As I've posted in the past, Art Tatum in many ways is the father of the post-war jazz piano. His spectacular speed, love for jazzing up the American songbook and torrents of improvised ideas all would inspire pianists and other instrumentalists who followed.
Today, we tend to think of Tatum exclusively as an artist from the 1930s and '40s. And while the pianist certainly became a force during this period, he also made superb recordings in the early 1950s, leading up to his death in 1956 at age 47. During these later years, Tatum worked with a trio—guitarist Everett Barksdale and bassist Slam Stewart. Tatum had worked with Stewart previously in an earlier trio in 1943 and '44, along with guitarist Tiny Grimes.
The 1950s trio toured mostly in New York, Los Angeles and Chicago. I've long thought it a shame that a documentary team didn't accompany them on their road trips. Can you imagine if one had? Instead, we have only the trio's recordings, released over the years by Storyville, Capitol and Verve.
So imagine the shock when I heard that previously unissued recordings of the group in 1953 had been found and were coming out on Resonance Records. The 39 tracks on Jewels in the Treasure Box: The 1953 Chicago Blue Note Jazz Club Recordings, with a running time of nearly three hours, were captured live between August 16 and 28. The material was recorded by club owner Frank Holzfeind, and the new set was produced with the full cooperation of the Art Tatum Estate and the Holzfeind family. [Photo above of Art Tatum by William P. Gottlieb]
The sound of these recordings is magnificent, and Tatum is at his peak in terms of ideas, swing and chord voicings. All of his tricks are here—the fleet arpeggios, stair-climbing chords, bass clef drop notes and harp-like glissandi outros. While Tatum is more laid back here than during his previous two decades, all of his fire, determination and improvised entries and escapes make an appearance.
As the Holzfeind family stated for this release: “We are excited to be sharing these never-before-heard live Art Tatum recordings from the Blue Note with you and we're grateful to Resonance Records for seeing their value and having the determination to introduce them to audiences old and new. Dad's private reel-to-reel tapes were a proud part of his legacy."
There's so much gentle, organic beauty in Tatum. Listening to him play, it's as though you're watching snow just starting to fall. Or early summer morning shadows projecting long on green lawns. [Photo above of Art Tatum with Slam Stewart by Bob Parent, courtesy of Resonance Records]
Barksdale here is competitive, running duets with Tatum before swinging off to do his own thing. Stewart on bass is straight ahead, with just a smattering of his gimmicky humming-and-arco octave bowing solos. What a trio. The lines must have been around the block when Tatum came to town. [Photo above of Everett Barksdale]
Another sterling job by Resonance co-president and producer Zev Feldman, with warm mastering by engineer Matthew Lutthans (who also engineered Resonance’s Grammy-nominated Nat King Cole box Hittin’ the Ramp) and presented in its RSD edtion on 180-gram vinyl pressed at the audiophile pressing plant Le Vinylist.
Swing into spring indeed!
JazzWax tracks: The three-LP set of Art Tatum's Jewels in the Treasure Box: The 1953 Chicago Blue Note Jazz Club Recordings can be found at vinyl retailers on Record Store Day, this Saturday, April 20. Find your local retailer here.
The three-CD set and digital download will be available on April 26 and on major streaming platforms.
JazzWax clips: Here's Memories of You...
Here's Tea for Two...
And here's I Cover the Waterfront...
