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University Press of Mississippi.
Withoutabox Submit to Film Festivals. Tatum’s technique was marked by a calm physical demeanor and efficiency. The sounds that Tatum produced with the piano were also distinctive. Herbie Hancock described Tatum’s tone as “majestic” and devoted time to unlocking this sound. Retrieved October 13, — via Grove Music Online.
Tatum’s ‘Elegy’ : NPR
Tatum’s repertoire mainly consisted of music eley the Great American Songbook — Tin Pan AlleyBroadway and other flegy music of the s, s and s. Please improve it by verifying the claims made and adding inline citations.
Please click here to manage your MP3 cart content. Then you get all the finest jazz pianists in the world and let them play in the presence of Art Tatum. He could do that in either hand”. Retrieved October 13, History tatun Jazz 2nd ed. If I did, I’d throw up my hands and give up! Invocalist Adelaide Hall was touring the United States with two pianists. When I want to feel really insignificant. Retrieved December 26, Retrieved November 13, East Dane Designer Men’s Fashion.
Elegy by Art Tatum on Amazon Music –
Tatum composed a handful of original compositions. If You Hadn’t Gone Away.
All of Tatum’s studio recordings in were with the trio, and radio appearances continued. Art Tatum Live — Page 1 of 1 Start over Page 1 of 1.
From infancy, Tatum had impaired vision. After regular club dates, Tatum would decamp to after-hours clubs to hang out with other musicians; he enjoyed listening to other pianists and preferred to play last, after all the others had played. Jazz pianist Kenny Barron commented, “I have every record [Tatum] ever made—and I try never to listen zrt them Add to Wish List.
Among the musicians who said that Tatum could rat a bad piano sound good were Billy Taylor  and Gerald Wiggins.
BrunswickDeccaStinson, VerveFolkways. He’s a good guy to play for any musician, you know.
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Too Marvelous for Words: Your Amazon Music account is currently associated with a different marketplace. Tatum’s first solo piano job in New York was at the Onyx Club.
He worked some of the upper extensions of chords into his lines, a practice which was further developed by Bud Powell and Charlie Parkerwhich in turn was an influence on the development of “modern jazz”.
He was not inclined toward understatement or expansive use of space.