Art Tatum - Jazz Piano Solos (3 Libri)

8/4/2019 Art Tatum - Jazz Piano Solos (3 Libri)

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JA ZZ M ASTERS

ArtTatrun



JA ZZ M A ST ER S

Ar tTahnnby Jed Distler

A I I l I C O PabllcatlomNew Yo rk/London iSydney



ACKNOWLBDOBMENT S

I would Jike to than k C liffo rd J ay S afan e fo r his belp in ge ttin g this pro jcct o ff th e ground

and c on tr ibu tin g r ese ar ch m ate ria l, a s w e ll a s Gary G id de ns a nd Felicity Howle t t

fo r pro vid iD I re co rd in gs an d vital in fo rm atio n. M o sr o f all, Ih an k tw o e xc ep ti on al m u si ci an s and friends,

D ic k H ym lD and Andrew T ho ma s. T he ir insights an d su gge stio na w ere i nl'llllU lb le 1 0m e i n my w o d e.

Edited by Patril::ia Ann Neely

Cover design by Ba rb ar a Ho ffma nBook design by Tina CemanoCover pbo to by Rober t Parent

C o p y r i s h t C 1981 by ColllOlidated Mus i c Pub li sh e rs ,

Ibis boot published 1986 by Amsco Pub li ca tiO ll S ,

r\ D iv isi on o fMU Ii c S ale s Corporat iOD, N ew Y ol'k , NY .

Mrights teI f t 'VCd. No part of thi. book may be

r ep ro d uc ed i n 811 ) ' Conn o r by an y e le ctro nic o r m echan ical m ean s

IncludiDs iDfonnation uoragc and r e tr ie val syS i c tr u ,

without p en niu ian in writing f rom th e publisher~cept by • rev iewer w ho m ay quote brief passages in a r ev ie w .

: : > r d c r No. A M 30719

[ntcmational StaDda rd Book Numbe r. O . 82 S6 .4 0B ! t 7

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Co.teats

Art Tatum 6

The Art Tatum Style 7

Notes on the Solos 10

Ain't Misbehavin' 15

Fine and Dandy 22

Moonglow 35

I Surrender Dear 46Sweet Lorraine (1) 56

Sweet Lorraine (TI) 62

A Selected Discography 70



Art Tatum (1910-1966)

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

one ey e and with only slight vision in the other. He studied the violin for

two years and then changed over to the piano when he was about fourteen

years old. Within a few yean, Tatum had made incredible progress, establilhingan unprecedented degree of pianistic control and maturity for i.teenager.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 daily 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 cu t his fllst solo record, "Tiger Rag," on Aug -

ust 6th, 1932.

Tatum worked primarily in nightclubs throughout the 30s. He led a small

band for a long run at the Three Deuces inChicago and played at the legend-

ary Onyx Club in New York. In late 1937 he embarked on a small Ewopean

tour. His first major concert appearance, however, was-with a band consist-

ing of the winners of the first annual Esquire poll at the Metropolitan OperaHouse in January, 1944. The concert was recorded in its entirety (on Radi-

ala 2MR-5051) and is a rare and instructive example of Tatum successfully

working with his peers in a live performance. Tatum also placed first in the1946 Metronome Readers' Poll and in the Down BeGt Critics' PoU from 1964

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 injazz piano, Art

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

solo piano is measured.



The A rt T atum S tyle'. .

Art Tatum made his first commercial 8010 piano recordings in 1932 and

1933. These records, alon, with an eXlstmg 1934 aircheck, show an accom-

pllMed virtuOflO Bt8eped in the roots of Fat& Waller and Lee Sims, two pian-

uti who made deep impressions upon the young Tatum. Lee Sims: was a

"pop" pianist who often UI8d arpeggios, runs, and extended harmonic struc-

t u : r e a to embeUiah the melodies he used, The Waller influence, however. hasa g:reater bearin( on Tatum's style in terms of his left·hand conception and

hU ove ra l1 tense of swing. Like Waller, Tatum often "strides intenths" (the lett

hind using patterns alternating tenths in the bass register with full chords in

the middle rqister) and also like Waller, seldom uses the hemiola or drop·

boss left·hand patterns developed by James P. JohnlOn and Willie "The Lion"

