DOCSLIB.ORG

Art Tatum at Val's in the Alley

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Art Tatum at Val's in the Alley 4. Art Tatum at Val's in the Alley t was Art Tatum's home for a drink. away from home. He "They had a good piano in I loved the old upright piano there," wrote Basie. "That's there. He developed much of the part I will never forget his piano genius there and he because I made the mistake of returned time after time, even sitting down at that piano. after he became world famous That's when I got my as the unchallenged champion personal introduction to a ofthe jazz piano. keyboard monster by the It was called Val's in the name of Art Tatum." Alley. It was an after-hours Basie said he didn't know joint operated by a man named why he sat down at that piano. Milo Valentine and was "The band had just stopped in located at the rear of several to get a little taste and a little stores on the north side of snack. The piano was there, Cedar Avenue near East 86th just sitting there, not bothering Street in Cleveland. Veteran anybody. I don't know what Cleveland saxophonist Andy made me do it. I went over Anderson said, "It was a small there and started bothering spot. I guess it held about 50 that piano. I just started or 60 people, had small aisles, fooling around with it, and a little bar for beer, a piano, then I started playing. What and .Art." did I do that for? That was just asking for trouble!" Duke Ellington, in his Art Tatum autobiography Music is My That's exactly what he got. Mistress, recalled going to Val' s, "offan alley that was Somebody went out and found Tatum. Basie said, "They off another alley" to hear Tatum play. Ellington said, brought him in there, and I can still see him and that way "Val's had a piano that was so old and beat-up that he had ofwalking on his toes with his head kind oftilted." Tatum had to learn to play everything up toward the Tatum sat down at the piano, like a gladiator protecting treble end. But it had a most compelling sound and the his turf, and musically vanquished the intruder. When action was obviously justright because Tatum loved that Tatum started playing, Basie said he felt like a rank piano." amateur. He suddenly realized this little bar in Cleveland One time, while listening to Tatum play, Ellington was Tatum's hangout, his place, his personal kingdom­ said he was too overwhelmed to express his feelings. not to be violated by some young count. Born in Toledo October 13 , 1909, Tatum had Basie said, "He was just off somewhere waiting for developed a local reputation as an outstanding pianist somebody to come in there and start messing with that while he was still a teenager. At the age of 18, he piano, someone dumb enough to do something like that, played on a radio program on Toledo's WSPD. He somebody like Basie, in there showing off, because there came to Cleveland in 1928 at the age of 19 and soon were a couple of good-looking girls in the place." began playing at the Prohibition Era after-hours joint. Basie said he felt like a boxer who looked up and Paul Whiteman, the misnamed "King of Jazz," first suddenly saw heavyweight champion Joe Louis corning heard Tatum at Val's in the Alley in 1929 and was so through the ropes at him. "I didn't have any idea 1 was impressed that he persuaded Tatum to go to New York, on Tatum's stomping ground," wrote Basie. To rub a but, according to Rex Stewart (in the October 20, 1966 little more salt into Basie' s already wounded ego, one of edition ofDownBeat magazine), Tatum quickly became the girls at the bar said later, "I could have told you." homesick and returned to Val's in the Alley in Cleveland. There were two sequels to Basie' s embarrassing welcome to Cleveland. Count Basie's embarrassment In 1943 he married a girl from Cleveland, Katy "I never will forget what happened to me," wrote Morgan. They remained devoted for 40 years until her Count Basie in his autobiography, GoodMorning Blues. death, and their only child, Diane, was born in Cleveland. Basie said it happened when he was touring with the In the late 1940s, when Basie had become one ofthe Benny Moten band in the early 1930s. After playing a most respected bandleaders and piano players in jazz, he date in Cleveland, the band members stopped at Val's was playing with his band in Los Angeles. Other Art Tatun{at Val's in the Alley 25 mUSICians, including Buddy Rich far ahead ofearlier artists." Feather and