Art Tatum

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Art Tatum_table_infobox_0

Art TatumArt Tatum_header_cell_0_0_0
Background informationArt Tatum_header_cell_0_1_0
Birth nameArt Tatum_header_cell_0_2_0 Arthur Tatum Jr.Art Tatum_cell_0_2_1
BornArt Tatum_header_cell_0_3_0 (1909-10-13)October 13, 1909

Toledo, Ohio, U.S.Art Tatum_cell_0_3_1

DiedArt Tatum_header_cell_0_4_0 November 5, 1956(1956-11-05) (aged 47)

Los Angeles, CaliforniaArt Tatum_cell_0_4_1

GenresArt Tatum_header_cell_0_5_0 Jazz, strideArt Tatum_cell_0_5_1
Occupation(s)Art Tatum_header_cell_0_6_0 MusicianArt Tatum_cell_0_6_1
InstrumentsArt Tatum_header_cell_0_7_0 PianoArt Tatum_cell_0_7_1
Years activeArt Tatum_header_cell_0_8_0 Mid-1920s–1956Art Tatum_cell_0_8_1
LabelsArt Tatum_header_cell_0_9_0 Brunswick, Decca, Capitol, Clef, VerveArt Tatum_cell_0_9_1

Arthur Tatum Jr. (/ˈteɪtəm/, October 13, 1909 – November 5, 1956) was an American jazz pianist who is widely regarded as one of the greatest in his field. Art Tatum_sentence_0

Tatum grew up in Toledo, Ohio, where he began playing piano professionally and had his own radio program, rebroadcast nationwide, while still in his teens. Art Tatum_sentence_1

He left Toledo in 1932 and had residencies as a solo pianist at clubs in major urban centers including New York, Chicago, and Los Angeles. Art Tatum_sentence_2

Throughout his career, Tatum also played in after-hours venues at which he was said to be more spontaneous and creative than in his regular paid performances. Art Tatum_sentence_3

Tatum drank large quantities of alcohol when performing; although it did not negatively affect his playing, it damaged his health. Art Tatum_sentence_4

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. Art Tatum_sentence_5

Granz recorded Tatum extensively in solo and small group formats in the mid-1950s, with the last session occurring only two months before the pianist's death from uremia at the age of 47. Art Tatum_sentence_6

His playing encompassed the styles of earlier musicians, while adding harmonic and rhythmic imagination and complexity. Art Tatum_sentence_7

Acclaimed for his virtuoso technique, Tatum extended the vocabulary and boundaries of jazz piano, and established new ground in jazz through innovative use of reharmonization, voicing, and bitonality. Art Tatum_sentence_8

Early life Art Tatum_section_0

Tatum's mother, Mildred Hoskins, was born in Martinsville, Virginia, around 1890, and was a domestic worker. Art Tatum_sentence_9

His father, Arthur Tatum Sr., was born in Statesville, North Carolina, and had steady employment as a mechanic. Art Tatum_sentence_10

In 1909, they made their way from North Carolina to begin a new life in Toledo, Ohio. Art Tatum_sentence_11

The couple had four children; Art was the oldest to survive, and was born in Toledo on October 13, 1909. Art Tatum_sentence_12

He was followed by Arline nine years later and by Karl after another two years. Art Tatum_sentence_13

Karl went to college and became a social worker. Art Tatum_sentence_14

The Tatum family was regarded as conventional and church-going. Art Tatum_sentence_15

From infancy, Tatum had impaired vision. Art Tatum_sentence_16

Several explanations for this have been posited, most involving cataracts. Art Tatum_sentence_17

He had eye operations, which meant that at the age of eleven he could see things that were close to him, and perhaps could distinguish colors. Art Tatum_sentence_18

Any benefits from these procedures were reversed, however, when he was assaulted, probably in his early twenties. Art Tatum_sentence_19

As a result, he was completely blind in his left eye and had very limited vision in his right. Art Tatum_sentence_20

Despite this, there are multiple accounts of him enjoying playing cards and pool. Art Tatum_sentence_21

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. Art Tatum_sentence_22

He also began playing the piano from a young age, playing by ear and aided by an excellent memory and sense of pitch. Art Tatum_sentence_23

