art tatum

 

  • [147][148] Whereas in a professional setting he would often give audiences what they wanted – performances of songs that were similar to his recorded versions – but decline
    to play encores, in after-hours sessions with friends he would play the blues, improvise for long periods on the same sequence of chords, and move even further away from a composition’s melody.

  • [22] In an interview as an adult, Tatum denied the story that his playing ability developed because he had attempted to reproduce piano roll recordings that, without his knowing,
    had been made by two performers.

  • [39] Although Tatum was encouraged by comments from these and other established musicians, he felt that he was not yet, in the late 1920s, musically ready to move to New York
    City, the center of the jazz world and home to many of the pianists he had listened to growing up.

  • [40] This had changed by the time that vocalist Adelaide Hall, touring the United States with two pianists, heard Tatum play in Toledo in 1932 and recruited him:[41] he took
    the opportunity to go to New York as part of her band.

  • [42] On August 5 that year, Hall and her band recorded two sides (“I’ll Never Be the Same” and “Strange as It Seems”) that were Tatum’s first studio recordings.

  • [115] Granz reported that the recording tape ran out during one piece, but Tatum, instead of starting again from the beginning, asked to listen to a playback of just the final
    eight bars, then continued the performance from there on the new tape, keeping to the same tempo as on the first attempt.

  • [32] Pianist Chick Corea said, “Tatum is the only pianist I know of before Bill [Evans] that also had that feather-light touch – even though he probably spent his early years
    playing on really bad instruments.

  • [95] Tatum in 1946 Aided by name recognition from his record sales and reduced entertainer availability because of the World War II draft, Tatum began to play in more formal
    jazz concert settings in 1944,[97] appearing at concert halls in towns and universities all around the United States.

  • [38] They were impressed by what they heard: from near the start of his career, “his accomplishment […] was of a different order from what most people, from what even musicians,
    had ever heard.

  • [165] Schuller argues that Tatum was still developing toward the end of his life – he had greater rhythmic flexibility when playing at a given tempo, more behind-the-beat
    swing, more diverse forms of expression, and he employed far fewer musical quotations than earlier in his career.

  • [113] Jazz impresario Norman Granz, who recorded Tatum extensively in 1953–1956 Tatum’s four-year absence from the recording studios as a soloist ended when Granz, who owned
    Clef Records, decided to record his solo playing in a way that was “unprecedented in the recording industry: invite him into the studio, start the tape, and let him play whatever he felt like playing.

  • [76] The overseas trip appeared to have boosted his reputation, particularly with the white public, and he was able to have club residencies of at least several weeks at a
    time in New York over the following few years, sometimes with stipulations that no food or drink be served while he was playing.

  • [50] Clubs on 52nd Street in New York, where Tatum often played (May 1948) Tatum’s first solo piano job in New York was at the Onyx Club,[51] which was later reported to have
    paid him “$45 a week and free whiskey”.

  • [28] By the time he was a teenager, Tatum was asked to play at various social events, and he was probably being paid to play in Toledo clubs from around 1924–25.

  • [58] During the hard economic times of 1934 and 1935, Tatum mostly played in clubs in Cleveland, but also recorded in New York four times in 1934 and once in 1935.

  • [84] Pianist Keith Jarrett has said that Tatum played too many notes,[168] and a criticism of him in a band setting was that he often did not modify his playing, overwhelming
    the other musicians and appearing to compete with any soloist he was ostensibly supporting.

  • [17] He also began the piano at a young age, playing by ear and aided by an excellent memory and sense of pitch.

  • [186] Vocalist Tony Bennett incorporated aspects of Tatum into his singing: “I’d listen to his records almost daily and try to phrase like him.

  • [72] He performed there for three months, and enjoyed the quiet listeners who, unlike some American audiences, did not talk over his playing.

  • [156] 0:18 Tatum’s bitonal playing with Oscar Moore on “Lonesome Graveyard Blues” (1941) Musicologist Lewis Porter identified three aspects of Tatum’s playing that a casual
    listener might miss: the dissonance in his chords; his advanced use of substitute chord progressions; and his occasional use of bitonality (playing in two keys at the same time).

  • [178] Wiggins said that Tatum could identify and avoid using any keys on a piano that were not working,[178] while guitarist Les Paul recounted that Tatum sometimes resorted
    to pulling up stuck keys with one hand, mid-performance, so that he could play them again.