Tommy Dorsey, were sitting in. also said Tatum was "the greatest Basie recalled, "The joint was really soloist in jazz history, regardless of jumping." As he was playing, Basie instrument. " felt someone tap him on the shoulder Tatum made his first records in and say, "Hey, Base, what key you New York March 21 , 1933. There playin' in?" It was Tatum. Basie were four piano solos: "Tea For said, "Don't give a damn what key Two," "St. Louis Blues," we're playing in! You ain't gonna Ellington's "Sophisticated Lady" play!" Basie ran Tatum off his and "Tiger Rag." stage, thinking to himself, "I wasn't about to let that cat take over and Tatum returns to Val's disgrace me. He knew it. All he In early 1935, Tatum returned to could do was laugh." In a friendly Cleveland and played at a variety of way, Basie fmally got even for that places here. "As famous as he night years earlier when he was became," wrote Ellington, "he would embarrassed by Tatum at Val's in always return to Val's in the Alley the Alley in Cleveland. to play that piano. When he was playing the RKO Palace in Goes to New York City Cleveland, he would rush out and At the urging of the musicians make a dash for Val's after doing who had heard him play in four or five shows a day. It was the Cleveland, Tatum finally got up the Count Basie and Art Tatum same when he worked one of the nerve to return to New York in in later years sharing a piano plush hotels in Cleveland. He would 1931. Popular singer Adelaide Hall end up sitting in Val's and playing heard him and hired him as her accompanist. The nearly for kicks all night." When he was doing network radio blind pianist quickly memorized her complicated scores. broadcasts from Cleveland's WTAM, the station quickly After his first appearance with Hall, his amazing skill learned that it was wise to send somebody out to Val's to quickly became known to the best piano players in New be sure the almost-blind Tatum got to the studio in time. York. The reigning kings, Fats Waller, Willie "The Veteran Cleveland pianist Chick Chaiken recalled all Lion" Smith and James P. Johnson, invited him to ajam the Cleveland jazz musicians flocked to the Cedar session the following night. By all accounts, Tatum Avenue after-hours joint to hear Tatum and to buy him outclassed all of them. Waller was quoted as saying, beers as he played the old upright through the night. "That Tatum, he was just too good! He had too much Rex Stewart wrote, "Tatum's leisure hours began technique. When that man turns on the powerhouse, when almost everyone else was asleep, at 4 a.m. or so. don't no one play him down. He sounds like a brass He liked to sit and talk, drink and play after he finished band!" work." Carmen McRae, in the book Hear Me Talkin ' To When Tatum began playing at the Onyx Club on Ya, claimed Tatum played better after hours. James New York City's 52nd Street, Waller greeted his arrival Lincoln Collier, in his book The Making ofJazz, wrote at the club by announcing, "Ladies that "Tatum was at his best at the and gentlemen, God has just come early-morning sessions." into the house!" Tatum's playing was Red Callender sits in characterized by an incessantly Bassist Red Callender, who later creative left hand, playing four played with just about everybody different chords to the bar, subtle from Bunk Johnson to Charlie Parker chords, unprecedented harmonic and even Percy Faith, came to subtlety, and sixteenth-note runs at Cleveland in 1933 when he was 17 tempos that most pianists could not years old. In his autobiography, maintain with just eighth notes. Unfinished Dream, Callender Respected jazz critic Leonard recalled it was trumpeter Roy Feather later said Tatum's "fantastic Eldridge who first took him to hear technique and original harmonic Tatum at Val's. Callender said every variations placed him incomparably night there was a raft of excellent 26 Cleveland Jazz History piano players coming by, trying to cut Tatum. night, after their gig, bass player Red Ryan took Lerner "Apparently they had no idea ofhis world-wide stature. to Val's. Lerner, who at the time had never heard of They thought he was just a hometown piano player." Tatum, later remembered, "I thought 1was a pretty much Callender said he would take a tuba and sit in with of a hot shot piano player and I went with Red over to Tatum. "I couldn't believe my ears," he said, Cedar Avenue." "especially on 'Tiger Rag.' His hands were a blur.