Other musicians reported that he had perfect pitch. Art Tatum_sentence_24

As a child he was sensitive to the piano's intonation and insisted it be tuned often. Art Tatum_sentence_25

He learned tunes from the radio, records, and by copying piano roll recordings. Art Tatum_sentence_26

In an interview as an adult, Tatum denied the story that his playing style had developed because he was able to reproduce piano roll recordings made by two pianists. Art Tatum_sentence_27

He also had a lifelong interest in sports, and displayed an encyclopedic memory for baseball statistics. Art Tatum_sentence_28

Tatum first attended Jefferson School in Toledo, then moved to the School for the Blind in Columbus, Ohio, late in 1924. Art Tatum_sentence_29

He was there for probably less than a year before transferring to the Toledo School of Music. Art Tatum_sentence_30

He had formal piano lessons with Overton G. Rainey at either the Jefferson School or the Toledo School of Music. Art Tatum_sentence_31

Rainey, who was also visually impaired, taught the classical tradition, as he did not improvise and discouraged his students from playing jazz. Art Tatum_sentence_32

Based on this history, it is reasonable to assume that Tatum was largely self-taught as a pianist. Art Tatum_sentence_33

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. Art Tatum_sentence_34

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, six years Tatum's senior. Art Tatum_sentence_35

Tatum identified Waller as his biggest influence, while pianist Teddy Wilson and saxophonist Eddie Barefield suggested that Hines was one of his favorite jazz pianists. Art Tatum_sentence_36

Another influence was pianist Lee Sims, who did not play jazz, but did use chord voicings and an orchestral approach (i.e. encompassing a full sound instead of highlighting one or more timbres) that appeared in Tatum's playing. Art Tatum_sentence_37

Later life and career Art Tatum_section_1

1927–1937 Art Tatum_section_2

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. Art Tatum_sentence_38

After regular club dates, Tatum often visited after-hours clubs to be with other musicians; he enjoyed listening to other pianists and preferred to play last, after all the others had finished. Art Tatum_sentence_39

He frequently played for hours on end into the dawn; his radio show was scheduled for noon, allowing him time to rest before evening performances. Art Tatum_sentence_40

During 1928–29, the radio program was re-broadcast nationwide by the Blue Network. Art Tatum_sentence_41

Tatum also began to play in larger cities outside his home town, including Cleveland, Columbus, and Detroit. Art Tatum_sentence_42

As word of Tatum spread, national performers passing through Toledo, including Duke Ellington and Fletcher Henderson, dropped in to clubs to hear him play. Art Tatum_sentence_43

They were impressed by what they heard: from near the start of the pianist's career, "his accomplishment [...] was of a different order from what most people, from what even musicians, had ever heard. Art Tatum_sentence_44

It made musicians reconsider their definitions of excellence, of what was possible", his biographer reported. Art Tatum_sentence_45

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 relocate to New York City, which was the center of the jazz world and was home to many of the pianists he had listened to while growing up. Art Tatum_sentence_46

By the time that vocalist Adelaide Hall, touring the United States with two pianists, heard Tatum play in Toledo in 1932 and recruited him to play in her band, he took the opportunity to go to New York City. Art Tatum_sentence_47

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. Art Tatum_sentence_48

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. Art Tatum_sentence_49

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. Art Tatum_sentence_50

Standard contest pieces included Johnson's "Harlem Strut" and "Carolina Shout" and Waller's "Handful of Keys". Art Tatum_sentence_51

Tatum played his arrangements of "Tea for Two" and "Tiger Rag". Art Tatum_sentence_52

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." Art Tatum_sentence_53

Tatum thus took over as the king of jazz piano players. Art Tatum_sentence_54

He and Waller became good friends, with similar lifestyles – both drank prodigiously and lived as well as their incomes permitted. Art Tatum_sentence_55

Tatum's first solo piano job in New York was at the Onyx Club, which was later reported to have paid him "$45 a week and free whiskey". Art Tatum_sentence_56