Smith. From B musical standpoint these recordings a r e fascinatin, and over-

whelming. The young Art Tatum shows off his technique, frequently destroy·

inS the momentum of a ballad. by suddenly falling into very fast stride tem-

pos and embroidering his naturally swinging melodic phrases with glib arpeg-

gios. The overall importance of these recordinp lieaintheit awesome pian·

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

lCund completely relaxed and at ease.Between 1934 and 1941 Tatum recorded many solos for the Brunawick

and Decca labels (reissued in the United States by MeA). These ,eaton. in·

elude his most famow, and probably definitive. Yemons ot IUch ,tanclards as

"Tea for Two," "Tiler Rag," "Get Happy," "Sweet Lonairle," "EJegie," and

"Humoresque," All the facets of his style have become more fOCtlftKf. He

WIeI runs and arpeggios more discreetly and the piani&tic textures are both

tranaparent and yet tull bodied. .

The first recordings ot the Art Tatwn Trio appeared in 1943. The clever

enaemble arrangements and otten humoroUl interplay between Tatum, guitar·

ist Tiny Grimes, and baslliit SJam Stewart added to the poup's popularity.

Although the trio was a tempting format to r diaplaying the fluhy side of his

talent Tatum could, and often did, deliver driving, non-stop,linear improvi·sations that hinted at what Bud Powell would be doing in the late 40s and

what 08CAr Peterson would do very 800n after. He worked on and off in a

trio letting until .hortly beforehis death in 1956.

Ta tum recorded .poradically from 1946 to the middle of 1949. His re -

oordinp f rom the latter part of that y ea r. h oweve r. revealaignificant musical

IfOWtb and 8re important In comparison to bis subseqwmt recordings. His

playiPl' on the three 1010 seesions for Capitol and on the Columbia LP r e o

corded in concert is richly textured. rhythmically adventurous, and sophis·

ticated harmonically. The role of the left hand has increaaed considerably;

Tatum's bass lines are more adventurous. frequently uai.ng walking left.hand

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

since the bop pianists who were coming of a ge lett their left hands at home,with the notable exceptions of George Shearing, Dave McKenna, and Hank

Jones.) Tatum's left hand frequently breaks away from its accompanying

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

embellislunents and proViding countermelodiea. This mwicaI development

can be obeerved in the tr8l18C:l1ptions in thif volume. (CoJDpare, tor e.zample,

"Ain't Misbehavin' " with "Moonglow" or the two ve~ona of "Sweet Lor -

raine."



. . . .Between :olc4DDber, 1953 and January, 1955 Tatum recorded four mara--......- .. -.

thon solo piftno sessiens for jazz producer and entrepreneur Norman Granz

thatresulted,:ji the releatle of fourteen lonr-playing albums. Granzalso re-

corded Tatumin:.a Q1y~~d of small group settings with suchfeatured artists

as {Janel Ha:mptQD:~'Benny Carter, Buddy de Franco, Roy Eldridge, Jo Jones,

Buddy Rich, and Ben Webster. The solo piano project however was probably

the most ambitious azid,~onsid_ering Granz's intentions, it was only partially

successful, 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

possible, there~y building an "Art Tatum. library."Most of the tunes were

recorded in one take; the producer apparently assumed that his pianist coulddo no wrong. The end results are always diffuse and uneven because Tatum's

health was tailing around the time of these sessions. This writer thinks the

Norman Granz sessions were more of a token to posterity than an attempt to

preserve a finished product. Nevertheless, Tatum's accomplishment. are often

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, Tatum re o

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 Tatum's music would have been affected if he had

collaborated with these players on a regular basis (as Coleman Hawkins didthroughout his career , successfully and uncompromisingly). It is alao a pity

that, in . a project undertaken to preaervt huge d088l of exceptional piamsm,

Tatum re-recorded his <jsemi-classical" arrangements of "Humof8aque" and

"E1egie" when hecriuld very well have recorded lOme of the classical piano

literature that he knew, such as the Chopin waltzes or the Chopin Prelude in

B~ minor op. 28, No. 16. (There is a private tape existin. of Tatum impro-

vising on the ChopinC # minor waltz that must be heard to be believed.

