Art Tatum: Jewels In The Treasure Box

In the annals of jazz history, certain recordings stand out as treasures, not only capturing the essence of a particular era but also the sheer brilliance of the musicians involved. Jewels In the Treasure Box, the 1953 Chicago Blue Note Jazz Club recordings, featuring the virtuosic trio of Art Tatum on piano, Everett Barksdale on guitar and Slam Stewart on bass, is undeniably one such gem. This three-CD set of newly unearthed, unissued live recordings is being released on Resonance Records under the production guidance of co-Presidents Zev Feldman and George Klabin.

In this thirty-nine-track outing, it is clear this release is something special. Art Tatum's piano playing is replete with extensive reharmonization, arpeggios played at blazing speed, as well as taking hold of complex chords with his left hand, while supporting ornate runs and complicated passages with his right. Also to be noted is that Tatum did not compose his set pieces, but rather utilized popular songs from the likes of Cole Porter, Rodgers and Hart, George & Ira Gershwin, from which he developed complex arrangements which have stood the test of time.

Guitarist Everett Barksdale provides a perfect complement to Tatum's piano, weaving in and out of the melodies with grace and finesse. His solos are melodic, gliding up and down the fretboard with a sense of ease which belies the complexities of his improvisations. Bassist Slam Stewart provides the steady heartbeat of the trio, anchoring the rhythm with precision and groove. Whether he is walking the bass, arco bowing or just humming along, he is driving the music forward with an infectious energy.

Together Tatum, Barksdale and Stewart not only challenged each other, but also had a magical musical synergy, and each track on the three discs is a testament to that description. On standards such as "Night and Day," "Body and Soul," "Just One Of Those Things" or "Stardust," the trio navigates them with inventiveness and spontaneity which draws the listener in. A couple of other numbers worth noting are "Tea For Two," which is taken at close to warp speed and, according to jazz mythology, was used by Tatum when he first arrived in New York City, in 1932, to establish his credentials in cutting contests. The other is "Tenderly" on which Tatum and cohorts work their charm with a completely original version filled with harmonic and pulsating inventiveness. An interpretation by one of Tatum's acolytes, Oscar Peterson, on the album titled Tenderly, was recorded in 1958, at the Vancouver BC Jazz Festival. The Peterson Trio did not copy Tatum's rendition but played it with a similar structure, harmonic coloration, and interpretative passages so the antecedents are easily recognizable-"imitation is the sincerest form of flattery."

Perhaps the most remarkable aspects of this release are the joy that radiates from every note and the palpable sense of camaraderie between the musicians.