Load more

Recommended publications
  • African American Historic & Cultural Treasures
    AFRICAN AMERICAN HISTORIC & CULTURAL TREASURES JULY 26, 2018 African American Historic & Cultural Treasure 500: Jazz Critics Poll Down Beat Award, 1956 USD 300 - 400 First place awarded to Art Tatum in this wood and metal shield-shaped award. 7 1/2 x 7".Art Tatum is considered one of the world's greatest jazz pianists. Tatum had received some formal musical training but, utilizing his perfect pitch, was mainly self-taught. He was known for his experimental and creative playing, as well as his legendary speed and improvisational skills. Despite being nearly blind, Tatum's dexterity made him an excellent player, as can be heard on the 1933 recording 'Tea for Two,' one of his best known songs.Ahead of his time, Art Tatum's techniques would contribute to the development of modern jazz, with aspects of his technique influencing musicians including Charlie Parker, Bud Powell, and Oscar Peterson. Tatum, after his sadly premature death at age 47, was recognized for his considerable talents and his contributions to the jazz world when he was posthumously inducted into the Down Beat Jazz Hall of Fame, the International Hall of Fame, and awarded a Grammy Lifetime Achievement Award, among other honors.From the Estate of Art Tatum. 501: Stereo Review's Record of the Year Award, 1974 USD 200 - 300 8 x 10" high gloss framed award recognizing Art Tatum's "The Tatum Solo Masterpiece" as the Record of the Year.Art Tatum is considered one of the world's greatest jazz pianists. Tatum had received some formal musical training but, utilizing his perfect pitch, was mainly self-taught.
    [Show full text]
  • Tiger Rag and the Twentieth Century
    ! A Song Through Time: Tiger Rag and the Twentieth Century ! ! ! A Senior Project presented to the Faculty of the Music Department California Polytechnic State University, San Luis Obispo ! ! ! In Partial Fulfillment of the Requirements for the Degree Bachelor of Arts ! ! by Thomas Grady Hartsock February, 2014 © 2014 Thomas Grady Hartsock !2 Table Of Contents ! Introduction……………………………………………………………………………………Pg. 4 Original Dixieland Jazz Band Biography……………………………………………………………………….……Pg. 11 Musical Analysis…………………………………………………………………….Pg. 14 Discussion……………………………………………………………………………Pg. 18 Art Tatum Biography……………………………………………………………………………Pg. 20 Musical Analysis…………………………………………………………………….Pg. 24 Discussion……………….…………………………………………………………..Pg. 34 Les Paul and Mary Ford Biography……………………………………………………………………………Pg.36 Musical Analysis…………………………………………………………………….Pg. 41 Discussion……………….…………………………………………………………..Pg. 44 Dukes of Dixieland Biography……………………………………………………………………………Pg. 47 Musical Analysis……………………………………………………………………..Pg. 50 Discussion…………………………………………………………..……………… Pg. 51 Wynton Marsalis Biography……………………………………………………………………………Pg. 55 !3 Musical Analysis……………………………………………………………………Pg. 58 Discussion…………………………………………………………………………..Pg. 62 Conclusions and Cogitations…………………………………………………………..……Pg. 64 Appendix 1 Forms for each individual piece…………………….…………………………..Pg. 67 Appendix 2 Supplemental SHMRG And Comparison Chart……………………………….Pg. 68 Bibliography…………………………………………………………………………………Pg.71 Discography…………………………………………………………………………………Pg. 73 Image Credits……………………………………………………………………………..…Pg.