Unlike the music making of other major jazz figures, little of A rt Tatum's

music has been transcribed for publication. 'There were two books published

in the 408 that consisted of one chorus piece edited from longer improvisa-

tionsand which cannot be considered representative of Tatum'. improvisa-

tional technlques, A very fine transcription at the 1949" Aunt Hagar's Blues"is availabl.e in John Mehegan's book Jazz Rhythm and the improviled Line

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

book consisting exclusively of complete piano solos transcribed from Art

Tatum's released recordings.

The six pteeesmcluded herein were recorded between 1938 and 1955 and

together display a good representation of Art Tatum's multi-faceted atyle.

The sound qU8.llty of the original recordings used for these tranJcriptions

varies from each session. "Ain't Misbehavin' .. and "Fine and Dandy" were

not originally recorded for commercial release and their sound quality is

poor. I have used parentheses encasing 1) certain notes that are not clearly

audible but which were possibly pl:ayed and 2) notes that are not actually

played but which are indisputably parts of a musical phrase.Unfortunately ,for transcribers and listeners alike, the reJnastering of the

Norman Granz solo sessions that were reissued on Pablo is extremely poor.

The clarity' of the bJlSS··egister is all but totally lost and in general the piano

sounds muffled.·<·What~ one hears on these recent pressing! simply cannot

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

the original Clef and Verve LPs. (To be fm, the sound on The Tatum Group

Masterpieces is very good.)

8



Because of divergencies infingerinl' bi.bita.,.amonapianiata 1 hannot indi-

cated any fingerings (not wish ing to h n P o S t D l Y own bad habib!). Some

pianisb may find many of the left-h~d tenth, beyond their natural span.

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

the tenth, or else execute 8 quick, arpeggiated tenth emphasizing the upper

note--a "cUpping" device that Tatum often used. As far as realizinl a con-

vincing musical interpretation of' the notes, when all is said and done, the

real essence of this music lies in the originalrecozdinp and not in the printed

tranecriptions. 1 feel it is more important to emulate the spirit of the muaic,

to aim for a style with a certain kind of sound and phrasing than to by to

play every last srace note verbatim. Indeed, if you are io inclined, be en-

couraged to interpolate your own improvised phrases or runi into thesepieces. After all Tatum himself was always making chan .. here and there in

his so<alled "set pieces."

Art Tatum's approach to improvisation has fascinated and eluded musicians

Ind critics for years. Compued with his contemporaries Roy Eldridge, Cole-

man Hawkins, and Teddy Wilson, Tatum was an atavist, a throwback to an

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

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

Fats Waller. and Willie "The Lion" Smith. Like Tatum, who waa often ac-

cused of playinguset" improvisations, the iniproviaing of Johnson, Waller, and

Smith consisted mostly of embellishments and different turns of pluuea in

the pieces that they played. But it must be remembered -thattbeir reper-

toilea mainly conaisted of their own elaborately structured multiaectionedstride pieces which grew out of the forma that SCott Joplin and . JeDy Roll

Morton used. Tatum's improviling material a l m O a t UClUlively consisted of

ltandard Tin Pa n Alley lOngs. By virtue of his extraordhwy piano technique

and phenomenal ear Tatum created a Ity1e that juxtaposed the elegant melo-

dies of Teddy Wilson, the strong rhythmic underpinnhlB oftheltridepilDiatl,

the rhythmic syncopations and trumpet-like phzues of Ear! HineJ , and. the

delicate pusqe work found in the works of Chopin and Liist, uell as the

popular or semi-claasical piano stylists of the day.

