Of all the pianists in the annals of jazz, Art Tatum is the one who is most often cited by the great pianists of the post-war era as a key influence and inspiration, his remarkable speed, dexterity, fluency and sheer relaxed mastery of the keyboard in his prolific interpretations of the standards from the Great American Songbook setting him apart from just about all of his peers. Developing his skill despite his blindness, he astounded observers, who marvelled at his technique, often saying that he sounded like two people playing. This great-value 93-track 4-CD set comprises a significant proportion of his recordings from his studio debut in 1932 through to 1947 - at that point he began recording for Capitol, and after that had a second substantial career phase recording for Norman Granz's labels during the '50s. It primarily features solo recordings on the Brunswick, Decca, Asch and ARA labels as well as V-Disc recordings, plus trio and small band recordings for those labels as well as Comet, and recordings with the Barney Bigard Sextet for Black & White and other bonus offerings. It does not purport to be a complete or definitive cross-section of this first significant era of his career, but it's certainly a substantial and representative showcase for one of the great piano stylists of the genre.
Of all the pianists in the annals of jazz, Art Tatum is the one who is most often cited by the great pianists of the post-war era as a key influence and inspiration, his remarkable speed, dexterity, fluency and sheer relaxed mastery of the keyboard in his prolific interpretations of the standards from the Great American Songbook setting him apart from just about all of his peers. Developing his skill despite his blindness, he astounded observers, who marvelled at his technique, often saying that he sounded like two people playing. This great-value 93-track 4-CD set comprises a significant proportion of his recordings from his studio debut in 1932 through to 1947 - at that point he began recording for Capitol, and after that had a second substantial career phase recording for Norman Granz's labels during the '50s. It primarily features solo recordings on the Brunswick, Decca, Asch and ARA labels as well as V-Disc recordings, plus trio and small band recordings for those labels as well as Comet, and recordings with the Barney Bigard Sextet for Black & White and other bonus offerings. It does not purport to be a complete or definitive cross-section of this first significant era of his career, but it's certainly a substantial and representative showcase for one of the great piano stylists of the genre.
824046715526

Details

Format: CD
Label: ACROBAT
Rel. Date: 07/02/2021
UPC: 824046715526

Art Tatum Collection 1932-47
Artist: Art Tatum
Format: CD
New: Available to Order $24.99
Wish

Available Formats and Editions

DISC: 1

1. Strange As It Seems
2. Tiger Rag (5 Aug. 1932)
3. Tea For Two (21 Mar. 1933)
4. St. Louis Blues (21 Mar. 1933)
5. Sophisticated Lady
6. Moonglow
7. When A Woman Loves A Man
8. Emaline (22 Aug. 1934)
9. Love Me (22 Aug. 1934)
10. Cocktails For Two (22 Aug. 1934)
11. Ill Wind
12. The Shout
13. Liza
14. I Would Do Anything For You
15. After You've Gone (9 Oct. 1934)
16. Star Dust
17. I Ain't Got Nobody
18. Beautiful Love
19. Body And Soul (Feb 26 1937)
20. With Plenty Of Money And You
21. What Will I Tell My Heart?
22. I've Got My Love To Keep Me Warm
23. Gone With The Wind
24. Stormy Weather
25. The Sheik Of Araby
26. Chloe [Song Of The Swamp]
27. Tea For Two (12 Apr. 1939)
28. Deep Purple
29. Elegie
30. Humoresque
31. Sweet Lorraine
32. Get Happy
33. Lullaby Of The Leaves
34. Tiger Rag (22 Feb. 1940)
35. Emaline (22 Feb. 1940)
36. Love Me (22 Feb. 1940)
37. Cocktails For Two (22 Feb. 1940)
38. St. Louis Blues (22 Feb. 1940)
39. Begin The Beguine
40. Rosetta
41. (Back Home Again In) Indiana (26 Jul. 1940)
42. Wee Baby Blues
43. Stompin' At The Savoy
44. Last Goodbye Blues
45. Battery Bounce
46. Lucille
47. Rock Me Mama
48. Corrine Corrina
49. Lonesome Graveyard Blues
50. Lady Be Good
51. Esquire Bounce
52. My Ideal
53. I Got Rhythm
54. Honeysuckle Rose
55. After You've Gone (5 Jan 1944)
56. The Man I Love
57. Dark Eyes [Otchitchornyia]
58. Body And Soul (1 May 1944)
59. I Know That You Know
60. On The Sunny Side Of The Street
61. Flying Home
62. Boogie
63. Topsy
64. If I Had You
65. Soft Winds
66. Fine And Dandy
67. It Had To Be You
68. Ja-Da
69. Where Or When (21 Dec. 1944)
70. Sweet And Lovely
71. Danny Boy
72. Can't Help Lovin' That Man
73. Please Don't Talk About Me When I'm Gone
74. Sweet Marijuana Brown
75. Blues For Art's Sake
76. Hallelujah
77. Poor Butterfly
78. Song Of The Vagabonds
79. Lover
80. Memories Of You
81. Runnin' Wild
82. Yesterdays
83. The Kerry Dance
84. She's Funny That Way
85. Gershwin Medley: Summertime, The Man I Love, I Got Plenty O' Nuttin', It Ain't Necessarily So
86. I'm Beginning To See The Light
87. 9:20 Special
88. Where Or When (21 Jan. 1946)
89. (Back Home Again In) Indiana (21 Jan. 1946)
90. Smoke Gets In Your Eyes
91. Ain't Misbehavin'
92. Out Of Nowhere
93. Cherokee

More Info:

Of all the pianists in the annals of jazz, Art Tatum is the one who is most often cited by the great pianists of the post-war era as a key influence and inspiration, his remarkable speed, dexterity, fluency and sheer relaxed mastery of the keyboard in his prolific interpretations of the standards from the Great American Songbook setting him apart from just about all of his peers. Developing his skill despite his blindness, he astounded observers, who marvelled at his technique, often saying that he sounded like two people playing. This great-value 93-track 4-CD set comprises a significant proportion of his recordings from his studio debut in 1932 through to 1947 - at that point he began recording for Capitol, and after that had a second substantial career phase recording for Norman Granz's labels during the '50s. It primarily features solo recordings on the Brunswick, Decca, Asch and ARA labels as well as V-Disc recordings, plus trio and small band recordings for those labels as well as Comet, and recordings with the Barney Bigard Sextet for Black & White and other bonus offerings. It does not purport to be a complete or definitive cross-section of this first significant era of his career, but it's certainly a substantial and representative showcase for one of the great piano stylists of the genre.