Art of the Piano Art Tatum Oscar Peterson Tracks

Jazz Profiles from NPR
Art Tatum
Produced by Molly Murphy

		I of the greatest improvisers in jazz history, Art Tatum also gear up the standard for technical dexterity with his classic 1933 recording of "Tea for 2." Nearly blind, Tatum's artistic vision and power made him an icon of jazz piano, a musician whose touch on volition exist felt for generations to come up.

Listen to pianists Hank Jones and Oscar Peterson, clarinetist Buddy DeFranco and vocaliser Jon Hendricks and Tatum biographer James Lester talk almost Fine art Tatum

While Tatum's skills were undeniable, his style continues to stir controversy on whether or non he was an "official" jazz musician. Some jazz critics dismissed his playing equally so much ornate window-dressing and the pianist himself equally a novelty instead of a serious jazz artist; others saw him equally the new and improved 2d coming of stride fable Fats Waller, one of Tatum'southward idols.

Listen to Lester talk well-nigh Tatum's piano skills

What made Tatum's music even more astonishing was watching his extremely calm demeanor as his nimble figures raced up and downward the ivories. According to a radio interview with "Voice of America" host Willis Conover, however, Tatum was never fully satisfied with his astonishing deftness.

Listen to Art share his dissatisfaction with his technical skills

Born Arthur Tatum, Jr. on October thirteen, 1909 in Toledo, Ohio, the pianist had lost nearly of his sight by the historic period of four. He received some formal training on the piano at the Toledo Schoolhouse of Music, learning to read sail music with the help of spectacles so in Braille. But Tatum was primarily cocky-taught, cribbing from pianoforte rolls, phonograph recordings, and radio broadcasts while learning what he could from musicians he encountered.

Past xix, Tatum he was playing with singer Jon Hendricks at Toledo'due south Waiters & Bellman's Lodge, a popular local jazz social club that hosted national acts too. A few of those national acts -- Louis Armstrong, Duke Ellington, Count Basie and Andy Kirk among them -- took notice of the immature house pianist, ofttimes stunned by his speed and dexterity.

Listen to Hendricks recall performing with Art Tatum at Toledo'southward Waiters & Bellman's Social club

		In 1932, Tatum traveled to New York with vocalist Adelaide Hall (left). His reputation had arrived earlier and some of New York'southward finest jazz musicians were eagerly pending his arrival. The following year, Tatum cut his starting time sides, for the Brunswick characterization. The first vocal was aforementioned "Tea for Two," which became his signature tune.

Listen to Lester talk most the anticipation of Tatum's arrival to New York City

Tatum's stay in New York was brief, and he returned to the Midwest, playing in Cleveland and Chicago for the mid-1930s. He made a triumphant render to New York in 1937, playing at several clubs and appearing on national radio shows.

The following year, Tatum toured England and he began actualization regularly in New York and Los Angeles in the late 1930s and early on 1940s. Taking Nat "King" Cole's successful jazz trio as a model, Tatum founded his own influential trio with Slam Stewart (double bass) and Tiny Grimes (electric guitar) in 1943. Grimes left the following year, but Tatum continually returned to this format, playing with guitarist Everett Barksdale in particular.

Tatum was not just made a favorite amidst jazz musicians, but also European classical musicians like Usher Leopold Stokowski, composer Sergei Rachmaninov and pianist Vladimir Horowitz. But as Tatum's virtuosity continued to awe his boyfriend musicians, many music critics vilified his playing as beingness overbearing.

Listen to pianists Baton Taylor and Hank Jones recall a meeting betwixt Tatum and Horowitz

Although Tatum was not considered a bebop jazz musician, he had a legion of bop followers like the alto saxophone icon Charlie Parker and pianist Bud Powell, and he became a mentor for pianists Baton Taylor and Oscar Peterson. His obsession with music didn't prevent him from indulging in his other favorite activities: sports and cards.

Heed to pianist Oscar Peterson relates an story well-nigh playing cards with Tatum and bassist Ray Dark-brown

As bebop began to take command of jazz in the early 1950s, Tatum continued playing variations of the stride piano style, mostly at small clubs throughout the country. In in 1953, Tatum tracked a record 124 solos for noted producer Norman Granz and while the sessions were hasty, they yielded material for 13 albums.

Heed to Tatum and biographer Lester recall the pianist'south prolific 1953 sessions with Norman Granz

Soon after, Granz assembled an all-star group of jazz musicians similar vibraphonist Lionel Hampton, drummer Buddy Rich, saxophonist Ben Webster, trumpeter Harry "Sweets" Edison and clarinetist Buddy DeFranco to record with Tatum. During these sessions many musicians were just every bit amazed at the amount of beer Tatum drank as they were nearly the amount of musical virtuosity continued to stream out of Tatum's hands.

Although his excessive drinking didn't affect his playing, it did unfortunately affect his wellness. By 1952, Tatum began showing show of euremia, a toxic claret condition resulting from a severe kidney disease. On Nov 5, Tatum died at age 47, and although his career was relatively brusk, Tatum'south brilliant playing still remains unparalleled and highly influential.

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Source: https://legacy.npr.org/programs/jazzprofiles/archive/tatum.html

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