Itwaa a style that had a vacillating. mercurial nature with Bubtley chang-_

in, pianistic textures and harmonic nuances. For this reason, and alao per.

haps because it presented something outside of the mainstream of what moat

jaZZ musicians were doing, the TatUDl style was hard to grup at first bearing.Yet, hiB technique and his musicianahip meshed togetber o n such. hish lev·

el that he made everything he played sound easy. and hiB touch at the key-

board. hed an elegance and clarity that can euily be compand to the clua-

leal pianists Vladimir de Pachmann and Alfred. Cortot a nd that, injazz, only

his mentorFata Waller could match.

9



Notes00the SOlos

Abi't Mitbehavin' (1938)

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

chorus CQntainsall his stylistic traits ua ing different registenin an orchelltral

way, paraphrasing the melody with runs, alternating walking tenths with

stride puaages, and occasionally using rehannonizations. One significant as -

pect of Tatum's use of left-hand tenths is the way he "clips" Of shortens the

bUll note, leaving his thumb on the upper note (see measures 1, 2, 4, 24).This technique is explicitly used in the opening and in the last chorus of

"Moonglow ."

Notice how Tatum uses pure melodic phrases in the transitory measures

before the beginning of the following' A or B sections of the tune (measures

7-8, 16-16, 23-24, 31-32). The bridge is the point of greatest harmonic ten-

sion.In contrast to th e chromatic movement of the bass line in the A section

the root and third remain stationary while the fifth chromatically ascends to

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

dominant seventh chord that unexpectedly resolves to a V a chord. Tatum

t a k es advantage of this structure by fashioning a stoptime chorus each time.

The tint time through he keeps the melody virtUally intact, the second

bridge is much louder, engulfed with thick chords and brash octaves and thethird tiJne it is quieter, With elaborate right-hand runs and embellishments

totally replacing the melody (for how many times do we need to hear it?).

Tatum's deft use of musical quotation is characterized in the unexpected

endi,nr where "Turkey in the straw" is tumed into a cleverly reharmonized

U·'v~lsequence . ~

Fine and Dandy (1941) .

'Ibis is perhaps the most revealing of all Art Tatumrecordlngs. In this rare

.document of Tatum playing in one of those legeridary Harlem after·hours

clubs, we find his playfug to be leaner in texture and completely uncluttered.

This is , no doubt, partially due to the deficiencies of the out-of·tune, beat-up

piano and the presence of the tune-keeping whiskbrooms player.

In reading through these transcriptions one 'notices-Tatum'. frequent use

of Jr8ce notes, tnus, tremolos, and blues licks (patterns using the flatted In -

te rva ls of the 3rd, 6th, and 7th degrees of the major scale). What sets this

version of "Fine and Dandy" ap~ f ro iD . his other recordings of standards is

that Tatum uses these "bluesy" embellishments as structUral ( lornell tones for

the ~our improvised choruses following the statement of the theme. He takes

full advantage of the whiskbrooms, indUlging himself in' some telling stop-

time passages that are interspersed with intricate rilht-hand phrases, not un-

like the solo work of Earl Hines. Irideed, the Hines influence is apparent

throughout this recording.

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

recordings, Tatum's unique fusion of blues, classical piano literature, ex·

tended harmonic patterns, and straight-ahead swing is particularly successful

here. There is a structural momentum that builds throughout each chorus

based upon the chord voicings and rhythmic patterns set up in the thematic

exposition a nd the stark fIrSt chorus (measures 39-40).

The embellished F riff (measures 39-42) appears in different forms and

ltmctiona throughout the piece, most notably at the beginning of the second

_10



chorus (meuures 71-80), the beginning of 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 120-127). 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 interplay between the right

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

ures 57·58 actually begins on the upbeat 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 measures 60-

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

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

beforehand, thereby creating greater continuity between choruses.