  • [87] They were a commercial success on 52nd Street, attracting more customers than any other musician, with the possible exception of vocalist Billie Holiday, and they also
    appeared briefly on film, in an episode of The March of Time.

  • [64] This lifestyle contributed to the effects of the diabetes that Tatum probably developed as an adult, but, as highlighted by his biographer, James Lester, Tatum would
    have faced a conflict if he wanted to address his diabetes: “concessions – drastically less beer, a controlled diet, more rest – would have taken away exactly the things that mattered most to him, and would have removed him from the night-life
    that he seemed to love more than almost anything (afternoon baseball or football games would probably come next)”.

  • [141] He also disliked having attention drawn to his blindness: he did not want to be physically led and so planned his independent walk to the piano in clubs if possible.

  • [108] The owner subsequently advertised that black customers were welcome, and Tatum played there frequently in the next few years.

  • Tatum also extended jazz piano’s vocabulary and boundaries far beyond his initial stride influences, and established new ground through innovative use of reharmonization,
    voicing, and bitonality.

  • encompassing a full sound instead of highlighting one or more timbres[32]) that appeared in Tatum’s playing.

  • [43] Two more sides with Hall followed five days later, as did a solo piano test-pressing of “Tea for Two” that was not released for several decades.

  • [15][note 3] Accounts vary on whether Tatum’s parents played any musical instruments, but it is likely that he was exposed at an early age to church music, including through
    the Grace Presbyterian Church that his parents attended.

  • [153] Over time, he added to his repertoire – by the late 1940s, most of the new pieces were medium-tempo ballads but also included compositions that presented him with harmonic
    challenges, such as the simplicity of “Caravan” and complexity of “Have You Met Miss Jones?

  • In the 1940s, Tatum led a commercially successful trio for a short time and began playing in more formal jazz concert settings, including at Norman Granz-produced Jazz at
    the Philharmonic events.

  • [83] The album title came from Waller’s reaction when he saw Tatum enter the club where Waller was performing: “I only play the piano, but tonight God is in the house.

  • [62] There, he followed the pattern he had adopted early in his career: paid performances followed by long after-hours sessions, all accompanied by prodigious drinking.

  • [80] Billboard magazine suggested that he could make at least $300 a week as a soloist in 1943;[85] when he formed a trio later that year, it was advertised by booking agents
    at $750 a week.

  • [68] Continuing to travel by train, Tatum settled into a pattern of performances at major jazz clubs in Los Angeles, Chicago, and New York interspersed with appearances at
    minor clubs where musicians of his standing did not normally play.

  • Granz recorded Tatum extensively in solo and small group formats in the mid-1950s, with the last session only two months before Tatum’s death from uremia at the age of 47.

  • [176] Examples of chords played by Tatum that “were easy for him to reach”[153] Tatum’s touch has also attracted attention: for Balliett, “No pianist has ever hit notes more
    beautifully.

  • [150] In after-hours performances, Tatum’s repertoire was much wider than in professional appearances,[151] at which his staples were American popular songs.

  • [52] The Onyx was one of the first jazz clubs to open on 52nd Street,[51] which became the city’s focal point for public jazz performance for more than a decade.

  • [77] Tatum (right) at Downbeat Club, New York, c. 1947 Tatum recorded 16 sides in August 1938, but they were not released for at least a decade.

  • [124][125] Black American musicians were not often filmed at this time, so very few visual recordings of Tatum exist,[126] but his solo performance of “Yesterdays” on the
    show has survived as a video recording.

  • [47] Reminiscing about Tatum’s debut, Johnson said, “When Tatum played ‘Tea for Two’ that night I guess that was the first time I ever heard it really played.

  • In that decade, he settled into a pattern he followed for most of his career – paid performances followed by long after-hours playing, all accompanied by prodigious consumption
    of alcohol.

  • [121][122] The trio did not play with Kenton’s orchestra on the tour,[122] but had the same performance schedule, meaning Tatum sometimes traveled long distances by overnight
    train while the others stayed in a hotel and took a morning flight.

  • [166] Critic Whitney Balliett wrote of Tatum’s style, “his strange, multiplied chords, still largely unmatched by his followers, his laying on of two and three and four melodic
    levels at once […] was orchestral and even symphonic.

  • [88] Up to that point, critics had praised Tatum as a solo pianist, but the paying public had given him relatively little attention; with the trio, he enjoyed more popular
    success, although some critics expressed disappointment.

  • “[177] Among the musicians who said that Tatum could make a bad piano sound good were Billy Taylor[84] and Gerald Wiggins.

