Artist.......: Art Tatum
Album........: Tea For Two
Label........: Le Chant du Monde/Jazz Characters
Genre........: Jazz
Catnr........: 274137576
source.......: CDDA
rip.date.....: Sep-26-2006
str.date.....: Oct-31-2005
quality......: VBR/44,1Hz/Joint-Stereo
Url..........: n/a
track title time
CD1
01. Tiger rag 02:01
02. This time it's love 03:11
03. Tea for two 03:15
04. Moonglow 02:39
05. Cocktails for two 02:50
06. Liza 03:09
07. Body and soul 03:09
08. I've got my love to keep me warm 03:03
09. Gone with the wind 02:53
10. Tea for two 02:37
11. Elegie 03:18
12. Humoresque 03:07
13. Get happy 02:47
14. Begin the beguine 02:45
15. Stompin' at the savoy 03:16
16. Battery bounce 02:33
17. Rock me, mama 03:00
18. Sweet Georgia Brown 07:24
19. I got rhythm 02:18
20. After you've gone 02:29
21. Liza 01:59
22. Sweet Lorraine 03:27
23. Dark eyes 04:43
24. Soft winds 03:47
25. Lover 04:02
CD2
01. 9:20 special 02:33
02. In a sentimental mood 03:21
03. Over the rainbow 03:30
04. Tatum pole boogie 02:25
05. The Kerry dance 01:01
06. The man I love 02:12
07. Dardanella 02:54
08. Willow weep for me 02:56
09. Sweet Lorraine 02:40
10. Dancing in the dark 02:58
11. Blue skies 02:53
12. Jitterbug waltz 04:11
13. Tea for two, Honeysuckle rose 04:12
14. Yesterdays 03:40
15. Just one of those things 03:20
16. Would you like to take a walk 03:35
17. Indiana 03:27
18. Louise 05:01
19. Love for sale 04:43
20. Dixieland band 03:10
21. Too marvelous for words 03:02
22. Tea for two 03:34
23. Crazy rhythm 02:59
24. My blue heaven 04:03
Runtime 158:02 min
Size 178,1 MB
Release Notes:
Compilation from A Francis Et J Schwarz
Art Tatum was among the most extraordinary of all
jazz musicians, a pianist with wondrous technique
who could not only play ridiculously rapid lines
with both hands (his 1933 solo version of "Tiger
Rag" sounds as if there were three pianists jamming
together) but was harmonically 30 years ahead of
his time; all pianists have to deal to a certain
extent with Tatum's innovations in order to be
taken seriously. Able to play stride, swing, and
boogie-woogie with speed and complexity that could
only previously be imagined, Tatum's quick reflexes
and boundless imagination kept his improvisations
filled with fresh (and sometimes futuristic) ideas
that put him way ahead of his contemporaries.
Born nearly blind, Tatum gained some formal piano
training at the Toledo School of Music but was
largely self-taught. Although influenced a bit by
Fats Waller and the semi-classical pianists of the
1920s, there is really no explanation for where
Tatum gained his inspiration and ideas from. He
first played professionally in Toledo in the
mid-'20s and had a radio show during 1929-1930. In
1932 Tatum traveled with singer Adelaide Hall to
New York and made his recording debut accompanying
Hall (as one of two pianists). But for those who
had never heard him in person, it was his solos of
1933 (including "Tiger Rag") that announced the
arrival of a truly major talent. In the 1930s,
Tatum spent periods working in Cleveland, Chicago,
New York, Los Angeles, and (in 1938) England.
Although he led a popular trio with guitarist Tiny
Grimes (later Everett Barksdale) and bassist Slam
Stewart in the mid-'40s, Tatum spent most of his
life as a solo pianist who could always scare the
competition. Some observers criticized him for
having too much technique (is such a thing
possible?), working out and then keeping the same
arrangements for particular songs, and for using
too many notes, but those minor reservations pale
when compared to Tatum's reworkings of such tunes
as "Yesterdays," "Begin the Beguine," and even
"Humoresque." Although he was not a composer,
Tatum's rearrangements of standards made even
warhorses sound like new compositions.
Art Tatum, who recorded for Decca throughout the
1930s and Capitol in the late '40s, starred at the
Esquire Metropolitan Opera House concert of 1944
and appeared briefly in his only film in 1947, The
Fabulous Dorseys (leading a jam session on a heated
blues). He recorded extensively for Norman Granz
near the end of his life in the 1950s, both solo
and with all-star groups; all of the music has been
reissued by Pablo on a six-CD box set. His
premature death from uremia has not resulted in any
loss of fame, for Art Tatum's recordings still have
the ability to scare modern pianists.