Your basket is empty

Categories :

Similar artists

Albums

From
CD$12.99

Jazz - Released January 1, 1990 | Fantasy Records

Distinctions The Qobuz Ideal Discography
The final volume in this very worthy series is a comparatively relaxed affair, a quartet set with tenor saxophonist Ben Webster. Webster lets Tatum fill the background with an infinite number of notes while emphasizing his warm tenor in the forefront on a variety of melodic ballads and standards. The combination works very well. © Scott Yanow /TiVo
From
CD$29.49

Jazz - Released January 1, 1997 | Capitol Records

Previously released as two separate volumes, The Complete Capitol Recordings of Art Tatum is a two-disc collection that presents everything the pianist recorded for Capitol Records in chronlogical order. There's 20 solo sides from 1949 and a 1952 session with a trio of guitarist Everett Barksdale and bassist Slam Stewart. Throughout the collection, Tatum sounds wonderful -- he was a rare player that was extremely technically advanced and also very lyrical. For any Tatum fan, this set is a necessity. © Leo Stanley /TiVo
From
CD$12.99

Jazz - Released May 4, 1994 | Legacy - Columbia

There are many Art Tatum records available, but this is the one to pull out to amaze friends, particularly with Tatum's wondrous version of "Tiger Rag," during which he sounds like three pianists jamming together. This CD consists of Tatum's first studio session as a leader (which resulted in "Tea for Two," "St. Louis Blues," "Tiger Rag," and "Sophisticated Lady") and a remarkable solo concert performance from the spring of 1949. While "Tiger Rag" dwarfs everything else, the live set is highlighted by a very adventurous, yet seemingly effortless exploration of "Yesterdays," a ridiculously rapid "I Know That You Know," and the hard-cooking "Tatum Pole Boogie." This is an essential set of miraculous music that cannot be praised highly enough. © Scott Yanow /TiVo
From
CD$12.99

Jazz - Released January 1, 1975 | Pablo

For this set, the sixth in line of Art Tatum's eight group recordings for Norman Granz in the 1950s, the remarkable pianist is teamed with bassist Red Callender and drummer Jo Jones. Due to the presence of his sidemen, Tatum is slightly restricted as far as changing keys and tempos at will, but his playing is still often stunning. Highlights of the trio performances include "Just One of Those Things," "Blue Lou," "I'll Never Be the Same," and "More Than You Know." This music (along with the other seven volumes) is also available as part of the massive six-CD set The Complete Pablo Group Masterpieces. © Scott Yanow /TiVo
From
CD$12.99

Jazz - Released January 1, 1992 | Fantasy Records

The second of eight CDs in this series of solo performances taken from four marathon record sessions has among its highlights "Elegy," "This Can't Be Love" and "Tea for Two," but in qeneral this series lacks the excitement of Tatum's earliest recordings. Excellent but somewhat predictable performances by the classic virtuoso. © Scott Yanow /TiVo
From
CD$12.99

Classical - Released May 9, 2008 | Sony Classical

From
CD$12.99

Jazz - Released January 1, 1975 | Pablo

During 1954-1956, Norman Granz recorded the remarkable pianist Art Tatum with a variety of classic jazz masters, resulting in quite a bit of musical magic. This first of eight volumes finds Tatum matching wits with the classy alto of Benny Carter and drummer Louie Bellson -- the results are both tasteful and frequently hard-swinging. © Scott Yanow /TiVo
From
CD$14.99

Jazz - Released April 1, 2011 | Music and Arts Programs of America

From
CD$25.49

Jazz - Released January 1, 1996 | Verve

This double album was taped at a private party in 1956, featuring the amazing Art Tatum on solo piano. Tatum, who died the following year, never did decline, and he is in prime form throughout this highly enjoyable and frequently exciting set of standards. There are no real romps a la "Tiger Rag" but the 27 performances contain plenty of remarkable moments. © Scott Yanow /TiVo
From
CD$12.99

Jazz - Released January 1, 1992 | Pablo

The first of eight CDs reissuing the 119 piano solo performances that Art Tatum recorded for Norman Granz during four marathon record sessions has its moments, although in general this series lacks the excitement of Tatum's earliest recordings. The pianist interprets such standards an this first volume as "Body and Soul," "It's Only a Paper Moon" and "Willow Weep for Me." © Scott Yanow /TiVo
From
CD$12.99

Jazz - Released January 1, 2003 | Fantasy Records

A rich and rewarding core sample, selected from one of Norman Granz's deepest gold mines. The full set of Tatum ensemble master takes was released on eight vinyl records in 1975, appearing with alternate takes as a box of seven compact discs in 1990. Since then, each separate session has been issued on a single, affordable CD. With the release of this best-of, the only remaining untried reissue format stratagem could almost be conducted according to the laws of chance. If someone were to divide up the existing 59 master takes (saving the alternate takes for a "Best of the Tatum Alternates" compilation), the entire body of work could be issued as a numbered best-of series, the titles carefully shuffled at random. But each volume would possibly still omit something that could be considered essential. This is the insoluble problem with anything calling itself a best-of. Fortunately, the Tatum group recordings produced by Norman Granz during the years 1954, 1955, and 1956 actually deserve the word "masterpieces." While Tatum himself is honored as one of the very most gifted and influential of all jazz musicians, without exception every musician who participated in these sessions was adept, inspired, and, in many cases, masterful. (There are those who would suggest that the Art Tatum/Ben Webster date could stand by itself as the best of the group masterpieces.) Here, for once, is a package worthy of its title. A bit of the best of some of the very best jazz ever recorded. © arwulf arwulf /TiVo
From
CD$12.99

