Art Tatum - Style

Style

Tatum built upon stride and classical piano influences to develop a novel and unique piano style. He introduced a strong, swinging pulse to jazz piano, highlighted with spectacular cadenzas that swept across the entire keyboard. His interpretations of popular songs were exuberant, sophisticated, grandiose and intricate. Jazz soloing in the 1930s had not yet evolved into the free-ranging extended improvisations that flowered in the bebop era of the 1940s, 1950s and beyond. But jazz musicians were beginning to incorporate improvisation while playing over the chord changes of tunes, and Tatum was a leader in that movement. He sometimes improvised lines that presaged bebop and later jazz genres, although generally not venturing far from the original melodic line. Tatum embellished melodic lines, however, with an array of signature devices and runs that appeared throughout his repertoire. As he matured, Tatum became more adventurous in abandoning the written melody and elongating his improvisations.

Tatum's unique sound was attributable to his harmonic inventiveness as well as technical prowess. He was an innovator in reharmonizing melodies by changing the supporting chord progressions or by altering the root movements of a piece. This technique casts a familiar theme in a fresh light and gives the music an unexpected quality. Many of his harmonic concepts and larger chord voicings (e.g., 13th chords with various flat or sharp intervals) were well ahead of their time in the 1930s (except for their partial emergence in popular songs of the jazz age) and they would be explored by bebop-era musicians a decade later. He worked some of the upper extensions of chords into his lines, a practice which was further developed by Bud Powell and Charlie Parker, which in turn was an influence on the development of 'modern jazz'. Tatum also pioneered the use of dissonance in jazz piano, as can be heard, for example, on his recording of "Aunt Hagar's Blues", which uses extensive dissonance to achieve a bluesy effect. In addition to using major and minor seconds, dissonance was inherent in the complex chords that Tatum frequently used.

Tatum could also play the blues with authority. Pianist Jay McShann, not known for showering compliments on his rivals said "Art could really play the blues. To me, he was the world's greatest blues player, and I think few people realized that." His repertoire, however, was predominantly Broadway and popular standards, whose chord progressions and variety better suited his talents.

His protean style was elaborate, pyrotechnic, dramatic and joyous, combining stride, jazz, swing, boogie-woogie and classical elements, while the musical ideas flowed in rapid-fire fashion. Benny Green wrote in his collected work of essays, The Reluctant Art, that "Tatum has been the only jazz musician to date who has made an attempt to conceive a style based upon all styles, to master the mannerisms of all schools and then synthesize those into something personal." He was playful, spontaneous and often inserted quotes from other songs into his improvisations.

Tatum was not inclined toward understatement or expansive use of space. He seldom played in a simplified way, preferring interpretations that displayed his great technique and clever harmonizations. When jazz pianist Stanley Cowell was growing up in Toledo, his father prevailed upon Tatum to play piano at the Cowell home. Stanley described the scene as, "Tatum played so brilliantly and so much . . . that I thought the piano was gonna break. My mother left the room . . . so I said 'What's wrong, Mama?' And she said 'Oh, that man plays too much piano.'" A handful of critics, notably Keith Jarret, have complained that Tatum played too many notes or was too ornamental or was even 'unjazzlike'. Jazz critic Gary Giddins opined, "That is the essence of Tatum. If you don't like his ornament, you should be listening to someone else. That's where his genius is."

From the foundation of stride, Tatum made great leaps forward in technique and harmony and he honed a groundbreaking improvisational style that extended the limits of what was possible in jazz piano. His innovations were to greatly influence later jazz pianists, such as Bud Powell, Thelonious Monk, Oscar Peterson, Billy Taylor, Bill Evans, Tete Montoliu and Chick Corea. One of Tatum's innovations was his extensive use of the pentatonic scale, which may have inspired later pianists to further mine its possibilities as a device for soloing. Herbie Hancock described Tatum's unique tone as "majestic" and devoted some time to unlocking this sound and to noting Tatum's harmonic arsenal.

The sounds that Tatum produced with the piano were also distinctive. Billy Taylor has said that he could make a bad piano sound good. Generally playing at mezzoforte volume, he employed the entire keyboard from deep bass tones to sonorous mid-register chords to sparkling upper register runs. He used the sustain pedal sparingly so that each note was clearly articulated, chords were cleanly sounded and the melodic line would not be blurred. He played with boundless energy and occasionally his speedy and precise delivery produced an almost mechanical effect, compared by jazz critic Ted Gioia to "a player piano on steroids."