Art Tatum: Sweet Georgia Brown
Sweet Georgia Brown
Art Tatum (piano)
God is in the House (High Note HCD 7030)
Art Tatum (piano),
Ebenezer Paul (bass), Frankie Newon (trumpet).
Composed by Ben Bernie, Maceo Pinkard & Kenneth Casey.
Recorded: Live at Monroe's Uptown House, New York, September 16, 1941
Rating: 100/100 (learn more)
Jerry Newman was a student at Columbia University with a passion for jazz and—even more important!—a portable disk-cutting recording machine that he brought to some of the most exciting jazz events of the early 1940s. His archive of amateur recordings is a treasure trove of historically important material, but his documentation of pianist Art Tatum's work in casual after hours sessions is a revelation. André Hodeir and other critics have accused this pianist of playing elaborate set pieces rather than improvising, and true many of Tatum's recordings reveal the rote delivery of set arrangements. Yet the artist captured here is a different one entirely. After hearing this music for the first time, New Yorker critic Whitney Balliett concluded that there must have been "two Tatums": "one was the virtuoso who moved with consummate ease through a world owned and run by whites, and the other was the secret genius who went uptown after his regular hours and played unbelievable music for his own pleasure in black clubs for black audiences."
Balliett thought that Tatum might have been parodying the beboppers in the opening passages of "Sweet Georgia Brown," yet it is just as likely that Tatum was simply showing that he knew more tricks than the new cats on the scene. Based on the amused laughter from the audience, I assume that some bop player had been playing the piano shortly before Tatum took over the keys. But even more ear-shattering is a passage at the 2:10 mark that can be only described as a taste of Free Jazz, circa 1941. Trumpeter Frankie Newton tries vainly to follow Tatum's solo, but Art doesn't make it easy. He throws out substitute harmonies from another dimension, sometimes four to a bar, and even reprises his avant-garde bag in the background. There is plenty more here worth hearing—indeed, a whole alternative piano vocabulary that you won't encounter on the better known Norman Granz recordings of this artist. At more than seven minutes, "Sweet Georgia Brown" ranks as one of Tatum's longest recorded performances, but it still seems all too brief.
Reviewer: Ted Gioia