Tatum is widely acknowledged as one of the greatest jazz pianists of all time. He was noted for the complexity and speed of his performances, which set a new standard for jazz piano virtuosity.
Tatum drew inspiration from his contemporaries James P. Johnson and Fats Waller, and had a great influence on other famous jazz pianists, such as Thelonious Monk, Bud Powell, Chick Corea, and Oscar Peterson. Saxophonist Charlie Parker took his first job in New York as a dishwasher where Tatum played, just for the experience of hearing Tatum's harmonic inventions.
Tatum identified Fats Waller as his main influence, but according to pianist Teddy Wilson and saxophonist Eddie Barefield, "Art Tatum's favorite jazz piano player was Earl Hines. He used to buy all of Earl's records and would improvise on them. He'd play the record but he'd improvise over what Earl was doing ..... 'course, when you heard Art play you didn't hear nothing of anybody but Art. But he got his ideas from Earl's style of playing – but Earl never knew that."
A major event in his meteoric rise to success was his appearance at a cutting contest in 1933 at Morgan's bar in New York City that included Waller, Johnson and Willie "The Lion" Smith. Standard contest pieces included Johnson's "Harlem Strut" and "Carolina Shout" and Fats Waller's "Handful of Keys." 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. James P. Johnson, reminiscing about Tatum's debut afterward, simply said, "When Tatum played Tea For Two that night I guess that was the first time I ever heard it really played." Tatum's debut was historic because he outplayed the elite competition and heralded the demise of the stride era. He was not challenged further until stride specialist Donald Lambert initiated a half-serious rivalry with him.
Tatum worked first around Toledo and Cleveland and then later in New York at the Onyx Club for a few months; he recorded his first four solo sides on the Brunswick label in March, 1933. He returned to Ohio and played around the American midwest - Toledo, Cleveland, Detroit, Saint Louis and Chicago - in the mid-1930s and played on the Fleischman Hour radio program hosted by Rudy Vallee in 1935. He also played stints at the Three Deuces in Chicago and in Los Angeles he played at The Trocadero, the Paramount and the Club Alabam. In 1937 he returned to New York where he appeared at clubs and played on national radio programs. The following year he embarked on the Queen Mary for England where he toured, playing for three months at Ciro's Club owned by bandleader Ambrose. In the late 1930s he returned to play and record in Los Angeles and New York.
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. Two years later Tatum won Esquire Magazine's first jazz popularity poll. 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.
The last two years of his life, Tatum regularly played at Baker's Keyboard Lounge in Detroit, including his final public performance in April 1956. Earlier, Tatum had personally selected and purchased for Clarence Baker the Steinway piano at Baker's, finding it in a New York showroom, and shipping it to Detroit.
Tatum was widely recognized among his colleagues as the most gifted jazz pianist alive, some going so far as to say he was one of the greatest pianists of any genre. Such classical luminaries as Vladimir Horowitz and Sergei Rachmaninov greatly admired his technique. Unusually for a jazz musician, Tatum rarely abandoned the original melodic lines of the songs he played, preferring innovative reharmonization (changing the chord progressions that supported the melodies). He also had a penchant for filling spaces within melodies with his trademark runs and other embellishments, which some critics considered gratuitous and "unjazzlike."
Moonglow
Art Tatum Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
It must have been moonglow that led me straight to you
I still hear you sayin', "Dear one, hold me fast"
And I keep on prayin', "Oh Lord, please let this last"
We seemed to float right through the air
Heavenly songs seemed to come from everywhere
I'll always remember, that moonglow gave me you
It must have been moonglow, way up in the blue
It must have been moonglow that led me straight to you
I still hear you sayin', "Sweet child, hold me fast"
And I keep on prayin', "Oh Lord, please let this last"
We seemed to float right through the air
Heavenly songs seemed to come from everywhere
And now when there's moonglow, way up in the blue
I'll always remember, that moonglow gave me you
The lyrics to Art Tatum's song Moonglow are romantic in nature, describing a chance encounter that led to a deep and lasting connection between two individuals. The first verse suggests that it was the allure of the moon that brought the two individuals together, as if the moon acted as a guiding force that drew them towards each other. The singer reminisces about hearing their partner's voice, and feeling a sense of urgency to hold onto them tightly and not let go. The repetition of the phrase "Oh Lord, please let this last" emphasizes the love and desire that the singer has for their partner, and their hope that this union will continue.
The second verse heightens the romantic fantasy of the song, portraying the couple as airborne and lost in each other's presence, with "Heavenly songs" emanating from all around them. This imagery evokes a sense of bliss and transcendence, suggesting that love has the power to transport individuals beyond earthly realms. The final lines of the song emphasize the significance of the moon, and how it will forever be a symbol of the love that brought the couple together.
Overall, the lyrics to Moonglow are deeply romantic and evocative, painting a vivid picture of two lovers who have been brought together by a mystical force. The song speaks to the enduring power of love, and the sense of magic and wonder that can arise from a profound emotional connection.
Line by Line Meaning
It must have been moonglow, way up in the blue
The singer believes that it was the light of the moon shining in the sky that led them to their loved one.
It must have been moonglow that led me straight to you
The singer believes that the moonlight was the guiding force that brought them to their loved one.
I still hear you sayin', "Dear one, hold me fast"
The singer can still hear their loved one's voice asking to be held tightly.
And I keep on prayin', "Oh Lord, please let this last"
The artist is praying that this moment with their loved one will last forever.
We seemed to float right through the air
The artist and their loved one felt weightless and carefree, as if they were floating.
Heavenly songs seemed to come from everywhere
The surroundings were so beautiful and peaceful that the singer felt as if they were surrounded by heavenly music.
And now when there's moonglow, way up in the blue
Whenever the singer sees the moon shining in the sky, they will remember this moment with their loved one.
I'll always remember, that moonglow gave me you
The artist believes that the moonlight brought them to their loved one and they will always be grateful for it.
Lyrics © MUSIC SALES CORPORATION, Kanjian Music, BMG Rights Management, RESERVOIR MEDIA MANAGEMENT INC
Written by: Eddie Delange, Irving Mills, Will Hudson
Lyrics Licensed & Provided by LyricFind
@dazguti
wonderful arrangement
@Melpheos1er
have the piano part of this tune. Art Tatum had gigantic hands
@ollyrogers1714
I tried to play this piece, and its truly the hardest piece ever that ive tried to play apart from revolutionary by chopin, but this is insane and the fact that this guy could play this and all of his other songs imo hes the best ever. Like I tried to learn and just kinda realized immeadiately that I was no where good enough ahahahhaha
@spanonymousmusiccomposerpr8372
lol his hands were huge
@gilliansevenoaks3452
My.father.rip.ted.gillian
@doremihyun_
01:08
@doremihyun_
0:39