The Onyx was one of the first jazz clubs to open on 52nd Street, which became the city's focal point for public jazz performance for more than a decade. Art Tatum_sentence_57

He recorded his first four released solo sides, for Brunswick Records, in March 1933: "St. Louis Blues", "Sophisticated Lady", "Tea for Two", and "Tiger Rag". Art Tatum_sentence_58

The last of these was a minor hit, impressing the public with its startling tempo of approximately 376 (quarter note) beats per minute, and with right-hand eighth notes adding to the technical feat. Art Tatum_sentence_59

Tatum's only known child, Orlando, was born in 1933, when Tatum was twenty-four. Art Tatum_sentence_60

The mother was Marnette Jackson, a waitress in Toledo; the pair were not married. Art Tatum_sentence_61

It is likely that neither parent had a major role in raising their son, who pursued a military career and died in the 1980s. Art Tatum_sentence_62

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 the following year. Art Tatum_sentence_63

He also performed on national radio, including for the Fleischman Hour broadcast hosted by Rudy Vallee in 1935. Art Tatum_sentence_64

In August of the same year, he married Ruby Arnold, who was from Cleveland. Art Tatum_sentence_65

He began a residence of about a year at the Three Deuces in Chicago the following month, initially as a soloist and then in a quartet of alto saxophone, guitar and drums. Art Tatum_sentence_66

At the end of his first Three Deuces stint, Tatum moved to California, travelling by train because of his fear of flying. Art Tatum_sentence_67

There, he adopted the same pattern that he had followed from early in his career: paid performances followed by long after-hours sessions, all accompanied by prodigious drinking. Art Tatum_sentence_68

A friend from his early days in California observed that Tatum drank Pabst Blue Ribbon beer by the case. Art Tatum_sentence_69

This lifestyle contributed to the effects of the diabetes that Tatum probably developed as an adult, but, as highlighted by his biographer, the pianist would have faced a conflict if he wanted to address the diabetes problem: "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)". Art Tatum_sentence_70

In California, Tatum also played for Hollywood parties and appeared on Bing Crosby's radio program late in 1936. Art Tatum_sentence_71

He recorded in Los Angeles for the first time early the following year – four tracks as the sextet named Art Tatum and His Swingsters, for Decca Records. Art Tatum_sentence_72

Continuing to travel by long-distance 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. Art Tatum_sentence_73

Thus, in 1937 he left Los Angeles for another residence at the Three Deuces in Chicago, and then went on to the Famous Door club in New York, where he opened for Louis Prima. Art Tatum_sentence_74

Tatum recorded for Brunswick again near the end of that year. Art Tatum_sentence_75

1938–1949 Art Tatum_section_3

In March 1938, Tatum and his wife embarked on the Queen Mary for England. Art Tatum_sentence_76

He performed there for three months, and enjoyed the quiet listeners who, unlike some American audiences, did not talk over his playing. Art Tatum_sentence_77

While in England, he appeared twice on the BBC Television program Starlight. Art Tatum_sentence_78

Four of his very limited number of compositions were also published in Britain. Art Tatum_sentence_79

He then returned to the Three Deuces. Art Tatum_sentence_80

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 would be served while he was playing. Art Tatum_sentence_81

Tatum recorded 16 tracks in August 1938, but they were not released for at least a decade. Art Tatum_sentence_82

A similar thing happened the following year: of the 18 sides he recorded, only two were issued as 78s. Art Tatum_sentence_83

A possible explanation is that the popularity of big band music decreased the demand for solo recordings, so very few jazz pianists made them. Art Tatum_sentence_84

One of the releases, a version of "Tea for Two", was added to the Grammy Hall of Fame in 1986. Art Tatum_sentence_85

One recording from early in 1941, however, was commercially successful, with sales of perhaps 500,000. Art Tatum_sentence_86

This was "Wee Baby Blues", performed by a sextet and with the addition of Big Joe Turner on vocals. Art Tatum_sentence_87

Informal performances of Tatum's playing in 1940 and 1941 were released after his death on the album God Is in the House, for which he was awarded the 1973 Grammy for Best Jazz Performance by a Soloist. Art Tatum_sentence_88