Jazz - Released January 1, 1990 | Fantasy Records

The seventh of eight CDs in this valuable series matches the remarkable pianist in a quartet with clarinetist Buddy DeFranco. DeFranco, no slouch himself, directly challenges Tatum and their uptempo romps are often quite wondrous. © Scott Yanow /TiVo
From
CD$13.99

Pop - Released January 1, 2002 | Blue Note Records

This sampler has 16 Art Tatum recordings reissued in chronological order that date from 1934-1950. All but the closing "Indiana" (which has guitarist Everett Barksdale and bassist Slam Stewart) are unaccompanied piano solos, and they are drawn from the Decca, Capitol, and Verve catalogs. Tatum was always a remarkable virtuoso so, even if this set is not completely definitive (it could not be without having Tatum's 1933 recording of "Tiger Rag"), there are many gems here. Tatum is typically miraculous on such songs as "The Shout," "Get Happy," "Blue Skies," and "Yesterdays." © Scott Yanow /TiVo
From
CD$12.99

Jazz - Released June 26, 1992 | Pablo

The third of eight CDs in the Norman Granz series of Tatum piano solos is highlighted by "Yesterdays," "Prisoner of Love" and "Begin the Beguine" among others. He did little prior preparation for the four marathon sessions that resulted in a dozen LPs (now reissued as eight CDs), so this series lacks the excitement and adventure of his earliest recordings although it is still enjoyable in its own right. © Scott Yanow /TiVo
From
CD$12.99

Jazz - Released January 1, 1992 | Pablo

Volume Six of this eight-CD series features Tatum interpreting such standards as "Night and Day," "Cherokee," "Happy Feet" and "Someone to Watch Over Me" with taste and melodic creativity. There are no real barnburners or new revelations on this generally relaxed set, but the music should please Tatum's fans. © Scott Yanow /TiVo
From
CD$12.99

Jazz - Released January 1, 1983 | Fantasy Records

It is generally agreed that Art Tatum was the greatest jazz virtuoso of them all. Legally blind in one eye and seriously impaired in the other, Tatum learned to read music by Braille. His genius was recorded during the '30s, when swing was the dominant music of choice. He incorporated ragtime, blues, swing, boogie-woogie, and classical influences to form his unique style. His virtuosic performances quickly became legendary and were even attended by the great classical pianist Vladimir Horowitz. This recording is from Tatum's massive Pablo output (eight solo recordings and eight group recordings) made between 1953-55. The group recordings ultimately were less effective, as Tatum proved to be almost impossible to compliment; however, all are highly recommended. The selections here from the 16 sessions are a fine representation, but it is highly recommended that this just be the starting point. © Robert Taylor /TiVo
From
CD$12.99

Jazz - Released January 1, 1992 | Fantasy Records

The next-to-last volume in this eight CD-series features interpretations of a variety of standards, including "Moon Song," "Japanese Sandman," "Moonlight on the Ganges" and even "Mighty like a Rose." Taken from the 119 numbers that Tatum recorded for Norman Granz during four marathon sessions, the music is pleasing, if at times a bit too relaxed for those who would like to hear the virtuoso really tear into these pieces. © Scott Yanow /TiVo
From
CD$12.99

Jazz - Released January 1, 1992 | Fantasy Records

On the fourth volume in this eight-CD series, Tatum sounds at his best on "Ill Wind" and "The Man I Love." Taken from the 119 piano solos he cut for Norman Granz in four lengthy recording sessions during 1953-55, these performances are concise, relaxed, and surprisingly predictable, if virtuosic. © Scott Yanow /TiVo
From
CD$12.99

Jazz - Released January 1, 1990 | Fantasy Records

The second of eight CDs teaming the amazing pianist with a variety of his contemporaries finds Tatum sharing the stage with trumpeter Roy Eldridge, bassist John Simmons and drummer Alvin Stoller. Eldridge, normally a very combative player, knows better than to directly challenge Tatum and instead is surprisingly restrained and muted on this enjoyable set of swing standards. © Scott Yanow /TiVo
From
CD$12.99

Jazz - Released January 1, 1992 | Fantasy Records

The final volume of this eight-CD (and originally 12-LP) series is similar to the first seven in that Tatum melodically improvises on a variety of standards, in this case such tunes as "She's Funny That Way," "I Won't Dance," "Begin the Beguine" and "Humoresque." Few revelations occur (most of the interpretations are in the same relaxed medium tempo) but the music is typically well-played and generally quite enjoyable. © Scott Yanow /TiVo