Under a Blanket of Blue - Art Tatum, Livingston, Jerry
Blues in B Flat - Art Tatum, Bellson, Louie
A Foggy Day - Art Tatum, Gershwin, George
Street of Dreams - Art Tatum, Lewis, Sam M. [1]
'S Wonderful - Art Tatum, Gershwin, George
Makin' Whoopee - Art Tatum, Donaldson, Walter
Old Fashioned Love - Art Tatum, Johnson, James [01]
(I'm Left With the) Blues in My Heart - Art Tatum, Carter, Benny [1]
My Blue Heaven - Art Tatum, Donaldson, Walter
Hands Across the Table - Art Tatum, Delettre, Jean
You're Mine, You - Art Tatum, Green, Johnny [1]
Idaho - Art Tatum, Stone, Jesse
Track Listings (14) - Disc #2
Night and Day - Art Tatum, Porter, Cole
I Won't Dance - Art Tatum, Fields, Dorothy
In a Sentimental Mood - Art Tatum, Ellington, Duke
The Moon Is Low - Art Tatum, Brown, Nacio Herb
Moon Song - Art Tatum, Coslow, Sam
You Took Advantage of Me - Art Tatum, Hart, Lorenz
This Can't Be Love - Art Tatum, Hart, Lorenz
I Surrender, Dear - Art Tatum, Barris, Harry
I Won't Dance [Alternate Take] - Art Tatum, Fields, Dorothy
In a Sentimental Mood [Alternate Take] - Art Tatum, Ellington, Duke
What Is This Thing Called Love? - Art Tatum, Porter, Cole
I'll Never Be the Same - Art Tatum, Kahn, Gus
Makin' Whoopee - Art Tatum, Donaldson, Walter
Hallelujah - Art Tatum, Grey, Clifford
Track Listings (13) - Disc #3
Perdido - Art Tatum, Drake, Ervin
More Than You Know - Art Tatum, Eliscu, Edward
How High the Moon - Art Tatum, Hamilton, Nancy
London - Art Tatum, Hart, Lorenz
Stars Fell on Alabama - Art Tatum, Parish, Mitchell
Lover Man - Art Tatum, Davis, Jimmy [4]
Prisoner of Love - Art Tatum, Columbo, Russ
Love for Sale (Concept I) - Art Tatum, Porter, Cole
Love for Sale (Concept II) - Art Tatum, Porter, Cole
Body and Soul - Art Tatum, Eyton, Frank
Please Be Kind - Art Tatum, Cahn, Sammy
This Can't Be Love [Alternate Take] - Art Tatum, Hart, Lorenz
Hallelujah [Alternate Take] - Art Tatum, Grey, Clifford
Track Listings (11) - Disc #4
Verve Blues - Art Tatum, Edison, Harry "Swee
Plaid - Art Tatum, Edison, Harry "Swee
Somebody Loves Me - Art Tatum, DeSylva, Buddy
September Song - Art Tatum, Anderson, Maxwell
Deep Purple - Art Tatum, DeRose, Peter
September Song [78 RPM Single Version] - Art Tatum, Anderson, Maxwell
What Is This Thing Called Love? [#] - Art Tatum, Porter, Cole
What Is This Thing Called Love? [alternate Tak [Alternate Take] - Art Tatum, Porter, Cole
Just One of Those Things - Art Tatum, Porter, Cole
More Than You Know - Art Tatum, Eliscu, Edward
Some Other Spring - Art Tatum, Herzog, Arthur Jr.
