Browse Titles - 10 results
The Art Tatum Solo Masterpieces, Vol. 1
performed by Art Tatum, 1909-1956 (Pablo, 1992), 1 hour 5 mins, 16 page(s)
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 an...
Sample
performed by Art Tatum, 1909-1956 (Pablo, 1992), 1 hour 5 mins, 16 page(s)
Description
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, All Music Guide
Date Written / Recorded
1955-01-19
Field of Study
Jazz
Content Type
Music recording
Performer / Ensemble
Art Tatum, 1909-1956
Author / Creator
Art Tatum, 1909-1956
Date Published / Released
1992
Publisher
Pablo
×
Art Tatum Solo Masterpieces, Vol. 2
performed by Art Tatum, 1909-1956 (Pablo, 1992), 1 hour 4 mins, 15 page(s)
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 class...
Sample
performed by Art Tatum, 1909-1956 (Pablo, 1992), 1 hour 4 mins, 15 page(s)
Description
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, All Music Guide
Date Written / Recorded
1955-01-19
Field of Study
Jazz
Content Type
Music recording
Performer / Ensemble
Art Tatum, 1909-1956
Author / Creator
Art Tatum, 1909-1956
Date Published / Released
1992
Publisher
Pablo
×
The Art Tatum Solo Masterpieces, Vol. 3
performed by Art Tatum, 1909-1956 (Pablo, 1992), 1 hour 3 mins, 16 page(s)
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 excitemen...
Sample
performed by Art Tatum, 1909-1956 (Pablo, 1992), 1 hour 3 mins, 16 page(s)
Description
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, All Music Guide
Date Written / Recorded
1955-01-19
Field of Study
Jazz
Content Type
Music recording
Performer / Ensemble
Art Tatum, 1909-1956
Author / Creator
Art Tatum, 1909-1956
Date Published / Released
1992
Publisher
Pablo
×
The Art Tatum Solo Masterpieces, Vol. 4
performed by Art Tatum, 1909-1956 (Pablo, 1992), 1 hour 6 mins, 15 page(s)
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, Al...
Sample
performed by Art Tatum, 1909-1956 (Pablo, 1992), 1 hour 6 mins, 15 page(s)
Description
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, All Music Guide
Date Written / Recorded
1955-01-19
Field of Study
Jazz
Content Type
Music recording
Performer / Ensemble
Art Tatum, 1909-1956
Author / Creator
Art Tatum, 1909-1956
Date Published / Released
1992
Publisher
Pablo
×
The Art Tatum Solo Masterpieces, Vol. 6
performed by Art Tatum, 1909-1956 (Pablo, 1992), 1 hour 2 mins, 15 page(s)
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. ~ Sc...
Sample
performed by Art Tatum, 1909-1956 (Pablo, 1992), 1 hour 2 mins, 15 page(s)
Description
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, All Music Guide
Date Written / Recorded
1955-01-19
Field of Study
Jazz
Content Type
Music recording
Performer / Ensemble
Art Tatum, 1909-1956
Author / Creator
Art Tatum, 1909-1956
Date Published / Released
1992
Publisher
Pablo
×
The Art Tatum Solo Masterpieces, Vol. 7
performed by Art Tatum, 1909-1956 (Pablo, 1992), 1 hour 5 mins, 16 page(s)
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 pleasin...
Sample
performed by Art Tatum, 1909-1956 (Pablo, 1992), 1 hour 5 mins, 16 page(s)
Description
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, All Music...
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, All Music Guide
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Date Written / Recorded
1955-01-19
Field of Study
Jazz
Content Type
Music recording
Performer / Ensemble
Art Tatum, 1909-1956
Author / Creator
Art Tatum, 1909-1956
Date Published / Released
1992
Publisher
Pablo
×
The Art Tatum Solo Masterpieces, Vol. 8
performed by Art Tatum, 1909-1956 (Pablo, 1992), 1 hour 7 mins, 17 page(s)
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...
Sample
performed by Art Tatum, 1909-1956 (Pablo, 1992), 1 hour 7 mins, 17 page(s)
Description
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, All Music Gu...
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, All Music Guide
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Date Written / Recorded
1956-08-15
Field of Study
Jazz
Content Type
Music recording
Performer / Ensemble
Art Tatum, 1909-1956
Author / Creator
Art Tatum, 1909-1956
Date Published / Released
1992
Publisher
Pablo
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The Best of Art Tatum: The Complete Pablo Solo Masterpieces
performed by Art Tatum, 1909-1956 (Pablo, 2003), 1 hour 17 mins, 20 page(s)
The Best of the Pablo Solo Masterpieces collects 20 tracks from the original seven-disc box set of recordings made by influential jazz pianist Art Tatum between 1953 and 1956. Featuring Tatum alone at the piano, producer Norman Granz intended these sessions as a spotlight for the artist, and as such, they deliver...
Sample
performed by Art Tatum, 1909-1956 (Pablo, 2003), 1 hour 17 mins, 20 page(s)
Description
The Best of the Pablo Solo Masterpieces collects 20 tracks from the original seven-disc box set of recordings made by influential jazz pianist Art Tatum between 1953 and 1956. Featuring Tatum alone at the piano, producer Norman Granz intended these sessions as a spotlight for the artist, and as such, they deliver a portrait of the genius technician in the latter stage of his career. Although Tatum's brilliant early work is the place to start list...
