Don’t Blame Me – Art Tatum

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Tatum is widely acknowledged as a virtuoso and one of the greatest jazz pianists of all time, and was a major influence on later generations of jazz pianists. He was hailed for the technical proficiency of his performances, which set a new standard for jazz piano virtuosity. Critic Scott Yanow wrote, “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.”

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I’ll Never Be the Same – Art Tatum

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The Lionel Hampton Art Tatum Buddy Rich Trio is a 1955 studio album by Lionel Hampton, Art Tatum and Buddy Rich for Norman Granz ‘ Clef Records. The album has been re-issued on Verve as Tatum Hampton Rich and by Pablo as The Tatum Hampton Rich Trio and as Volume three of Pablo’s series, The Tatum Group Masterpieces.Track listing LP side A; What Is This Thing Called Love ” (Cole Porter) _ 7:02;I’ll Never Be The Same” (Frank Signorelli, Matty Malneck, Gus Kahn) _ 6:37; Makin’ Whoopee ” (Walter Donaldson, Gus Kahn) _ 7:04;LP side B;Hallelujah” (Vincent Youmans, Leo Robin, Clifford Grey) _ 4:53; Perdido ” (Juan Tizol, Hans Lengsfelder, Ervin Drake) _ 5:03; More Than You Know ” (Vincent Youmans, Billy Rose, Edward Eliscu) _ 4:13; How High The Moon ” (Nancy Hamilton, Morgan Lewis) _ 5:06;Personnel Lionel Hampton _ vibraphone;Art Tatum _ piano;Buddy Rich _ drums

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Runnin’ Wild – Art Tatum

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James P. Johnson was an American pianist and composer. A pioneer of the stride style of jazz piano, he was one of the most important pianists who bridged the ragtime and jazz eras, and, with Jelly Roll Morton, one of the two most important catalysts in the evolution of ragtime piano into jazz. As such, he was a model for Count Basie, Duke Ellington, Art Tatum and Fats Waller.Johnson composed many hit tunes including the theme song of the Roaring Twenties, ” Charleston ” and “If I Could be With You One Hour Tonight” and remained the acknowledged king of New York jazz pianists through most of the 1930s. Johnson’s artistry, his significance in the subsequent development of jazz piano, and his large contribution to American musical theatre, are often overlooked, and as such, he has been referred to by Reed College musicologist David Schiff, as “The Invisible Pianist”.

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Wabash Blues – Art Tatum

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Tatum was not inclined toward understatement or expansive use of space. He seldom played in a simplified way, preferring interpretations that displayed his great technique and clever harmonizations. When jazz pianist Stanley Cowell was growing up in Toledo, his father prevailed upon Tatum to play piano at the Cowell home. Stanley described the scene as, “Tatum played so brilliantly and so much … that I thought the piano was gonna break. My mother left the room … so I said ‘What’s wrong, Mama?’ And she said ‘Oh, that man plays too much piano.'” A handful of critics, notably Keith Jarrett, have complained that Tatum played too many notes or was too ornamental or was even ‘unjazzlike’. Jazz critic Gary Giddins opined, “That is the essence of Tatum. If you don’t like his ornament, you should be listening to someone else. That’s where his genius is.”

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How Am I To Know? – Art Tatum

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Tatum’s sound was attributable to both his harmonic inventiveness and technical prowess. Many of his harmonic concepts and larger chord voicings (e.g., 13th chords with various flat or sharp intervals) were well ahead of their time in the 1930s (except for their partial emergence in popular songs of the jazz age) and they would be explored by bebop-era musicians a decade later. He worked some of the upper extensions of chords into his lines, a practice which was further developed by Bud Powell and Charlie Parker, which in turn was an influence on the development of ‘modern jazz’. Tatum also pioneered the use of dissonance in jazz piano, as can be heard, for example, on his recording of “Aunt Hagar’s Blues”, which uses extensive dissonance to achieve a bluesy effect. In addition to using major and minor seconds, dissonance was inherent in the complex chords that Tatum frequently used.

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If I Had You – Art Tatum

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Tatum built upon stride and classical piano influences to develop a novel and unique piano style. He introduced a strong, swinging pulse to jazz piano, highlighted with cadenzas that swept across the entire keyboard. His interpretations of popular songs were exuberant, sophisticated and intricate. Jazz soloing in the 1930s had not yet evolved into the free-ranging extended improvisations that flowered in the bebop era of the 1940s, 1950s and beyond. But jazz musicians were beginning to incorporate improvisation while playing over the chord changes of tunes, and Tatum was a leader in that movement. He sometimes improvised lines that presaged bebop and later jazz genres, although generally not venturing far from the original melodic line. Tatum embellished melodic lines, however, with an array of signature devices and runs that appeared throughout his repertoire. As he matured, Tatum became more adventurous in abandoning the written melody and expanding his improvisations.

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The Wang Wang Blues – Art Tatum

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“Wang Wang Blues” is a 1920 jazz composition written by Henry Busse, Gus Mueller, and Theron E. “Buster” Johnson, with lyrics by Leo Wood. The song was released as a 78 single by Paul Whiteman and his Orchestra featuring Henry Busse on trumpet. The song is a pop and jazz standard.

Paul Whiteman recorded the song on August 9, 1920 in Camden, New Jersey. The song was released in 1920 as a Victor 78 single, 18694-B.Ferde Grofe arranged the song. Paul Whiteman recorded and released the song three additional times. The Paul Whiteman recording was no. 1 for 6 weeks on the pop singles charts.

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