The album title came from Waller's words when he saw Tatum enter the club he was playing in: "I only play the piano, but tonight God is in the house." Art Tatum_sentence_89

Tatum was, though, able to make a more than adequate living from his club performances. Art Tatum_sentence_90

Billboard magazine suggested that he could make at least $300 a week as a soloist in 1943; when he formed a trio later that year, it was advertised by booking agents at $750 a week. Art Tatum_sentence_91

The other musicians in the trio were guitarist Tiny Grimes and bassist Slam Stewart. Art Tatum_sentence_92

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. Art Tatum_sentence_93

As a solo pianist up to that point, Tatum was praised by critics, but the paying public had given him relatively little attention; with the trio, he enjoyed more popular success, although some critics expressed disappointment. Art Tatum_sentence_94

However, Tatum was awarded Esquire magazine's prize for pianists in its 1944 critics' poll. Art Tatum_sentence_95

All of Tatum's studio recordings in 1944 were with the trio, and radio appearances continued. Art Tatum_sentence_96

He abandoned the trio in 1944, possibly at an agent's behest, and did not record with one again for eight years. Art Tatum_sentence_97

Early in 1945, Billboard reported that Tatum was being paid $1,150 a week as a soloist by the Downbeat club on 52nd Street to play four sets of twenty minutes each per night. Art Tatum_sentence_98

This was described much later as an "unheard-of figure" for the time. Art Tatum_sentence_99

The Billboard reviewer commented that "Tatum is given a broken-down instrument, some bad lights and nothing else", and observed that he was almost inaudible beyond the front seating because of the audience noise. Art Tatum_sentence_100

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 from 1944 – appearing at concert halls in towns and universities all around the United States. Art Tatum_sentence_101

The venues were much larger than jazz clubs – some had capacities in excess of 3,000 people – allowing Tatum to earn more money for much less work. Art Tatum_sentence_102

Despite the more formal concert settings, Tatum preferred not to adhere to a set program of pieces for these performances. Art Tatum_sentence_103

He recorded with the Barney Bigard Sextet and cut nine solo tracks in 1945. Art Tatum_sentence_104

A fellow pianist from the years after World War II estimated that Tatum routinely drank two quarts (1.9 l) of whiskey and a case of beer over the course of 24 hours, but almost all reports are that such drinking did not negatively affect his playing. Art Tatum_sentence_105

Rather than being deliberately or uncontrollably self-destructive, this habit was probably a product of his being careless about his health, which was a common characteristic of jazz musicians, and his enthusiasm for life. Art Tatum_sentence_106

Performances at concert settings continued in the second half of the 1940s, including participation in Norman Granz-produced Jazz at the Philharmonic events. Art Tatum_sentence_107

In 1947, Tatum again appeared on film, this time in The Fabulous Dorseys. Art Tatum_sentence_108

A 1949 concert at the Shrine Auditorium in Los Angeles was recorded and released by Columbia Records as Gene Norman Presents an Art Tatum Concert. Art Tatum_sentence_109

In the same year, he signed to Capitol Records and recorded 26 pieces for them. Art Tatum_sentence_110

He also played for the first time at Club Alamo in Detroit, but stopped when a black friend was not served. Art Tatum_sentence_111

The owner subsequently advertised that black customers were welcome, and Tatum went on to play there frequently in the following few years. Art Tatum_sentence_112

Although Tatum remained an admired figure, his popularity waned in the mid- to late 1940s. Art Tatum_sentence_113

This was because of the advent of bebop – a musical style that Tatum did not embrace. Art Tatum_sentence_114

1950–1956 Art Tatum_section_4

Tatum began working with a trio again in 1951. Art Tatum_sentence_115

The trio – this time with bassist Stewart and guitarist Everett Barksdale – recorded in 1952. Art Tatum_sentence_116

In the same year, Tatum toured the United States with fellow pianists Erroll Garner, Pete Johnson, and Meade Lux Lewis, for concerts billed as "Piano Parade". Art Tatum_sentence_117

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. Art Tatum_sentence_118

[...] At the time this was an astonishing enterprise, the most extensive recording that had been done of any jazz figure." Art Tatum_sentence_119

