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Steven Mayer|TATUM: Improvisations

TATUM: Improvisations

TATUM: Improvisations

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対応言語:英語

Pianist Steven Mayer is either a very brave man or a very foolhardy man -- or both. Even superstar classical pianists like Vladimir Horowitz and Sergei Rachmaninoff were dumbstruck when they ventured into the depths of New York City to hear Art Tatum, the most astounding jazz pianist of the 20th century. Undaunted, Mayer -- who is one mean technician himself, with recordings of Liszt and the hugely difficult Ives "Concord" Sonata behind him -- went ahead and recorded 17 numbers that Tatum himself cut, in what Naxos purports to be "the exact way that Tatum made famous." Um...not quite, for this is not a virtual Tatum album, literally or even stylistically. There is no doubt that Mayer has lots of dexterity and a better feeling for a jazz pulse than most classical pianists. Understandably, Mayer doesn't even attempt to replicate every note of what Tatum actually played; rather, these are improvisations on improvisations, which is more truthful to the jazz tradition. Yet they do not even begin to approximate the daring of Tatum's harmonic thought; his unpredictable shifts in rhythm; his barely reined-in outbreaks of wild super-stride; his outrageously rapid runs, classical quotes, and shafts of naïve humor. Mayer's rhythm tends to be quite regular in comparison to Tatum's, more in a traditional stride manner. Mayer's touch is heavier, and he applies some of Tatum's trademark flourishes in a self-conscious way. That said, listeners who can put the Tatum originals out of their minds briefly can find much attractive piano playing to enjoy here, and a few tunes (like "Yesterdays" and "I Know That You Know") do come closer than others in evoking the Tatum style. Moreover, an hour of Mayer isn't nearly as fatiguing to the ear as an hour of Tatum can be if you are concentrating on every passage. But you won't get the electric charge that the originals, when heard one at a time, can provide.
© TiVo

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TATUM: Improvisations

Steven Mayer

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Tea for Two (arr. for piano) (Vincent Youmans)

1
Tea for Two (Arr. For piano)
00:03:36

Vincent Youmans, Composer - Irving Caesar, Composer - Steven Mayer, Artist, MainArtist

(C) 2004 Naxos (P) 2004 Naxos

St. Louis Blues (William Christopher Handy)

2
St. Louis Blues
00:03:00

William Christopher Handy, Composer - Steven Mayer, Artist, MainArtist

(C) 2004 Naxos (P) 2004 Naxos

Tiger Rag (D.J. La Rocha)

3
Tiger Rag
00:02:45

Tony Sbarbaro, Composer - Larry Shields, Composer - Harry De Costa, Composer - Henry Ragas, Composer - Steven Mayer, Artist, MainArtist - D.J. LA Rocha, Composer

(C) 2004 Naxos (P) 2004 Naxos

Aunt Hagar's Blues (William Christopher Handy)

4
Aunt Hagar’s Blues
00:03:10

William Christopher Handy, Composer - J. Tim Brymn, Composer - Steven Mayer, Artist, MainArtist

(C) 2004 Naxos (P) 2004 Naxos

8 Humoresques, Op. 101, B. 187, No. 7. Poco lento e grazioso in G-Flat Major (Antonín Dvořák)

5
8 Humoresques, Op. 101, B. 187: No. 7, Poco lento e grazioso in G-Flat Major (Arr. A. Tatum)
00:04:17

Antonín Dvorák, Composer - Steven Mayer, Artist, MainArtist

(C) 2004 Naxos (P) 2004 Naxos

Sweet Lorraine (Cliff Burwell)

6
Sweet Lorraine
00:03:08

Cliff Burwell, Composer - Steven Mayer, Artist, MainArtist

(C) 2004 Naxos (P) 2004 Naxos

9:15 Revue (Harold Arlen)

7
Get Happy
00:02:59

Harold Arlen, Composer - Steven Mayer, Artist, MainArtist

(C) 2004 Naxos (P) 2004 Naxos

The Jitterbug Waltz (Fats Waller)

