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American Music
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MARTIN WILLIAMS
Art Tatum:
When Louis Armstrong first arrived in the early 1920s, the reaction of his fellow
musicians was generally positive. His elders, most of them, and particularly if they
were from New Orleans, heard him as a fulfillment of what they had been working
on. And younger players seem to have felt that here was someone who could serve
as an inspiration and guide, from whom they could take at least a part, if not all,
and develop something of their own.
When Art Tatum arrived about a decade later, the first reaction of many musicians seems to have been one of delight and despair. If that is where it's going, they
seemed to say, we can't follow. And some of them decided, perhaps temporarily,
that, an unequalled capacity for speed and for musical embroidery. And those
things remained for years a source of frustration to many a musician. But not so
(one learns with gratification) to Coleman Hawkins, who heard something more,
perhaps even something else, and found inspiration in it.
The speed and the embroidery were dazzling, of course. Tatum played with
an array of ascending and descending arpeggio runs, octave slides and leaps, sudden modulations, double-third glissandos-a keyboard vocabulary in which swift,
interpolated triplets were a small matter. His left hand could walk and it could
stride; he also liked to use a kind of "reverse" stride, the chord at the bottom, the
note on top. And he could execute all these at tempos that most players could not
reach, much less sustain. Indeed, his early "Tea for Two" seemed to be a textbook
summary of what one could learn from Earl Hines; "Tiger Rag" all one could get
from Fats Waller; and by "Get Happy" in 1940, more than Waller was ever likely to
get to.
Martin Williams is a cultural historian at the Smithsonian Institution, Washington, D.C.
This article is from The Art of Jazz, revised edition, by Martin Williams. Copyright @ 1959,
1983 by Oxford University Press, Inc. All Rights Reserved. Published by arrangement with
Oxford University Press, New York.
American Music Spring 1983
@1983 Board of Trustees of the University of Illinois
0734-4392/83/0001-0036 $00.50/0
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Art
Was
Tatum
37
Tatum
then
only
the
styles
of
borrowed
board
showmanship?
From
the
beginning
Ta
years
it
seemed
to
grow
late
1940s,
Tatum's
comm
rare
is
so
for
player
subtly
and
of
any
perfectly
find
himself
responding
feelings.
That
subtlety
of
evoking
endlessly
va
its
keys--and
this
on
a
struments
percussively.
Tatum's
repertory
tend
and
the
additions
were
m
ative.
heard
Also,
by
the
lat
less
often;
"Get
had
become
at
time.
The
succession
newer
pi
simplicity
of
"Caravan,
Miss
Jones?"
for
anoth
gie")
lay
relatively
negle
Tatum's
capacities
for
chorus
on
"Mop
Mop,"
w
to
work
with,
he
could
whose
dexterity
could
monic
imagination
was
tered
voicings,
unexpec
melodies-toward
the
en
ballads
with
whole
subs
An
Art
Tatum
bass
lin
sureness,
lightness,
and
rhythmic
adventure
an
gration
of
rhythm
and
inseparable,
an
identity
swing.
And
there
are
section--or
sometimes
"Tenderly"
or
"There'll
or
"I
Gotta
Right
to
Sin
such
ravishing
transitio
By
calling
Tatum's
mel
sustain
spontaneous,
inv
fying
aspects
of
his
wo
also
functioned
in
that
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38
Williams
where
fragments
of
t
form
allusive
structu
terse
transitional
phr
melodic
adornments
song;
his
invented,
p
Tatum's
after
after
maturity
the
cam
modernists
Tatum
had
lar
brought
him
the
only
solo
pianist,
inhibited
a
series
of
recordings
The
Capitol
perform
firm
confirmation
of
Stood
Still"
or
"Danci
"Willow
Weep
for
Me
command
of
tempo,
o
surprise
that
is
eviden
all surprises quickly assume an inevitability as one absorbs them. Indeed this Capitol recording of "Aunt Hagar's Blues" seems so perfect in its overall pattern and
pacing, with every short run and every ornament appropriate and in place, that it
may be the masterpiece of all his recorded work.
