

Swee t Lorraine I (DeCca , 1940)

Swe e t Lorraine U (Capitol, 1949)

Because of his penchant tor setting his improvilations into arrangements

Art TJtum was often accused ot not being a real jazz musician; It Iitrue that

Tatum could reproduce 80me of his recorded ~tetpretatioftl note for note.

(His Pablo reconiings of "Y_~ayIU and "B8jm t h e Beguine,t are not only

~ reproductions of early rece:rdiltp but they also bear out the old jazz

credo stating that 4~familia~ty, breeds faster tempos. ~tHaving heard most of

Tatum's complete recordings,"commercial a nd "n on ~omm8r cla I a lik e includ-

ing many re-recordings of standaid tunes, I think' it's ~.tructive to take dif·

ferent recordings of one common tune and compare th~ chrOnologically.

Not, only did Ta tum improvise ' \ ' f i ' t h the melodic and ha rmon ic materials of

these songs but he also improvised with the stntciure of his se-called "ar-

rangemen t s . ." For example,' the basic ar rangemen t of, the 1940 version of

"Gei Happy'. is similar to the lesser known transcription dise veraio~ from

1939. Within one year Tatum;, aPproach to th e tune ~lved signiflcantlYIt

,'l11elater, comtiJ.e~y ~ed' yersion, ismore' bilanced, th~~tiol1lhiP. o tideas ,from chorus, to chorus' a r e clearer and, most importaDtly t'Tatnm hu

added a IODI in1z9duction ~t ~ts the mood f9t th e piece a D d . embraeel the

essential structure of the song so when he finaDy arrives at the theme the" ,

basic arrangement makes a little more sense.

Likewise. the 1940 version of "Sweet Lorrame't iifuller in ita realization,

~ its earlier' counterpart (also taken from a transcription disc). The har." ,

monic sequence at measure 7 is smoother in 'the later version. It is basically

a vi V I IV progression with contrapuntal movement in seventh. and tentha,

where~ the earlier version has what is baSical ly an aUlDlentitd' ~th' chord on

the 'third end fourth beats of measure 7 resolving to a domin~t chord. thatlasts all of measure 8. T be sequence on ~e' Jater recording r ewlves to the

tonic i nStead~ The introducti~n to the p~e'is ~ o wfour m ~ 1 iNtead of.. • • • ., .' I I,' I' .' • ' •• ' ••••• • .... • .- • :-

two, lIain ~presenting a man, ~~~ revfI$on. " ' ' " " '

tbere~is ~uch to ~ 8~d ,.lit:,~:',~~'j~)8nd~j;k 'i~40'~rding of• • - • ..' r" ", • • .:...... I: i' .',. . .._ ... 'I' '. I", •



'. .: -~ . .:.. .. .

"Sweet Lorraine ..U It has a sparse , lyridai:-·CIuatit,. tbat meshes perfectly with. ... . .

the gentle swing style and the effective, ~~po, full-chorded stride

pauagee with their "clipped" tenths and lubtJeeoQJltermelodiesl Tatum's runs

are naturaUy developed from melodic impulses and are used in such a dis-

creet manner that they are even singable I Tatum's harmonic geniuB is re -

veal~ as much in his melody line as in his chord progressions. The contours

01 · th_linea are fascinating; they are.perpetually spiced with unusual inter ..

.. ·and telling accents (see measures 11-12, 4844,. 75·76, and the quotefrom '~ Monk e y Wrapped His Tail Around the Flagpole" at measures

·~7-8). Note ·also b~ Tatum ...e l l .anges the ha rmony each time around on the

Jut two m~ ot ~ ~rid__, reaching a ~imax. at measures 59·60 going

.ilito tni Iut. eight ~~ ..(In later recordings Tatum played these measures

. . . . o~ · t he :··bridp W i t h · t h e . . m e · harmony as in the previous eight measures.

tIi·ereby re~,·the :sam.··,l8Q.ue!ice·0;' c~omatically descending seventh

. . choids--tive or take &: t~:··auiP"·.ted·~tion.~). .. ~ . .. .. .. " ' - : . . ...

· ..~ Con~1 .'~~~ ~ ..~~~ ~ p.o, carefree, and rhythmically and

banDonica l)y ·tDore e O J l l p J u · . ifiilot:.~to~y organized as the earlier version.

":Tatum utlUzft· more. ·.o ph ~ticate4 ;J .~. )~. and·w81~g left-hand chords, a

major ~~tic, O f Jiil ' later ~r~. Note 1 » 1 ~.entive use of quoting, this. ... . .,. . ..~: .. . ". .. .

tim~ :.from··tbe ~..-.Jd · · . " u e t . ~ . ( J"~~· .U.Wai~l· for theRobert E. Lee,"~·E thelbertN ev in 's·uN ~.tt.· ... :

.....,

~ ,· ~.

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OopJrIFt 01929 by MUl l Mullc,Ine...........-

Uted willi paalrdoa. All rilbtl nurved.

., }O . ,trenewed.

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_____raplay. " " " " " .. . -

Art Tatum. " . "On The Air'"

Aircheck 21(features his first solo recording, "Tiger Rag" and airchecks from 1934..1945)

Piano Starts HereColumbia CS 9665(Four 1933 recordings and the May 1949 "Just Jazz'" Concert, ShrineAuditorium, Los Ang8tes)

...

Tatum Is ArtMusidisc/Jazz Anthology 30 JA 5177 (French)

(Piano soloe from 1938 and 1939)

Get Happy!Black Lion BLP 30194 (British)Standard Transcriptions Q126 and Q13S, from 1938·9, includes "Ain'tMilbehavin' ;t)

A rt Tatum Mtll terpiecesMCA24019, (includes '·Sweet Lorraineit)

Art Tatum Masterpieces Volume 2 and Jame. P..Johnson PkJy. Fat. Waller

MeA 2-4112

God I. In The House ,

Onyx 205 Musidisc/Jazz Anthology 30 JA 61'11 (French),(1940·41 Harlem After ..Hours Sessions, includes uFine and Dmdytl)

Song of the Vagabonds

Black Lion BLP 30166 (British)(includes the complete 1945 ARA sessions)

SoloPiGno

Capitol M·l1028(1949 sessions,' includes "Sweet Lorraine")

The Tatum Solo MtJ8 te rp i eces

Pablo 13 LP set 2626 70S(1953-&6 recordinp, includes "Moonglow" and l U I Surrender.Dear~')

The Tatu~ Group Masterpieces

Pablo 8 LP'set 2625 708

The Complete Art Tatum Piano Discoveries

art tatum - masterpieces

Documents