In the penultimate chorus, the melody is restated in the style of the open-

ing, with some altered harmonies (measures 154-164) 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 into a stop-time coda which is a pretty har-

monic sequence based on the last four bars of the theme that humorously

revolves with a two-bar blues phrase. Another interesting stnlctural feature

is the way the second eight bars of the theme are restated in each chorus in

riibt-hand octaves and walking tenth chords Inthe left hand. These chorda

are harmonized. differently each time and the melody also has different

rhythmic embellishments,

In "Fine and Dandy," Art Tatum created multi-leveled variations on a

theme inwhich the separateness of the thematic components is maintained

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

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

embracing these disparate elements, enabling them to co-exist in a larger

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 fast that they tickle the ear, the characteristic runs take on unexpected

turns (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 painlessly (see measures 47-48, SO-Sl, and 87-89 for such traps), Tatum's

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

(measures 9-19) and in the third chants (measures 106--121); the latter meas-

u re s a re notable for Tatum's imaginative reharmonization Ofthe theme_

[Surrender, Dear (1955)

Of all the components making up the Art Tatum style it is the art of ad lib

playing that is at once easy to approach pianistically yet musically very dif-

ficult to pull off. Tatum created an excellent model for out-of-tempe solo

piano playing that can .serveas a strong vehicle for expreslrlve,lyrical, and vir-

tuosic music making in the hands of a skilled and sensitive pianist-musician.

In ballads, he would play the theme a c t libitum, often exploring different

ways of aItering and revoicing the harmony_He would then use the last few

bars of i::.heheme to' establish his tempo and execute a number of choruses.

Toward the end of the piece he would again play out of tempo, either re-

s~tingor paraphrasing the theme ana then would finish with·a little coda.

. When T a t u m playect t1.lneswith an iliA structure he wowd close the lrn-

11· '



prOviaation by repeating the B and the final A sections of the tune.

"I Surrender, Dear" is , a fine example of Art Tatunl'sbtillad approach, a l-

thoush he really does not play ad lib until the last five measures of the piece.

In this particular selection Tatum states the theme in tempo. The first six-

teen bars are executed in a manner akin to classical piano styles inthat the

rhythmic focus is centered within the highly ornamented treatment of the

melody in the right hand and in the connective runs. Tatum frequently

follows sections of tender passage work with thick arpeggiated chords and

he makes effective use of left-hand counter-melodies and decorative harmon-

ic embellishments such as the whole tone scale in meuures18 and 20.

Ail important and revealing aspect of Tatum's ballad style, in relation tohis recordings of 1949 and aftet, is found in the way he constantly wavers

from a "straight," non-dotted, even rhythmic pulse to tripJeta OI'dotted

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

(measures 38-39 and 78--81; See Sweet Lorraine II). This technique illustrates

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

vaci1lating rhythmic approach in the Nonnan Granz solo sel8ions (these in.

elude such tunes as "Lover Come Back to Me," "You're Blase," "In a Senti-

mental Mood," "Don't Worry About Me," "The Way You Look Tonight,"

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

Waltz"). Indeed, Tatum would aometimes rhapsodize at length before safely

settling into jazz tempo.

Sweet Lorraine 1 (Decca, 1940)Swee t Lorraine U (Capitol, 1949)

Because of his penchant for setting his improvilations into arrangements

Art ~tum wa s often accused of not being a real juz muaician. Itis true that

Tatum could reproduce some of his recorded interpretations note for note.

(His Pablo recordings of "Yesterdays" and "Belin the Beguine'; are not only

virtwi1 reproductions of early recordings but they also bear out the old jazz

credo stating that "familiarity breeds faster tempos." Havins heard most of

Tatum's complete recordings, commercial andnon-commerclal alike includ-

ing many re-recordinp of standard tunes, I think it's instructive to take dif-

ferent recordings of one COmmon tune and compare th~ chrOnolopcally.

Not only did Tatum improvise with the melodic and harmonic materiallJ of

these songs but he also improvised with the structure of his icrcalled. "ar-rangements." For example, the basic arrangement of the 1940 version of

"Gei Happy" is similar to the lesser known transcription disc vmio~ from

1989. Within one year Tatum's approach to the tune evolved Iipiflcantly.

111elater, commercially i s sued version is more balanced. the relationships otideas from chorus to cbcrusare cle8Jer and, mOlt importantly, Tatum has

added a long introduction that sets the mood for the piece and embraces theessential structure of the song so when he linally arrives at the theme the

basic arrangement makes a little more sense.