Pianist Dick Katz has written that Tatum approached each piece in his repertory through a kind of loose arrangement, and the general patterns of opening ad
lib (if there was one), of movement into and out of tempo, of certain ornaments and
frills tended to be there consistently--or, rather, versions of them did. (Even Ta-
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Art
formance
of
Tatum
each
39
piece
to
will
the
listener
single
out
with
th
"Jitterbug
risk
and
daring
and
fo
in-tempo
sections. And th
phant climax to his sever
most be defined through
The series does have its f
wasting his time on puz
and of his finding relativ
dust"). And I cannot say t
ornaments always avoids
To be sure, to raise the q
and the question of oppos
important question of Ta
when we fear he is reach
exaggerated ornament wi
inviting us to share the jo
adventure he brought us each time, and each time differently, somewhere among
all these, the alchemy of a great jazzman brought his performances to the highest
levels of compositional solidity, integrity, and strength.
As with many other major jazz artists, the revelation of broadcast and privately recorded material enlarges our image of Tatum. The so-called "discoveries"
recordings, taped at an informal evening in the home of a prominent Hollywood
musician, offer a generally heightened Tatum, and "Too Marvelous for Words" is
probably the supreme example of Tatum's wending his adventurous way into an
absolutely "impossible" harmonic corner, and then dancing free on his bass line,
while executing a fluid treble line to ornament the feat.
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40
Williams
early
training
on
growing
vocabulary
o
were
confirmed
and
Similarly,
Charlie
kitchen
job
in
a
club
Parker
proved
to
be
t
ophonist
proved
to
b
knowledge
the
clear
accents,
and
his
spee
The
final
effect
of
T
can
return
to
a
famil
something
previously
knew
still
seems
sur
Tatum
standard
and
d
new.
Tatum's 1933 "Tea for Two" and "Tiger Rag" are included in Columbia CS-9655-E.
MCA 4019 was drawn from Tatum's 1934-40 Decca recordings and included the 1940
Happy" and the earliest "Sweet Lorraine."
Tatum's "Mop Mop" solo, a feature of an all-star recording date, was recorded
The Tatum Capitol collection with the classic treatments of "Willow Weep for Me" and
"Aunt Hagar's Blues" is M-11028, and it also has versions of "Someone to Watch over Me,"
"Sweet Lorraine," "I Gotta Right to Sing the Blues," and "Dancing in the Dark."
The 1953-55 Tatum sessions, first released on Clef and Verve, were collected in a boxed set
of thirteen discs as Pablo 2625 703. In addition to the cited "Jitterbug Waltz," "Have You Met
Miss Jones?," and "Tenderly," there are exceptional versions of "Love for Sale," "Just a'
Sittin' and a' Rockin'," "This Can't Be Love," "There'll Never Be Another You," "Ill Wind,"
"That Old Feeling," "What's New," "Blue Moon," "Stars Fell on Alabama," "I've Got a
Crush on You," "You're Blase," "Dancing in the Dark," "In a Sentimental Mood," "She's
Funny That Way," "Sweet Lorraine," "Everything I Have Is Yours," "I Didn't Know What
Time It Was," "Tea for Two," "Come Rain or Come Shine," "I Only Have Eyes for You," "I
Gotta Right to Sing the Blues," "S'posin," "Someone to Watch over Me," "Out of
Nowhere," "Over the Rainbow," "Somebody Loves Me," "Wrap Your Troubles in
Dreams," "Isn't it Romantic," and "Caravan." More recently, the Pablo discs have begun to
appear singly, and, as this is written, the issues are up to record no. 9.
The "discoveries" sessions with "Too Marvelous for Words" appeared on the 20th
Century Fox two-record set TCF 102-2, which also included versions of "Tenderly,"
"Someone to Watch over Me," "Yesterdays," "My Heart Stood Still," "In a Sentimental
Mood," and "Sweet Lorraine." Some of these (including "Too Marvelous for Words") were
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