Track Listings (15) - Disc #5
If - Art Tatum, Damerell, Stanley
Blue Lou - Art Tatum, Mills, Irving
Love for Sale - Art Tatum, Porter, Cole
Isn't It Romantic? - Art Tatum, Hart, Lorenz
I'll Never Be the Same - Art Tatum, Kahn, Gus
I Guess I'll Have to Change My Plans - Art Tatum, Dietz, Howard
Trio Blues - Art Tatum, Tatum, Art
Deep Night - Art Tatum, Henderson, Charles
This Can't Be Love - Art Tatum, Hart, Lorenz
Memories of You - Art Tatum, Blake, Eubie
Once in a While - Art Tatum, Edwards, Michael [1
A Foggy Day - Art Tatum, Gershwin, George
Lover Man - Art Tatum, Davis, Jimmy [4]
You're Mine, You - Art Tatum, Green, Johnny [1]
Makin' Whoopee - Art Tatum, Donaldson, Walter
Track Listings (13) - Disc #6
Deep Night [Alternate Take] - Art Tatum, Henderson, Charles
Once in a While - Art Tatum, Edwards, Michael [1
This Can't Be Love [Alternate Take] - Art Tatum, Hart, Lorenz
Gone With the Wind - Art Tatum, Magidson, Herbert
All the Things You Are - Art Tatum, Hammerstein, Oscar
Have You Met Miss Jones? - Art Tatum, Hart, Lorenz
My One and Only Love - Art Tatum, Mellin, Robert
Night and Day - Art Tatum, Porter, Cole
My Ideal - Art Tatum, Chase, Newell
Where or When - Art Tatum, Hart, Lorenz
Gone With the Wind [Alternate Take 1] - Art Tatum, Magidson, Herbert
Gone With the Wind [Alternate Take 2] - Art Tatum, Magidson, Herbert
Have You Met Miss Jones? [Alternate Take] - Art Tatum, Hart, Lorenz
The greatest jazz stars of the '40s and '50s era converged upon Los Angeles over a two-year period (1954-56), each beckoned by Norman Granz for the purpose of this series of ad hoc group recordings with pianist Art Tatum. ... more »Granz's penchant for the preservation of the most splendid jazz of the century was palpable in his call and the motive force behind the wide summons. Among those responding were Ben Webster, Buddy DeFranco, Coleman Hawkins, Roy Eldridge, Lionel Hampton, Harry Edison, Louie Bellson, and so many more that the full list is almost stupefying. Clearly Art Tatum was the magnet that drew these big stars together for Granz to cut recordings, a project that such an impresario could only have envisioned in some utopian flight. Each fellow jazz scion was drawn by the honor of being Tatum's accompaniment, preserving their turns at the helm with the keyboard's master. Like the Pablo Solo Masterpieces, the selections here are all well known and therefore not just some trendy set of bop riffs made for this gig as a one-off occasion, never to be heard again. DeFranco's clarinet can only be described as seductive on the old Rudy Vallee number "Deep Night." Several cuts strip down to feature Tatum's piano with only Red Callender (bass) and Jo Jones (drums). This trio's take on "Some Other Spring" stands out, reviving for the moment the best Billie Holiday ballad ever reduced to wax. Then there are the other trim trios, with Benny Carter on alto sax and Bellson on drums for 14 tunes and Hampton on vibes and Buddy Rich on drums for almost 20 tunes. Never mind the quartets (Eldridge, John Simmons, and Alvin Stoller on one; Webster, Callender, and Bill Douglass on another), which feature dynamic interplay between the horns and Tatum. For the last chapter in Tatum's piano, the Pablo series cannot be passed by. This is the sine qua non of any serious jazz collection. --Daniel Bartlett Jr.« less
The greatest jazz stars of the '40s and '50s era converged upon Los Angeles over a two-year period (1954-56), each beckoned by Norman Granz for the purpose of this series of ad hoc group recordings with pianist Art Tatum. Granz's penchant for the preservation of the most splendid jazz of the century was palpable in his call and the motive force behind the wide summons. Among those responding were Ben Webster, Buddy DeFranco, Coleman Hawkins, Roy Eldridge, Lionel Hampton, Harry Edison, Louie Bellson, and so many more that the full list is almost stupefying. Clearly Art Tatum was the magnet that drew these big stars together for Granz to cut recordings, a project that such an impresario could only have envisioned in some utopian flight. Each fellow jazz scion was drawn by the honor