    [Show full text]
  • Jazz Standards Arranged for Classical Guitar in the Style of Art Tatum
    JAZZ STANDARDS ARRANGED FOR CLASSICAL GUITAR IN THE STYLE OF ART TATUM by Stephen S. Brew Submitted to the faculty of the Jacobs School of Music in partial fulfillment of the requirements for the degree, Doctor of Music Indiana University May 2018 Accepted by the faculty of the Indiana University Jacobs School of Music, in partial fulfillment of the requirements for the degree Doctor of Music Doctoral Committee ______________________________________ Luke Gillespie, Research Director ______________________________________ Ernesto Bitetti, Chair ______________________________________ Andrew Mead ______________________________________ Elzbieta Szmyt February 20, 2018 ii Copyright © 2018 Stephen S. Brew iii To my wife, Rachel And my parents, Steve and Marge iv Acknowledgements This document would not have been possible without the guidance and mentorship of many creative, intelligent, and thoughtful musicians. Maestro Bitetti, your wisdom has given me the confidence and understanding to embrace this ambitious project. It would not have been possible without you. Dr. Strand, you are an incredible mentor who has made me a better teacher, performer, and person; thank you! Thank you to Luke Gillespie, Elzbieta Szmyt, and Andrew Mead for your support throughout my coursework at IU, and for serving on my research committee. Your insight has been invaluable. Thank you to Heather Perry and the staff at Stonehill College’s MacPhaidin Library for doggedly tracking down resources. Thank you James Piorkowski for your mentorship and encouragement, and Ken Meyer for challenging me to reach new heights. Your teaching and artistry inspire me daily. To my parents, Steve and Marge, I cannot express enough thanks for your love and support. And to my sisters, Lisa, Karen, Steph, and Amanda, thank you.
    [Show full text]
  • Ko Ko”-- Charlie Parker, Miles Davis, Dizzy Gillespie, and Others (1945) Added to the National Registry: 2002 Essay by Ed Komara (Guest Post)*
    “Ko Ko”-- Charlie Parker, Miles Davis, Dizzy Gillespie, and others (1945) Added to the National Registry: 2002 Essay by Ed Komara (guest post)* Charlie Parker Original label “Ko Ko” was Charlie Parker’s signature jazz piece, conceived during his apprenticeship with Kansas City bands and hatched in the after-hours clubs of New York City. But when “Ko Ko” was first released by Savoy Records in early 1946, it seemed more like a call for musical revolution than a result of evolution. “Ko Ko” was developed from a musical challenge that, from 1938 through 1945, confounded many jazzmen. The piece uses the chord structure of “Cherokee,” an elaborate, massive composition that was written by dance-band composer Ray Noble. “Cherokee” was the finale to a concept suite on Native American tribes, the other four movements being “Comanche War Dance,” “Iroquois,” “Sioux Sue,” and “Seminole.” If a standard blues is notated in 12-measures, and a pop song like George Gershwin’s “I Got Rhythm” is in 32 measures, Noble’s “Cherokee” is in 64 measures. In 1939, Charlie Barnet popularized “Cherokee” through a hit version for RCA Victor. Meanwhile, jazz musicians noticed the piece, and they tried clumsily to improvise solos to its chord progression. Count Basie, for one, with his Kansas City band, recorded “Cherokee” in February 1939. At the time, Basie had some of the best soloists in jazz like Lester Young, Ed Lewis, and Dicky Wells. But on this record, these four musicians improvised only during the A sections, leaving the very difficult “bridge” sections (measures 33-48 of the piece) to be played by the whole band.
    [Show full text]
  • Prologue: “I Made Things Work”
    Prologue: “I Made Things Work” The chartered bus carrying impresario Norman Granz and his Jazz at the Philharmonic troupe pulled into the parking lot of the Regent Restaurant in Jackson, Michigan, about sixty-five miles west of Detroit, with a cou- ple of hours to spare before their appearance at the Jackson County Audi- torium on Monday, October 6, 1947. Granz and JATP, as the national concert tours were already known by legions of fans, had been building a reputation for fiery jam sessions of all-star musicians in integrated set- tings since the concerts had begun in his hometown of Los Angeles in July 1944. The bus that night carried Granz, who emceed his shows, and a lineup including tenor saxophonists Coleman Hawkins and Flip Phillips, trumpeter Howard McGhee, trombonist Bill Harris, pianist Hank Jones, drummer J. C. Heard, and bassist Ray Brown—all dressed in tuxedos—as well as the equally resplendent former Count Basie singer Helen Humes. What unfolded at the diner was vintage Granz. An increasingly vocal provocateur on the subject of racism, he had begun campaigning in 1947 for antisegregation contracts across the touring band circuit and without blinking had turned down $100,000 in bookings by promoters who could not abide his terms. As always, it was a headache (though one he gladly bore) finding hotels and restaurants that would accom- modate the racially mixed group. Granz and company often operated from Detroit’s black Gotham Hotel as a temporary hub for concerts in neighboring cities as he strung together smaller dates across the country in between big paydays in the major cities.
