Night Lights Classic Jazz

Art Tatum: The Group Masterpieces

Pianist Art Tatum's speed and harmonic imagination often left other musicians astonished, inspired, or in despair. Here are some who dared to keep up with him.

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    Photo: Album cover art

    Tatum Group Masterpieces, vol. 8

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    Photo: album cover art

    Tatum Group Masterpieces, vol. 4

Pianist Art Tatum was so talented, so blessed with speed and harmonic imagination, that he seemed like a small, self-contained ensemble. Throughout his career he would often leave sidemen in an aesthetic dust.

Critic Martin Williams wrote that “Tatum played with an array of ascending and descending arpeggio runs, octave slides and leaps, sudden modulations, double-third glissandos… 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.” Although Tatum led a successful trio throughout much of the 1940s, many listeners preferred him as a solo performer.

A Game Of ‘Can You Top This?’

Near the end of his career Tatum made a series of recordings for jazz impresario Norman Granz that featured the pianist in small-group settings. While some of these sessions are more successful than others, they all provide unparalleled opportunities to hear Tatum with colleagues that could, to varying degrees, hold their own with Tatum. Among these are:

  • saxophonists Ben Webster and Benny Carter
  • trumpeter Roy Eldridge
  • vibraphonist Lionel Hampton
  • clarinetist Buddy DeFranco

Still, it was Tatum who dominated the proceedings. “It was a game between us of ‘Can you top this?’” DeFranco later recalled. “He’d play some astonishing figure and laugh, or turn and make a face at me over one shoulder…I think he could have outwitted Charlie Parker.”

Martin Williams writes, “For the listener, the Tatum adventure seems unending.” And that is part of what makes Tatum so appealing: the sense, when listening to him, that the music could simply go on forever, that the flights of beautiful prowess might never end.

For More Art Tatum:

  • Ted Gioia offers a rundown on 12 prime Tatum tracks at Jazz.com.
  • Paul Berman on Tatum in the New York Times (thanks to jostber at Organissimo for the link)
  • Watch a brief clip of Tatum performing with his trio in 1943:

Music Heard On This Episode

Hallelujah
Art Tatum — Group Masterpieces V. 3 (Pablo, 1955)
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Hallelujah
Art Tatum — Group Masterpieces V. 3 (Pablo, 1955)
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Blues in C
Art Tatum/Benny Carter — Group Masterpieces V. 1 (Pablo, 1954)
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Moon Song
Roy Eldridge/Art Tatum — Group Masterpieces V. 2 (Pablo, 1955)
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Somebody Loves Me
Lionel Hampton/Barney Kessel/Sweets Edison/Art Tatum — Group Masterpieces V. 5 (Pablo, 1955)
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Idaho
Benny Carter/Art Tatum — Group Masterpieces V. 1 (Pablo, 1954)

Notes: Midpoint music bed.

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Just One of Those Things
Art Tatum/Jo Jones — Group Masterpieces V. 6 (Pablo, 1956)
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Deep Night
Buddy DeFranco/Art Tatum — Group Masterpieces V. 7 (Pablo, 1956)
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Night and Day
Ben Webster/Art Tatum — Group Masterpieces V. 8 (Pablo, 1956)
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Where or When
Ben Webster/Art Tatum — Group Masterpieces V. 8 (Pablo, 1956)
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David Brent Johnson

Born in Indianapolis, Indiana, David Brent Johnson moved to Bloomington in 1991. He is an alumnus of Indiana University, and began working with WFIU in 2002. Currently, David serves as jazz producer and systems coordinator at the station. His interests include literature, history, music, writing, and movies.

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