of being Tatum's accompaniment, preserving their turns at the helm with the keyboard's master. Like the Pablo Solo Masterpieces, the selections here are all well known and therefore not just some trendy set of bop riffs made for this gig as a one-off occasion, never to be heard again. DeFranco's clarinet can only be described as seductive on the old Rudy Vallee number "Deep Night." Several cuts strip down to feature Tatum's piano with only Red Callender (bass) and Jo Jones (drums). This trio's take on "Some Other Spring" stands out, reviving for the moment the best Billie Holiday ballad ever reduced to wax. Then there are the other trim trios, with Benny Carter on alto sax and Bellson on drums for 14 tunes and Hampton on vibes and Buddy Rich on drums for almost 20 tunes. Never mind the quartets (Eldridge, John Simmons, and Alvin Stoller on one; Webster, Callender, and Bill Douglass on another), which feature dynamic interplay between the horns and Tatum. For the last chapter in Tatum's piano, the Pablo series cannot be passed by. This is the sine qua non of any serious jazz collection. --Daniel Bartlett Jr.
Fantastic piano playing - Pablo's packaging, not so good
D. W. Horne | 5263 BS Vught, The Netherlands | 11/28/2000
(5 out of 5 stars)
"You don't need to read my comments about Art Tatum's piano playing - he is simply amazing. You will, however, be disappointed with the packaging. Pablo decided to use CD cases designed for 4 CDs per case to hold 3 CDs. These cases (you get 2 of them for those 6 CDs) take up a fair amount of real estate. The booklet they enclose is the size of a LP and the box that holds everything is the equivalent of a record case (LPs) that would hold all of Beethoven's symphonies. I get the feeling that Pablo was trying to get rid of old LP boxes and used them to hold the CDs and booklet. I would have bought this set anyway, but Pablo could have done a much better job with the packaging."
Truly "Group Masterpieces"
Michael B. Richman | Portland, Maine USA | 09/28/2000
(5 out of 5 stars)
"In addition to recording Art Tatum in solo piano sessions that would yield an amazing seven CDs worth of material, Norman Granz also captured Tatum in a variety of group settings that would produce eight individual volumes of music. "Art Tatum - The Complete Pablo Group Masterpieces" brings all of these group recordings made between 1954-56 on six discs. This music in its collected form has to represent one of the towering achievements in recorded jazz history, not to mention jazz piano and classic 50s jazz. I won't go into specifics about the songs, sessions and personnel because the editorial review does that, and I have already written individual reviews for Volumes 3, 4 and 6 (plus there are excellent, informative reviews for the remaining titles by other customers). The Box Set is a major purchase, but if you are considering getting three or four of these volumes individually, you might as well get this because you will save money in the long run. Besides I guarantee you if start with Volumes 6, 7 and/or 8, you will fall in love with this music, and will want the whole enchilada anyway."
Invaluable
Richard W. Cutler | 04/01/2006
(5 out of 5 stars)
"Tatum's genius has never been in doubt, but at times his virtuosity could impede his rich jazz instinct. These group recordings bind Tatum a bit, in that he has to take in the idiosyncracies of his colleagues, but that limitation is actually liberating. Because his colleagues here are all great musicians themselves, no one is cowed by Tatum's mastery. The songs vary from plain lovely (Benny Carter, Roy Eldridge) to utterly sublime (Ben Webster, Lionel Hampton). It is the Hampton tracks that are the hreatest revelation: The two men speak in almost identical language on their instruments and inspire each other to to a kind of tense passion that is mark of great jazz improvisation. The only conceivable negatives have nothing to do with the music. The packaaging is indifferent, and the liner notes by Benny Green, while erudite, are written in a tone just this side of paranoia. The music could not be better."