8
The Jitterbug Waltz
00:04:17

Fats Waller, Composer - Steven Mayer, Artist, MainArtist

(C) 2004 Naxos (P) 2004 Naxos

Tatum Pole Boogie (Art Tatum)

9
Tatum Pole Boogie
00:02:34

Art Tatum, Composer - Steven Mayer, Artist, MainArtist

(C) 2004 Naxos (P) 2004 Naxos

Cherokee (Ray Noble)

10
Cherokee
00:03:33

Ray Noble, Composer - Steven Mayer, Artist, MainArtist - John E. Davis Jr., Composer

(C) 2004 Naxos (P) 2004 Naxos

Lover Come Back to Me! (Sigmund Romberg)

11
Lover Come Back to Me!
00:07:49

Oscar Hammerstein II , Composer - Sigmund Romberg, Composer - Steven Mayer, Artist, MainArtist

(C) 2004 Naxos (P) 2004 Naxos

Élégie (Jules Massenet)

12
Elegie: Elegy
00:03:32

Jules Massenet, Composer - Steven Mayer, Artist, MainArtist

(C) 2004 Naxos (P) 2004 Naxos

Hallelujah (Leo Robin)

13
Hallelujah
00:03:06

Vincent Youmans, Composer - Leo Robin, Composer - Clifford Grey, Composer - Steven Mayer, Artist, MainArtist

(C) 2004 Naxos (P) 2004 Naxos

Willow Weep For Me (Ann Ronell)

14
Willow Weep for Me
00:03:35

Ann Ronell, Composer - Steven Mayer, Artist, MainArtist

(C) 2004 Naxos (P) 2004 Naxos

Emaline (Frank Perkins)

15
Emaline
00:02:52

Frank Perkins, Composer - Steven Mayer, Artist, MainArtist

(C) 2004 Naxos (P) 2004 Naxos

Yesterdays (Jerome Kern)

16
Yesterdays
00:03:46

Jerome Kern, Composer - Otto Harbach, Composer - Steven Mayer, Artist, MainArtist

(C) 2004 Naxos (P) 2004 Naxos

I Know That You Know (Otto Harbach)

17
I Know That You Know
00:02:52

Anne Caldwell O'Dea, Composer - Vincent Youmans, Composer - Otto Harbach, Composer - Steven Mayer, Artist, MainArtist

(C) 2004 Naxos (P) 2004 Naxos

アルバム·レビュー

Pianist Steven Mayer is either a very brave man or a very foolhardy man -- or both. Even superstar classical pianists like Vladimir Horowitz and Sergei Rachmaninoff were dumbstruck when they ventured into the depths of New York City to hear Art Tatum, the most astounding jazz pianist of the 20th century. Undaunted, Mayer -- who is one mean technician himself, with recordings of Liszt and the hugely difficult Ives "Concord" Sonata behind him -- went ahead and recorded 17 numbers that Tatum himself cut, in what Naxos purports to be "the exact way that Tatum made famous." Um...not quite, for this is not a virtual Tatum album, literally or even stylistically. There is no doubt that Mayer has lots of dexterity and a better feeling for a jazz pulse than most classical pianists. Understandably, Mayer doesn't even attempt to replicate every note of what Tatum actually played; rather, these are improvisations on improvisations, which is more truthful to the jazz tradition. Yet they do not even begin to approximate the daring of Tatum's harmonic thought; his unpredictable shifts in rhythm; his barely reined-in outbreaks of wild super-stride; his outrageously rapid runs, classical quotes, and shafts of naïve humor. Mayer's rhythm tends to be quite regular in comparison to Tatum's, more in a traditional stride manner. Mayer's touch is heavier, and he applies some of Tatum's trademark flourishes in a self-conscious way. That said, listeners who can put the Tatum originals out of their minds briefly can find much attractive piano playing to enjoy here, and a few tunes (like "Yesterdays" and "I Know That You Know") do come closer than others in evoking the Tatum style. Moreover, an hour of Mayer isn't nearly as fatiguing to the ear as an hour of Tatum can be if you are concentrating on every passage. But you won't get the electric charge that the originals, when heard one at a time, can provide.
© TiVo

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