  • [66] He recorded in Los Angeles for the first time early the following year – four tracks as the sextet named Art Tatum and His Swingsters,[67] for Decca Records.

  • […] At the time this was an astonishing enterprise, the most extensive recording that had been done of any jazz figure.

  • [34] After regular club dates, he often visited after-hours clubs to be with other musicians; he enjoyed listening to other pianists and preferred to play after all the others
    had finished.

  • “[183] Tatum’s influence went beyond the piano: his innovations in harmony and rhythm established new ground in jazz more broadly.

  • [78] A similar thing happened the next year: of the 18 sides he recorded, only two were issued as 78s.

  • [33] Career and adult life 1927–1937[edit] In 1927, after winning an amateur competition, Tatum began playing on Toledo radio station WSPD during interludes in a morning shopping
    program and soon had his own daily program.

  • [130] Nevertheless, in August of that year he played to the largest audience of his career: 19,000 gathered at the Hollywood Bowl for another Granz-led event.

  • [107] He also played for the first time at Club Alamo in Detroit, but stopped when a black friend was not served.

  • [127] She had little interest in music, and did not normally attend his performances.

  • [94][95] This was described much later as an “unheard-of figure” for the time.

  • [25] After probably less than a year there, he transferred to the Toledo School of Music.

  • “[154] Until the 1940s, Tatum’s style was based on popular song form, which often meant two bars of melodic development followed by two more melodically static bars, which
    he filled with rapid runs or arpeggios.

  • [81] One recording from early in 1941, however, was commercially successful, with sales of perhaps 500,000.

  • [91] He abandoned the trio in 1944,[92] possibly at an agent’s behest, and did not record with one again for eight years.

  • [37] As word of Tatum spread, national performers passing through Toledo, including Duke Ellington and Fletcher Henderson, visited clubs where he was playing.

  • [117] Tatum was, variously, criticized for not playing real jazz, the choice of material, and being past his best, and praised for the enthralling intricacy and detail of
    his playing, and his technical perfection.

  • [153] He was also capable of reaching twelfth intervals in either hand, and could play a succession of chords such as the illustrated examples at high speed.

  • [65] In California, Tatum also played for Hollywood parties and appeared on Bing Crosby’s radio program late in 1936.

  • [80] One of the releases, a version of “Tea for Two”, was added to the Grammy Hall of Fame in 1986.

  • [80] Informal performances of Tatum’s playing in 1940 and 1941 were released decades later on the album God Is in the House,[82] for which he was posthumously awarded the
    1973 Grammy for Best Jazz Performance by a Soloist.

  • “[16] Tatum was able to use his thumbs and little fingers to add melody lines while playing something else with his other fingers;[173] drummer Bill Douglass, who played with
    Tatum, said that he would “do runs with these two fingers up here and then the other two fingers of the same hand playing something else down there.

  • [93] Early in 1945, Billboard reported that the Downbeat Club on 52nd Street was paying Tatum $1,150 a week to play four 20-minute sets per night as a soloist.

  • [108] Although Tatum remained an admired figure, his popularity waned in the mid-to-late 1940s, likely due in large part to the advent of bebop,[109] a musical style he did
    not embrace.

  • [29] Growing up, Tatum drew inspiration principally from Fats Waller and James P. Johnson, who exemplified the stride piano style, and to some extent from the more modern
    Earl Hines,[28][30] six years Tatum’s senior.

  • [44] After his arrival in New York, Tatum participated in a cutting contest at Morgan’s bar in Harlem with the established stride piano masters – Johnson, Waller, and Willie
    “The Lion” Smith.

 

Works Cited

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2. ^ Tatum’s eyesight is discussed in detail by Spencer 2002, pp. 42–54.
3. ^ In 1935, Tatum was reported as describing
his eyesight as “not too good, but I can see enough to read and write and get around”.[16]
4. ^ A “case” of beer often refers to 24 beers, but there is not an official standard.
5. ^ In an informal recording from 1952, he can be heard playing
A♭ and D♭, “demonstrates it, fills it out, and responds that it’s ‘Not too bad when you fill it out’.”[175]
6. ^ There is a 2009 self-published biography in German (Art Tatum, by Mark Lehmstedt),[193][194] and a self-published account of Tatum’s
life in Toledo up to 1932 (The History of Art Tatum, 1909–1932, by Imelda Hunt).[195]
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Photo credit: https://www.flickr.com/photos/calliope/116343334/’]