Music : The Tatum Group Masterpieces, Vol. 8
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Binding: Audio CD
EAN: 0025218043120
Label: Pablo
Manufacturer: Pablo
Number Of Discs: 1
Publisher: Pablo
Release Date: July 01, 1991
Sales Rank: 37719
Studio: Pablo
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Editorial Review:
Album Description:
Japanese limited edition issue of the album classic in a deluxe, miniaturized LP sleeve replica of the original vinyl album artwork.
Average Rating: 
Rating:  -
Let's face it: Art Tatum could play piano backed by washboard, Jew's harp, and a comb with a tissue over it and he'd still sound like a million bucks, so it's no wonder that this recording is just another great one in a long line of masterpieces. (Hey, that's what it's called, right?) Sometimes, his playing is so entrancing, the listener doesn't even really notice the backing band. What does make this recording so comfortable, then, is that just when Tatum threatens to steal the show and carry it away, he lays back and allows one of the backing band members to interject a solo, and the effect is to ground the music and make it really flow. The other thing I think is great about this series of works is that if you are in the mood for just Tatum, you can pick up one of the solo masterpieces (like The Art Tatum Solo Masterpieces, Vol. 1), but if you want something that has the group dynamic, you can still get your Tatum fix at the same time. The highlight of this CD is Have You Met Miss Jones, which is so subtle, you might not even recognize at first. The alternate takes show a lot of the potential of Tatum and this backing band, and the relatively detailed liner notes help bring the Tatum mystique into focus. This is just a wonderful piece of jazz music, especially for lover's of classic jazz piano.
Rating: -
This record has a deep personal signifigance to me, words don't quite do justice, so I'll be atypically brief.
Art Tatum was the most formidable virtuoso pianist in the history of jazz. So ornate was his style, he steamrolled other players (who were scared to death of him anyway) and he played best alone.
Ben Webster may not have been "the Best" tenor saxophonist ever, but his absolutely personal, immediately identifiable sound made him the Best Loved; a brawling, tempestuous, mercurial man, his tone was breathy, cello-like, ardent, the voice of the ideal manly lover who could coax anyone into bed. He started out as a swashbuckler (see Cottontail, with Duke), but as he aged, he stuck to slight variations on ballad melodies, the grain of his voice, the sound of air pushed through the horn, providing a thrill that surpassed any amount of variation.
Put the flashy, baroque fireworks of Tatum and the breathy simplicity of Webster together on a program of largely standard ballads and what do you get? It's simple. These two go together like Astaire and Rodgers, and if hearing this doesn't sweep you off your feet into some heavenly ballroom of bliss, then you're not breathing.
The most erotic jazz album ever recorded.
Rating: -
As a classical pianist, jazz student, and life-long jazz-lover, I was shocked to see anyone talking about "lobbing off" Art Tatum's fingers.
Perhaps, in evaluating the reliability of Brian's "one star" review, it would help readers to know that whenever Art Tatum used to play concerts, Rachmaninoff--who was one of the greatest classical pianists ever--along with many of the classical and jazz masters, would flock to hear this master of masters play.
Tatum should have been up there with them all in the classical world, but the racism of the day prevented that.
Tatum has over and over again been voted favorite jazz pianist by readers and critics alike in poll after poll, including in Downbeat and Metronome magazines. He is a member of the Downbeat Hall of Fame. He is a typical favorite of the great jazz pianists themselves.
Tatum learned to play jazz by learning every tune in every key. He has not only incredible technique, but incredible (unique) style and sensibility. He has been acknowledged by many of the jazz pianists who followed him as a major influence on their work. His collaborations, in particular this one, are out of sight. I am saying this as someone who ALSO appreciates minimalism, and loves Bill Evans--my favorite. i hardly see why, however, one need choose either/or.
Sometimes greatness is so great that it is beyond the comprehension of lesser mortals. I suspect that Brian may fall into that category. ... Read More
Rating: -
Admittedly, Art Tatum does sound intimidating with his fingerbusting, running up and down the scales...
However, first of all, it is not shear exercise; Art's flamboyance has its twisted logic (and even plenty of rhythm if you listen closely enough) and secondly, Ben Webster, "The Brute" as someone called him; one of the most sensitive, emotional and rhyhtmically potent balladeers of the classical tenor-sax is not easily intimidated... Tatum's group masterpieces with Buddy DeFranco, Lionel Hampton, Harry Edison or Benny Carter give ample evidence how great musical minds could work with Art; either chasing him up and down (like DeFranco), finding new fire in their musical heart (like Edison) or remaining their magnificent selves (like Carter and Webster in their respective matches with Tatum)...
This is not an album for everyone's tastes (if you think Art is too verbose -just give it up!), but those who like it might very well adore it... Thankfully, you have samples on the amazon, so you can get the general idea...
Rating:  -
Tatum is a great jazz pianist - no question - but when he's accompanying the likes of Ben Webster, he should 86 the incessant arpegios and let his partner shine for a while - 'twould make a really stellar cd instead of something really tiresome. AS for the defenders of Tatum's style (too many notes) they might like to listen to Uchida's rendition of Mozart's piano sonatas.
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