The Best of the Pablo Solo Masterpieces collects 20 tracks from the original seven-disc box set of recordings made by influential jazz pianist Art Tatum between 1953 and 1956. Featuring Tatum alone at the piano, producer Norman Granz intended these sessions as a spotlight for the artist, and as such, they deliver a portrait of the genius technician in the latter stage of his career. Although Tatum's brilliant early work is the place to start listening to his unique style, the Pablo sessions are nonetheless essential listening for Tatum fanatics. Also, given the exhaustive nature of the original 120-track box set, this compilation is a welcome development. ~ Matt Collar, All Music Guide
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Date Written / Recorded
1953-12-29
Field of Study
Jazz
Content Type
Music recording
Performer / Ensemble
Art Tatum, 1909-1956
Author / Creator
Art Tatum, 1909-1956
Date Published / Released
2003
Publisher
Pablo
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Charlie Byrd With Voices: Byrd Song
performed by Charlie Byrd, 1925-1999, Keter Betts and Bill Reichenbach (Riverside, 2003), 36 mins, 12 page(s)
"Charlie Byrd With Voices" is an odd subtitle for this mid-'60s album, considering that vocals are only heard sporadically; that voices aren't even heard on some of the tracks; and that, when the vocals are heard, they're wordless background choral bits, not a vocalist or vocalists actually singing lyrics. In trut...
Sample
performed by Charlie Byrd, 1925-1999, Keter Betts and Bill Reichenbach (Riverside, 2003), 36 mins, 12 page(s)
Description
"Charlie Byrd With Voices" is an odd subtitle for this mid-'60s album, considering that vocals are only heard sporadically; that voices aren't even heard on some of the tracks; and that, when the vocals are heard, they're wordless background choral bits, not a vocalist or vocalists actually singing lyrics. In truth, it seems like a gimmick or an attempt to sell the album to a crossover audience, the vocal component of the record feeling like an a...
"Charlie Byrd With Voices" is an odd subtitle for this mid-'60s album, considering that vocals are only heard sporadically; that voices aren't even heard on some of the tracks; and that, when the vocals are heard, they're wordless background choral bits, not a vocalist or vocalists actually singing lyrics. In truth, it seems like a gimmick or an attempt to sell the album to a crossover audience, the vocal component of the record feeling like an afterthought. And not an especially inspired one, either; the white-bread soothing choruses sound like refugees from straight easy listening records. The album's actually for the most part a typical, if low-key, Byrd session, on which his only instrumental accompaniment consists of Keter Betts on bass and Bill Reichenbach on drums. Just a couple of Byrd originals, "Action Painting" and "Swing 59," are on a collection slanted toward covers of popular standards, including "I Left My Heart in San Francisco," Lionel Bart's "Who Will Buy?," Antonio Carlos Jobim's "Felicidade," Rodgers & Hart's "This Can't Be Love," Cole Porter's "Let's Do It," Rodgers & Hammerstein's "My Favorite Things," and Billie Holiday's "God Bless the Child." When played just by the trio, it's fine, with sterling Byrd guitar, though the less sappy and more forceful material (like "Wildcat") overshadows the more conventional romantic standards. When those voices enter, though, it treads on the annoyingly saccharine. ~ Richie Unterberger, All Music Guide
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Date Written / Recorded
1965
Field of Study
Jazz
Content Type
Music recording
Performer / Ensemble
Charlie Byrd, 1925-1999, Keter Betts, Bill Reichenbach
Author / Creator
Charlie Byrd, 1925-1999, Keter Betts, Bill Reichenbach
Date Published / Released
2003
Publisher
Riverside
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Red Garland: Red Alone
performed by Red Garland, 1923-1984 (Moodsville, 2004), 43 mins, 8 page(s)
Red Garland recorded 16 ballads during this single 1960 session for Prestige's Moodsville subsidiary label, half of which appear on this CD reissue, with the remainder being heard on Alone With the Blues. Although these selections were intended as mood music for lovers, Garland's imaginative arrangements keep thin...
Sample
performed by Red Garland, 1923-1984 (Moodsville, 2004), 43 mins, 8 page(s)
Description
Red Garland recorded 16 ballads during this single 1960 session for Prestige's Moodsville subsidiary label, half of which appear on this CD reissue, with the remainder being heard on Alone With the Blues. Although these selections were intended as mood music for lovers, Garland's imaginative arrangements keep things interesting. The pianist's strolling tempo of "When Your Lover Has Gone" suggests nostalgic reflection rather than melancholy from t...
Red Garland recorded 16 ballads during this single 1960 session for Prestige's Moodsville subsidiary label, half of which appear on this CD reissue, with the remainder being heard on Alone With the Blues. Although these selections were intended as mood music for lovers, Garland's imaginative arrangements keep things interesting. The pianist's strolling tempo of "When Your Lover Has Gone" suggests nostalgic reflection rather than melancholy from the typically slow performances by singers. His playful side comes out in "These Foolish Things," while the graceful runs in the upper keyboard are complemented by his rich block chords in "My Last Affair." The subtlety of his interpretation of "You Are Too Beautiful" and the delicate rendition of "The Nearness of You" are also memorable. But the obvious high point of this release is his stunning exploration of Duke Ellington's "I Got It Bad (And That Ain't Good)," which succeeds in conveying the powerful emotions of this ballad without a singer. This remarkable collection of standards should appeal to any fan of jazz piano. ~ Ken Dryden, All Music Guide
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Date Written / Recorded
1960-04-02
Field of Study
Jazz
Content Type
Music recording
Performer / Ensemble
Red Garland, 1923-1984
Author / Creator
Red Garland, 1923-1984
Date Published / Released
2004
Publisher
Moodsville
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