Over several sessions starting late in 1953, Tatum recorded 124 solo tracks, all but three of which were released, spread over a total of 14 LPs. Art Tatum_sentence_120

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. Art Tatum_sentence_121

The solo pieces were released by Clef as The Genius of Art Tatum, and were added to the Grammy Hall of Fame in 1978. Art Tatum_sentence_122

Granz also recorded Tatum with a selection of other stars in 7 more recording sessions, which led to 59 tracks being released. Art Tatum_sentence_123

The critical reception was mixed and partly contradictory. Art Tatum_sentence_124

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. Art Tatum_sentence_125

Nevertheless, the releases renewed attention on the pianist, including for a newer generation; he won DownBeat magazine's critics' poll for pianists three years in a row from 1954 (he never won a DownBeat readers' poll). Art Tatum_sentence_126

Following a health warning, Tatum stopped drinking in 1954 and lost weight. Art Tatum_sentence_127

That year, his trio was part of bandleader Stan Kenton's 10-week tour named "Festival of Modern American Jazz". Art Tatum_sentence_128

The trio did not play with Kenton's orchestra on the tour, but they had the same performance schedule, meaning Tatum sometimes travelled long distances by overnight train while the others stayed in a hotel and then took a morning flight. Art Tatum_sentence_129

He also appeared on television in The Spike Jones Show on April 17, to promote the then imminent release of The Genius of Art Tatum. Art Tatum_sentence_130

Tatum was rarely filmed, but his solo performance of "Yesterdays" on the show has survived as a video recording. Art Tatum_sentence_131

Tatum and Ruby divorced early in 1955. Art Tatum_sentence_132

They probably did not travel much together and she had become an alcoholic; the divorce was acrimonious. Art Tatum_sentence_133

He married again later that year – Geraldine Williamson, with whom he had probably already been living. Art Tatum_sentence_134

She had little interest in music, and did not normally attend his performances. Art Tatum_sentence_135

By 1956, Tatum's health had deteriorated due to advanced uremia. Art Tatum_sentence_136

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. Art Tatum_sentence_137

The following month, he had the last of the Granz group recording sessions, with saxophonist Ben Webster, and then played at least two concerts in October. Art Tatum_sentence_138

He was too unwell to continue touring, so returned to his home in Los Angeles. Art Tatum_sentence_139

Musicians visited him on November 4, and other pianists played for him as he lay in bed. Art Tatum_sentence_140

Tatum died the following day, at Queen of Angels Medical Center in Los Angeles, from uremia. Art Tatum_sentence_141

He was buried at Rosedale Cemetery in Los Angeles, but was moved to the Forest Lawn cemetery in Glendale, California, in 1992 by his second wife, so she could be buried next to him. Art Tatum_sentence_142

Tatum was inducted into the DownBeat Jazz Hall of Fame in 1964 and was given a Grammy Lifetime Achievement Award in 1989. Art Tatum_sentence_143

Personality and habits Art Tatum_section_5

Tatum was independent-minded and generous with his time and money. Art Tatum_sentence_144

He avoided joining the Musicians' Union for as long as he could since he felt that he would be restricted by having to follow its rules. Art Tatum_sentence_145

He also disliked anything that drew attention to his blindness: he did not want to be physically led and so planned his independent walk to the piano in clubs if possible. Art Tatum_sentence_146

People who met Tatum consistently "describe him as totally lacking in arrogance or ostentation" and as being gentlemanly in behavior. Art Tatum_sentence_147

He typically gave very little information about himself in interviews and preferred not to discuss his personal life or history with others, even with those he knew. Art Tatum_sentence_148

Although marijuana use was common among musicians during his lifetime, Tatum was not linked to drug use. Art Tatum_sentence_149

After hours and repertoire Art Tatum_section_6

Tatum was said to be more spontaneous and creative in free-form nocturnal sessions than in his scheduled performances. Art Tatum_sentence_150

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 more away from the melody of a composition. Art Tatum_sentence_151

Tatum also sometimes sang the blues in such settings, accompanying himself on piano. Art Tatum_sentence_152

