VA - Membran Music's Jazz Ballads Series Vol. 16-20 (10 CD, 2004) [FLAC + 320]

 

A CD sets with the most beautiful ballads in the history of jazz.

Lyrical, imaginative, sensuous and melodic jewels from the art of music.

Precisely for those people who have maintained their taste for lasting musical values.

Jazz in its most gentle form.

Irrestible...

Jazz Ballads 16: Charlie Parker

Jazz Ballads 17: Tenor Giants

Jazz Ballads 18: Art Tatum

Jazz Ballads 19: Louis Armstrong & Jack Teagarden

Jazz Ballads 20: All Stars Jam Sessions

Art Tatum - Stormy Weather (Quadromania, 4 CD, 2007/FLAC)

 Art Tatum, (born October 13, 1909, Toledo, Ohio, U.S.—died November 5, 1956, Los Angeles, California), American pianist, considered one of the greatest technical virtuosos in jazz.

Tatum, who was visually impaired from childhood, displayed an early aptitude for music. At age 13, after starting on the violin, Tatum concentrated on the piano and was soon performing on local radio programs. At 21 he moved to New York City, where he made his most impressive recordings during the 1930s and ’40s using a stride-style left hand and highly varied right-hand stylings. In 1943 he organized a trio with guitarist Tiny Grimes and bassist Slam Stewart, and he played mostly in the trio format for the rest of his life.

Art Tatum – The Chronogical Classics (1932-1953) [6 CD]

 

Arthur "Art" Tatum, Jr. (October 13, 1909 – November 5, 1956) was an American jazz pianist and virtuoso. He was nearly blind.
Tatum is widely acknowledged as one of the greatest jazz pianists of all time. Critic Scott Yanow wrote, "Tatum's quick reflexes and boundless imagination kept his improvisations filled with fresh (and sometimes futuristic) ideas that put him way ahead of his contemporaries ... Art Tatum's recordings still have the ability to scare modern pianists."

Art Tatum- Complete Original American Decca Recordings (1932-44) [4 CD, 2001]

 Collectors of recordings by piano great Art Tatum are frustrated by the many haphazard, poorly documented, and often incomplete collections of his work; this four-CD set by the English label Definitive attempts to collect all of his known recordings for Decca, but there are a few surprising twists. Tatum recorded many of his piano solos with several different takes, so as many as 23 alternate takes remain unissued (and are most likely either lost or unusable) according to Tatum discographer Arnold Laubich. But this is made up by the fact that all of his sessions with singer Adelaide Hall for Brunswick (including four previously unissued alternate takes, one of whose existence was not previously known) and every song he waxed with blues singer Joe Turner are present. Tatum's virtuoso performances -- especially his solos of "Tiger Rag," "Elegie," and "Body and Soul" -- are still amazing many decades after they were first released. The 24-bit sound of this compilation is richer than the earlier MCA and GRP CD reissues, so the release of this thorough collection may cause more than a few Tatum fans to trade up. 

Art Tatum - Portrait [10 CD, 2001]

 

Art Tatum was among the most extraordinary of all jazz musicians, a pianist with wondrous technique who could not only play ridiculously rapid lines with both hands (his 1933 solo version of "Tiger Rag" sounds as if there were three pianists jamming together) but was harmonically 30 years ahead of his time; all pianists have to deal to a certain extent with Tatum's innovations in order to be taken seriously. Able to play stride, swing, and boogie-woogie with speed and complexity that could only previously be imagined, Tatum's quick reflexes and boundless imagination kept his improvisations filled with fresh (and sometimes futuristic) ideas that put him way ahead of his contemporaries.

Art Tatum — The Art Tatum Solo Masterpieces (8 CD, 1992)

 Art Tatum was among the most extraordinary of all jazz musicians, a pianist with wondrous technique who could not only play ridiculously rapid lines with both hands (his 1933 solo version of "Tiger Rag" sounds as if there were three pianists jamming together) but was harmonically 30 years ahead of his time; all pianists have to deal to a certain extent with Tatum's innovations in order to be taken seriously. Able to play stride, swing, and boogie-woogie with speed and complexity that could only previously be imagined, Tatum's quick reflexes and boundless imagination kept his improvisations filled with fresh (and sometimes futuristic) ideas that put him way ahead of his contemporaries.