    [Show full text]
  • The Jazz Scene”—Various Artists (1949) Added to the National Registry: 2007 Essay by Tad Hershorn (Guest Post)*
    “The Jazz Scene”—Various artists (1949) Added to the National Registry: 2007 Essay by Tad Hershorn (guest post)* Original album cover When “The Jazz Scene” was released in 1950, Norman Granz had significantly reshaped the jazz world in his image. Jazz historian and senior “Down Beat” editor John McDonough emphatically summed up Granz’s achievements when he wrote, “Two mavericks changed the face of jazz in the 1940s. Charlie Parker changed the way it was played. Norman Granz changed the way it was sold.” By this time, Granz’s popular seasonal national tours of Jazz at the Philharmonic (JATP), jam session concerts of jazz superstars, had gone on since 1945 after their debut in his hometown of Los Angeles the previous year. In 1949, Ella Fitzgerald joined JATP in what turned out to be a nearly 45-year relationship with Granz, who both managed her career and had her recording contract. Oscar Peterson began a similar long-term relationship with Granz when he joined JATP in 1950, when Granz likewise managed and recorded him over the decades. Granz also distinguished himself as an unyielding champion of racial justice, who had anti-segregation clauses in his contracts from the very beginning, and also offered top pay, travel and accommodations for those working for him. Two years later the jazz impresario began annual tours of Europe, where JATP proved to be as popular there as it had been in the United States. In 1953, Granz and his tours and recordings on his independent labels were beginning to crest. Around 500,000 people packed his concerts worldwide, including tours of Europe and Japan, while he also produced half the jazz records in the United States.
    [Show full text]
  • Tommy Irvine Jazz Collection SPC.2018.038
    http://oac.cdlib.org/findaid/ark:/13030/c8g166g7 No online items Inventory of the Tommy Irvine Jazz Collection SPC.2018.038 Jade Delao California State University Dominguez Hills Archives and Special Collections 2018-12-05 University Library South -5039 (Fifth Floor) 1000 E. Victoria St. Carson, CA 90747 [email protected] URL: https://www.csudh.edu/libarchives/ Inventory of the Tommy Irvine SPC.2018.038 1 Jazz Collection SPC.2018.038 Language of Material: English Contributing Institution: California State University Dominguez Hills Archives and Special Collections Title: Tommy Irvine Jazz Collection creator: Cole, Nat King, 1919-1965 creator: Holiday, Billie, 1915-1959 creator: Eckstine, Billy creator: Garner, Erroll creator: Shearing, George creator: Vaughan, Sarah, 1924-1990 Identifier/Call Number: SPC.2018.038 Physical Description: 24 boxes Date (inclusive): 1908-1981, undated Date (bulk): 1940-1953 Language of Material: Collection material is in English. Abstract: This collection contains approximately 444 records held in 76 album sets with performances from musicians, many of which fall under the musical genre of jazz. Most of the records are 10" Shellac, 78 RPMs. Notable musicians featured in this collection include: George Shearing, Billy Eckstine, Nat King Cole, Erroll Garner, Billie Holiday, Sarah Vaughan, and others. Physical Description: Shellac, 10'', 78 RPM Conditions Governing Access There are no access restrictions on this collection. Conditions Governing Use All requests for permission to publish or quote from manuscripts must be submitted in writing to the Director of Archives and Special Collections. Permission for publication is given on behalf of Special Collections as the owner of the physical materials and not intended to include or imply permission of the copyright holder, which must also be obtained.