Composer and historian Gunther Schuller describes "a night-weary, sleepy, slurry voice, of lost love and sexual innuendos which would have shocked (and repelled) those 'fans' who admired Tatum for his musical discipline and 'classical' [piano] propriety." Art Tatum_sentence_153

In after-hours performances, Tatum's repertoire was much wider than for professional appearances, for which his staples were American popular songs. Art Tatum_sentence_154

During his career, he also played his own arrangements of a few classical piano pieces, including Dvořák's Humoresque and Massenet's "Élégie", and recorded around a dozen blues pieces. Art Tatum_sentence_155

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?" Art Tatum_sentence_156

He did not add to the classical pieces he had used earlier. Art Tatum_sentence_157

Style and technique Art Tatum_section_7

Saxophonist Benny Green wrote that Tatum was the only jazz musician to "attempt to conceive a style based upon all styles, to master the mannerisms of all schools, and then synthesize those into something personal". Art Tatum_sentence_158

Tatum was able to transform the styles of preceding jazz piano through virtuosity: where other pianists had employed repetitive rhythmic patterns and relatively simple decoration, he created "harmonic sweeps of colour [...and] unpredictable and ever-changing shifts of rhythm." Art Tatum_sentence_159

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). Art Tatum_sentence_160

There are examples on record of the last of these going back to 1934, making Tatum the farthest harmonically out of jazz musicians until Lennie Tristano. Art Tatum_sentence_161

On occasion, the bitonality was against what another musician was playing, as in "Lonesome Graveyard Blues" with guitarist Oscar Moore. Art Tatum_sentence_162

Prior to Tatum, jazz harmony was mainly triadic, with flattened sevenths and infrequent ninths; he went beyond this, influenced by the harmonies of Debussy and Ravel. Art Tatum_sentence_163

He incorporated upper intervals such as elevenths and thirteenths, and added tenths (and greater intervals) to the left-hand vocabulary of the earlier stride piano style. Art Tatum_sentence_164

Tatum had a different way of improvising from what is typical in modern jazz. Art Tatum_sentence_165

He did not try to create new melodic lines over a harmonic progression; instead, he implied or played the original melody or fragments of it, while superimposing countermelodies and new phrases to create new structures based around variation. Art Tatum_sentence_166

"The harmonic lines may be altered, reworked or rhythmically rephrased for moments at a time, but they are still the base underneath Tatum's superstructures. Art Tatum_sentence_167

The melodic lines may be transformed into fresh shapes with only a note or a beat or a phrase particle retained to associate the new with the original, yet the melody remains, if only in the listener's imagination." Art Tatum_sentence_168

This flexibility extended to his use of rhythm: he employed "ever-changing combinations of notes per beat even in the most rapid passages. Art Tatum_sentence_169

[...] He could apply different variation techniques simultaneously, and used subtle rhythmic intensification and relaxation to give clear identity and shape to his phrases." Art Tatum_sentence_170

His rhythmic sense allowed him to move away from the established tempo of a piece for extended periods without losing the beat. Art Tatum_sentence_171

For critic Martin Williams, there was also the matter of the pianist's sly humor when playing: "when we fear he is reaching the limits of romantic bombast, a quirky phrase, an exaggerated ornament will remind us that Tatum may be having us on. Art Tatum_sentence_172

He is also inviting us to share the joke and heartily kidding himself as well as the concert hall traditions to which he alludes." Art Tatum_sentence_173

Prior to 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. Art Tatum_sentence_174

From the 1940s, he progressively lengthened the runs to eight or more bars, sometimes continuing them across the natural eight-bar boundaries within a composition's structure, and began to use a harder, more aggressive attack. Art Tatum_sentence_175

He also increased the frequency of harmonic substitutions and the variety of musical devices played by his left hand, and developed a greater harmonic and contrapuntal balance across the piano's upper and lower registers. Art Tatum_sentence_176

Schuller argues that Tatum was still developing towards 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. Art Tatum_sentence_177

Critic Whitney Balliett commented on the overall form 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." Art Tatum_sentence_178

