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" Tatum laughed and replied, " Look, you come in here tomorrow, and anything you do with your right hand, I'll do with my left.
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Tatum and replied
" Peterson replied, " I ’ m an Art Tatum – ite.
Cross asked Byrd to persuade Tatum not to go public, and according to author Gary King in An Autumn Remembered, Byrd replied, " Persuade, hell!
Tatum and you
" When Bud Powell was opening for Tatum at Birdland around 1950, the end of an era when musicians engaged in overt competition and so-called cutting sessions, Powell reportedly said to Tatum, " Man, I'm going to really show you about tempo and playing fast.
If you speak of pianists, the most complete pianist that we have known and possibly will know, from what I ’ ve heard to date, is Art Tatum.
Dizzy Gillespie said, " First you speak of Art Tatum, then take a long deep breath, and you speak of the other pianists.
Then you get all the finest jazz pianists in the world and let them play in the presence of Art Tatum.
Art Tatum is absolutely the most incredible musician – what can you say?
Erroll Garner said, " When you talk about greatness, you talk about Art Tatum and Earl Hines ".
Tatum and come
Thanks to the publicity Tatum generates, she experiences a financial windfall, particularly from thousands of tourists who come to witness the rescue.
Josh persuades Pappy Tatum ( Arthur O ' Connell ) to sell one side of his mountain to the government as long as government employees don't come to Tatum's side, which means revenuers can not interfere with Pappy's moonshining.
Tatum and here
According to the review by Marc Greilsamer, " All of the trademark Tatum elements are here: the grand melodic flourishes, the harmonic magic tricks, the flirtations with various tempos and musical styles.
* Art Tatum ( 1909 – 1956 ), jazz pianist ( has cenotaph ; originally interred here, he was removed to Forest Lawn Cemetery, Glendale )
Tatum and anything
In an issue of Keyboard Magazine, Ray Charles, when asked about his favorite pianist was quoted as saying, " Art Tatum could play anything he wanted to.
Tatum and do
Discovered in 1946 by Joshua Lederberg and Edward Tatum, conjugation is a mechanism of horizontal gene transfer as are transformation and transduction although these two other mechanisms do not involve cell-to-cell contact.
pt: Tatum ( Carolina do Sul )
" Pianist Mulgrew Miller, a noted fan of Tatum, commented on personal growth by saying, " When I talk to the people I admire, they're always talking about continuous growth and development and I look at them and say, ' Well ... what are YOU going to do?
Tatum has said that his modeling career has helped him with his life, specifying that " It's made my life, and my family's life, a lot easier, because I never knew what I wanted to do and now they don't really have to worry about me anymore.
Tatum and with
Monk's style at this time was later described as " hard-swinging ," with the addition of runs in the style of Art Tatum.
Nancarrow's first pieces combined the harmonic language and melodic motifs of early jazz pianists like Art Tatum with extraordinarily complicated metrical schemes.
Arthur " Art " Tatum, Jr. (, October 13, 1909 – November 5, 1956 ) was an American jazz pianist and virtuoso who played with phenomenal facility despite being nearly blind since birth.
A child prodigy with perfect pitch, Tatum learned to play by ear, picking out church hymns by the age of three, learning tunes from the radio and copying piano roll recordings his mother owned.
" Tatum triumphed with his arrangements of " Tea for Two " and " Tiger Rag ", in a performance that was considered to be the last word in stride piano.
In 1941, Tatum recorded two sessions for Decca Records with singer Big Joe Turner, the first of which included " Wee Wee Baby Blues ", which attained national popularity.
Perhaps believing there was a limited audience for solo piano, Tatum formed a trio in 1943 with guitarist Tiny Grimes and bassist Slam Stewart, whose perfect pitch enabled him to follow Tatum's excursions.
Tatum recorded exclusively with the trio for almost two years, but abandoned the trio format in 1945 and returned to solo piano work.
Although Tatum was idolized by many jazz musicians, his popularity faded in the mid to late forties with the advent of bebop-a movement which Tatum did not embrace.
Tatum embellished melodic lines, however, with an array of signature devices and runs that appeared throughout his repertoire.
Tatum could also play the blues with authority.
The sounds that Tatum produced with the piano were also distinctive.
Tatum played chords with a relatively flat-fingered technique compared to the curvature taught in classical training.
After regular club dates, Tatum would decamp to after-hours clubs to hang out with other musicians who would play for each other.
Tatum tended to work and to record unaccompanied, partly because relatively few musicians could keep pace with his fast tempos and advanced harmonic vocabulary.
Other musicians expressed amazed bewilderment at performing with Tatum.
Drummer Jo Jones, who recorded a 1956 trio session with Tatum and bassist Red Callender is quoted as quipping, " I didn't even play on that session [...] all I did was listen.
" Clarinetist Buddy DeFranco said that playing with Tatum was " like chasing a train.
Perhaps because Tatum believed there was a limited audience for solo piano, he formed a trio in 1943 with guitarist Tiny Grimes and bassist Slam Stewart, whose perfect pitch enabled him to follow Tatum's excursions.
Zenph Studios, a software company focused on precisely understanding how musicians perform, recorded a new album of Tatum ’ s playing with Sony Masterworks in 2007.
Using computer equipment coupled with an electronic incarnation of the player piano, they created re-performances of Tatum ’ s first four commercial tracks, from March 21, 1933, and the nine tracks from the April 2, 1949 live concert at Los Angeles ' Shrine Auditorium.
Tatum and right
Art Tatum ( on right ) at Downbeat Club, New York, N. Y., c. 1947
Parker once said, “ I wish I could play like Tatum ’ s right hand !”
The binaural recording, when played via headphones, allows one to hear what Tatum may have heard as he played on stage, with the piano spatially in front ( bass on the left, treble on the right ) and the live audience clearly downstage on the righthand side.
Pittsburgh sportscaster Myron Cope, in a 1997 article and in his 2002 book Double Yoi !, related that two days after the game he reviewed film taken by local Pittsburgh TV station WTAE-TV, and that the film showed " o question about it -- Bradshaw's pass struck Tatum squarely on his right shoulder.
Tatum ( right ) with Jonah Hill at the 2012 WonderCon convention in March 2012
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