Likewise, the 1940 version of "Sweet Lorraine" is fuller inits realization

than its earlier counterpart (also taken from a transcription disc). The har-

monic sequence at measure 7 is smoother in the later vers ion. It is bisicaJJ.y

aviV I IV progression

withcontrapuntal movement inseventh.

andtenths.whereas the earlier version has what is basically an aUtmented sixth·chord on

the third and fourth beats of measure 7 resolving to a dominant chord that

lasts all of measure 8. The sequence on the later recording resolves to the

tonic instead. The introduction to the piece'is now four m..:ures instead of. ' , .. ",: . ," ~ ~

two, apU) representing a more balanced r8vUlon.· ,

'!beN is much to ~ sllidabO~tktratum·.'1aric:bn8i'ki~4.Qt.!cording of

12



"Swee t Lorraine," It has a sparse, lyrk:alCJUliitr that meshes perfectly with

the gentle swing style and the effective, Jnediunl4ernpo, full-chorded stride

paaaages with their "clipped" tenths and subtle eountermelodies. Tatum's runs

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

creet manner that they a re even singable. Tatum's harmonic genius is re-

vealed. as much in his melody line as in his chord progressions. The contours

of these lines are fascinating; they are perpetually spiced with unusual inter-

uand telling aceenta (see measures 11-12, 43-44, 75-76, and the quote

from '~ Monkey Wrapped His TaU Around the Flagpole" at measures

~7-8)_ Note a lso bow Tatl,uncbariges the harmony each time around on theJut two meuurea of the bridle, reaching a climax at measures 69-60 going

irito thi 1aA eigbt.measUreai.(In later tecordings Tatum played these measures

of thebridp withth • . . . n e hannony as in the previous eight measures,

tb.ereby repeatingtbesam.~uen:ce of chromatically descending seventh

chOldt--tive or take af8;WaupDertf.ed altAirationl.)

ey contrast, "sWeet L o r ! a i M UH i S a h 1 J . carefree, and rhythmically and

harmonicallydlore eompl_. if,natu tot.aliYorganized as the earlier version.- .Tatum u to iz ea mo re .opil:iaticatedbass lines and ·wilking left-hand chords, a

major chtlractmjstic O f bi s later work. Note 1)ii i:n,entive use of quoting, this

time f r o m the P4delewski · · ~ u e t .nG~" "Wait ing for the Robert E. Lee,"

.A d Et.belbert,Nevin"s uNuciaauI/' .

13





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ASeleetedBlseograplly

Art Tatum ... "On The Air"

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

Piano Starts Here

Columbia CS 9655(Four 1933 recordings and the May 1949 "Just Jazz" Concert, Shrine

Auditoriwn, Los Angeles)

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

(Piano solos from 1938 and 1939)

Get Happy!

Black Lion BLP 30194 (British)

Standard Transcriptions Q126 and Q135, from 1938-9, includes "Ain't

Milbehavin' ")

Art Tatum M4Iterpieces

MCA24019(includes "Sweet Lorraine")

Art Tatum Masterpieces Volume 2 and James P. Johnson PWys Fats Waller

MCA 24112

God I. In The HouseOnyx 205 Musidisc/Jazz Anthology 30 JA 6Ul (French)

(1940-41 Harlem After-Houn Sessions, includes "Fine and Dmdy")

Song of the VagabondsBlack Lion BLP 30166 (British)

(includes the complete 1945 ARA sessions)

Solo Piano

Capitol M·ll028

(1949 sessions, includes "Sweet Lorraine")

The Tatum Solo Marterpieces

Pablo 18 LP set 2625 708

(1953-66 recordinp, includes "Moong1ow" and "I Surrender. Dear")

The Tatum Group Masterpieces

Pablo 8 LPset 2625 708

The Complete Art Tatum Piano Discoveries

Documents

Art Tatum - Jazz Piano Solos (3 Libri)