This style was not one that could be adapted to the form of bebop: "the orchestral approach to the keyboard [...] was too thick, too textured to work in the context of a bebop rhythm section." Art Tatum_sentence_179

Tatum's approach has also been criticized on other grounds: pianist Keith Jarrett objected to Tatum playing too many notes, and others have commented that Tatum often did not modify his playing when in a band. Art Tatum_sentence_180

A general criticism of him in a group setting was that he overwhelmed the other musicians, and appeared to compete with any soloist that he was ostensibly supporting. Art Tatum_sentence_181

Clarinetist Buddy DeFranco said that playing with Tatum was "like chasing a train", and the pianist himself said that a band got in his way. Art Tatum_sentence_182

Tatum was serious at the keyboard, not attempting crowd-pleasing gestures, and he maintained a calm demeanor. Art Tatum_sentence_183

This accentuated the impact of his playing on observers, as did his seemingly effortless technique, as fellow pianist Hank Jones observed – the apparently horizontal gliding of his hands across the keys stunned his contemporaries. Art Tatum_sentence_184

Tatum's relatively straight-fingered technique, compared to the curvature taught in classical training, contributed to this visual impression: a critic wrote in 1935 that, when playing, "Tatum's hand is almost perfectly horizontal, and his fingers seem to actuate around a horizontal line drawn from wrist to finger tip." Art Tatum_sentence_185

Tatum was able to use his thumbs and little fingers to add melody lines while playing something else with his other fingers; drummer Bill Douglass, who played with Tatum, commented that the pianist would "do runs with these two fingers up here and then the other two fingers of the same hand playing something else down there. Art Tatum_sentence_186

Two fingers on the black keys, and then the other two fingers would be playing something else on the white keys. Art Tatum_sentence_187

He could do that in either hand". Art Tatum_sentence_188

His large hands allowed him to play a left-hand trill with thumb and forefinger while also using his little finger to play a note an octave lower. Art Tatum_sentence_189

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. Art Tatum_sentence_190

He also had a strong sense of time and was able to play any of his chosen material in any key. Art Tatum_sentence_191

Tatum's touch has also attracted attention: for Balliett, "No pianist has ever hit notes more beautifully. Art Tatum_sentence_192

Each one [...] was light and complete and resonant, like the letters on a finely printed page. Art Tatum_sentence_193

Vast lower-register chords were unblurred, and his highest notes were polished silver." Art Tatum_sentence_194

Tatum could maintain these qualities of touch and tone even at the quickest tempos, when almost all other pianists would be incapable of playing the notes at all. Art Tatum_sentence_195

Pianist Chick Corea commented that "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." Art Tatum_sentence_196

Among the musicians who said that Tatum could make a bad piano sound good were Billy Taylor and Gerald Wiggins. Art Tatum_sentence_197

The latter revealed that Tatum was able to identify and avoid using any keys on a bad piano that were not working, 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. Art Tatum_sentence_198

Influence Art Tatum_section_8

Tatum's improvisational style extended what was possible on jazz piano. Art Tatum_sentence_199

The virtuoso solo aspects of Tatum's style were taken on by pianists such as Adam Makowicz, Simon Nabatov, Oscar Peterson, and Martial Solal. Art Tatum_sentence_200

Even "musicians of radically different outlook, such as Bud Powell, Lennie Tristano and Herbie Hancock, learnt key Tatum performances by rote, though few could compass his technical range or re-create his inimitable, plush tone." Art Tatum_sentence_201

Although Powell was of the bebop movement, his prolific and exciting style showed Tatum's influence. Art Tatum_sentence_202

Mary Lou Williams said, "Tatum taught me how to hit my notes, how to control them without using pedals. Art Tatum_sentence_203

And he showed me how to keep my fingers flat on the keys to get that clean tone." Art Tatum_sentence_204

Tatum's influence went beyond the piano, however: his innovations in harmony and rhythm established new ground in jazz more broadly. Art Tatum_sentence_205

He made jazz musicians more aware of harmonic possibilities by changing the chords that he used with great frequency; this helped lay the foundations for the emergence of bebop in the 1940s. Art Tatum_sentence_206