    [Show full text]
  • Art Tatum Night and Day Transcription
    Art Tatum Night And Day Transcription SothicWhen Standfordand pickiest dowers Stew hisomen coherence some Antwerp? forgiven Uninfluentialnot intermediately Pen wash-outs enough, is nonetheless. Nelson aborning? How teenier is Bernie when You really wanted to develop a ghost of parker and day with his first attempt to the pop culture wiki is Grimes abandoned the night. All night sessions because he gave young peterson went on art tatum transcription process developed a documentary recording with dewey was too much. He also points the tatum? Ellington to that night and day? New orleans creole composer who brought his life, bill evans my house burns down on the music for having access to hear a sophisticated ideas. Do you think he wants to. Mighty lak a tatum art could go somewhere else. John carisi to drop me an inferiority complex by chick is too many issues are little atonal interludes between my transcription and art tatum went on such as he died. He or download button, holes in such ballads and indisputable joy, the normal triad for the front line would he would be quite exploratory. Share of tatum transcription material in new life had impaired, transcriptions will look to. Based on art of the night sessions were all of his jmt label mercury pressing with. Piano Jazz Solo Transcriptions My theme Music Transcriptions. Great stride pianist and art tatum transcription, transcriptions are included too. Tatum elements are here: and art tatum transcription. The inventor of the top of your life had never heard on sophisticated lady but the like the melodies rather than the keyboard even at the voice.
    [Show full text]
  • The Home of Jazz’’
    F:\M14\CLEAVE\CLEAVE_007.XML ..................................................................... (Original Signature of Member) 114TH CONGRESS 2D SESSION H. RES. ll Expressing the sense of the House of Representatives regarding jazz heritage in the United States. IN THE HOUSE OF REPRESENTATIVES Mr. CLEAVER submitted the following resolution; which was referred to the Committee on lllllllllllllll RESOLUTION Expressing the sense of the House of Representatives regarding jazz heritage in the United States. Whereas the seeds of Jazz came from the merger of tradi- tional West African slave folk music with the harmonic style of hymns of the church; Whereas these songs eventually coalesced in unwritten form, into melodies; Whereas these melodies came to be performed in urban cen- ters, such as the famed Congo Square of New Orleans; Whereas these performances evolved over time to contain the core elements such as heavy use of improvisation, polyrhythms, syncopation, and the swung note; f:\VHLC\040716\040716.066.xml (626495|2) April 7, 2016 (12:29 p.m.) VerDate 0ct 09 2002 12:29 Apr 07, 2016 Jkt 000000 PO 00000 Frm 00001 Fmt 6652 Sfmt 6300 C:\USERS\KMAMAR~1\APPDATA\ROAMING\SOFTQUAD\XMETAL\7.0\GEN\C\CLEAVE~1.X F:\M14\CLEAVE\CLEAVE_007.XML 2 Whereas these elements combined with the unique perform- ance aspect of southern dance bands bore our modern day understanding of jazz music; Whereas pianist Jelly Rolle Morton composed his ‘‘Jelly Roll Blues’’ in 1905, to be later published in 1914, intro- ducing the world to the New Orleans style; Whereas
    [Show full text]
  • Sweet Lorraine”—Art Tatum (1940) Added to the National Registry: 2007 Essay by Morgan Taylor (Guest Post)*
    “Sweet Lorraine”—Art Tatum (1940) Added to the National Registry: 2007 Essay by Morgan Taylor (guest post)* Early label Art Tatum is known as one of the greatest pianists in the history of jazz. Often referred to as a “musician’s musician,” Tatum’s style has given many experts cause to question whether he was a “real” jazz musician at all. Whether Tatum’s work is outside the bounds of jazz, or not, he is arguably one of the greatest pianists of the 20th century. His recording of “Sweet Lorraine” is one of most popular versions of the song, but both Tatum and “Sweet Lorraine” had their own histories prior to coming together. By the time Tatum put his version of “Sweet Lorraine” to track in 1940, the song had already been well established as a jazz standard with recordings from a handful of other artists. However, what set Tatum’s version of the song apart is the same thing that set Tatum apart from all other musicians: his genre-bending virtuosity. Tatum was born on October 13, 1909 to a conventional, working class family in Toledo, Ohio. At some point during his early childhood, Tatum lost complete vision in one eye and partial vision in the other. This limitation didn’t stop the young virtuoso from making his musical talent known at an early age and some experts even speculate it contributed to Tatum’s innate musical abilities. Although his first introduction to musicianship was through the violin, Tatum quickly transitioned to the piano. According to interviews with Tatum, he found that the piano offered more versatility than the violin.