He also pioneered modern chord voicing and chord substitution in jazz. Art Tatum_sentence_207

Other musicians sought to transfer elements of Tatum's pianistic virtuosity to their own instruments. Art Tatum_sentence_208

When newly arrived in New York, saxophonist Charlie Parker worked for three months as a dishwasher in a restaurant where Tatum was performing and often listened to the pianist. Art Tatum_sentence_209

"Perhaps the most important idea Parker learned from Tatum was that any note could be made to fit in a chord if suitably resolved." Art Tatum_sentence_210

Trumpeter Dizzy Gillespie was also affected by Tatum's speed, harmony, and daring solos. Art Tatum_sentence_211

Vocalist Tony Bennett incorporated aspects of Tatum into his singing: "I'd listen to his records almost daily and try to phrase like him. Art Tatum_sentence_212

[...] I just take his phrasing and sing it that way." Art Tatum_sentence_213

Saxophonist Coleman Hawkins changed his playing style after hearing Tatum play in Toledo in the 1920s: Hawkins's "arpeggio-based style and his growing vocabulary of chords, of passing chords and the relationships of chords, were confirmed and encouraged by his response to Art Tatum." Art Tatum_sentence_214

This style was hugely influential on the development of saxophone playing in jazz, and put it on course to becoming the dominant instrument in the genre. Art Tatum_sentence_215

Some musicians were negatively affected by exposure to Tatum's abilities. Art Tatum_sentence_216

Many pianists tried to copy him and attain the same level of ability, hindering their progress towards finding their own style. Art Tatum_sentence_217

Others, including trumpeter Rex Stewart and pianists Oscar Peterson and Bobby Short, were overwhelmed and began to question their own abilities. Art Tatum_sentence_218

Some musicians, including Les Paul and Everett Barksdale, stopped playing the piano and switched to another instrument after hearing Tatum. Art Tatum_sentence_219

Critical standing Art Tatum_section_9

There is little published information available about Tatum's life. Art Tatum_sentence_220

One full-length biography has been published – Too Marvelous for Words (1994), written by James Lester. Art Tatum_sentence_221

This lack of detailed coverage may be attributable to Tatum's life and music not fitting any of the established critical narratives or frameworks for jazz: many historians of the music have marginalised him for this, so "not only is Tatum underrepresented in jazz criticism but his presence in jazz historiography seems largely to prompt no particular effort in historians beyond descriptive writing designed to summarize his pianistic approach". Art Tatum_sentence_222

Critics have expressed strong opinions about Tatum's artistry: "Some applaud Tatum as supremely inventive, while others say that he was boringly repetitive, and that he barely improvised." Art Tatum_sentence_223

Gary Giddins suggested that Tatum's standing has not been elevated to the very highest level of jazz stars among the public because he did not employ the expected linear style of improvisation, and instead played in a way that listeners have to listen to with concentration, so he "becalms many listeners into hapless indifference". Art Tatum_sentence_224

Recognition outside music Art Tatum_section_10

In 1989, Tatum's hometown of Toledo established the Art Tatum African American Resource Center in its Kent Branch Library. Art Tatum_sentence_225

It contains print and audio materials and microfiche, and organizes cultural programs, including festivals, concerts, and a gallery for local artists. Art Tatum_sentence_226

In 1993, an MIT student in the field of computational musicology coined the term "tatum", which was named in recognition of the pianist's speed. Art Tatum_sentence_227

It has been defined as "the smallest time interval between successive notes in a rhythmic phrase", and "the fastest pulse present in a piece of music". Art Tatum_sentence_228

In 2003, a historical marker was placed outside Tatum's childhood home at 1123 City Park Avenue in Toledo, but by 2017 the unoccupied property was in a state of disrepair. Art Tatum_sentence_229

Also in Toledo, the Huntington Center, unveiled a 27-feet-high sculpture, the "Art Tatum Celebration Column", in 2009. Art Tatum_sentence_230

Discography Art Tatum_section_11

Main article: Art Tatum discography Art Tatum_sentence_231


Credits to the contents of this page go to the authors of the corresponding Wikipedia page: en.wikipedia.org/wiki/Art Tatum.