    [Show full text]
  • ART TATUM Vol.2
    120730bk ArtTatum2 9/7/04 5:52 PM Page 2 1. The Sheik Of Araby 2:41 9. Rosetta 2:53 17. Boogie 3:52 20. Topsy 4:17 (Ted Snyder–H. B. Smith–Francis Wheeler) (Earl Hines–Henry Woode) (Art Tatum) (Edgar Battle–Eddie Durham) Decca 2052, mx 62825-A Decca 8502, mx DLA 2070-A Asch 452-1, mx MA 1251 Asch 452-2, mx MA 1255-1 Recorded 29 Novemnber 1937, New York Recorded 26 July 1940, Los Angeles Recorded 21 June 1944, New York Recorded 21 June 1944, New York 2. Chlo-e 3:22 10. (Back Home Again In) Indiana 2:57 18. If I Had You 3:31 Tracks 1-16: Art Tatum, piano solo (Gus Kahn–Neil Moret) (James F. Hanley–Ballard MacDonald) (Ted Shapiro–Jimmy Connelly–Reginald Tracks 17-20: ART TATUM TRIO: Art Tatum, Decca 2052, mx 62824-A Decca 8550, mx DLA 2071-A Campbell) piano; Tiny Grimes, guitar; Slam Stewart, bass Recorded 29 November 1937, New York Recorded 26 July 1940, Los Angeles Asch 452-1, mx MA 1256-1 Transfers & Production: David Lennick 3. Tea For Two 2:39 11. Fine And Dandy 2:52 Recorded 21 June 1944, New York Digital Noise Reduction: K&A Productions Ltd (Vincent Youmans–Irving Caesar) (Paul James–Kay Swift) 19. Soft Winds 3:57 Decca 2456, mx DLA 1759-A Asch 356-1, mx Tatum 1-1 (Benny Goodman–Fred Royal) Original 78s from the collections of David Recorded 12 April 1939, Los Angeles Recorded 21 December 1944, New York Asch 452-2, mx MA 1257-1 Lennick & John Rutherford 4.
    [Show full text]
  • The Story of Storyville the Story of S 1952-2012
    www.storyvillerecords.com The story of Storyville 1952-2012 Once upon a time… In 1952 the late Karl Emil Knudsen started his record company Storyville Records named after the legerndary district in New Orleans. The recordings with Chris Barber, Ken Colyer & Papa Bue’s Viking Jazzband sold very well – some of these became big hits and this really started the company off. Late in the 80s and the early 90s, Storyville released some ambitious series. The Masters of Jazz-series was issued on both CD and LP, and included big stars like Billie Holiday, Louis Armstrong, Jack Teagarden, Duke Ellington, Ben Webster and Art Tatum. The Blues Masters-series included Storyville’s own recordings from the 50s and 60s. These two series each included 12 CDs, while series The Sounds of New Orleans consisted of 10 CDs. In 1991 Karl Emil Knudsen was once again the sole owner of Storyville, and the label’s administration and production was consolidated under one roof in Copenhagen. This sparked activity once again, and the repertoire was expanding. Releases now included not only music, but also video recordings of concerts, documentary fi lms and photo books. A deal was also made with Duke Ellington’s estate, giving Storyville access to a great deal of his recordings. Times of change As the label celebrated its 50th anniversary in 2002, it was with acknowledgement that the music business was changing. Tough economic times forced Knudsen to consider selling the label. Some potential buyers showed interest, but a sale did not happen. In 2003, the label was faced with a big change, when founder Karl Emil Knudsen died.
    [Show full text]