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Welcome to my auctions of great records

This is my FIRST WEEK of 2 weeks of great auctions – I WILL PACK AND BILL YOUR RECORDS after the close on after the end of the second week on Nov 11.

PLEASE DO NOT PAY before I send you an invoice. It will take me up to 48 hours to pack your records, but this is the ONLY WAY to get you the LOWEST POSTAGE. If you pay before I sent you an invoice, the EBAY system will charge you a HIGHER POSTAGE for shipping.

International shipping: approx postage 1x10"=$25: 1x12"=$35: 10"Album 4 Rec=50$: 12" Album 2 Rec=50$
HOWEVER in most cases I can get you SIGNIFICANT savings by using other services. Pls contact me for a quote.

About 30% less to Canada. Pls ignore international postage displayed in Ebay, rates are too high

Please wait for me to send you an invoice. DO NOT USE EBAY CHECKOUT if you want the lowest possible postage.

 

 

A series of great  JAZZ piano records from early Tin Pan Alley to the 40s

Blind Jazz Pianist - and one of the greatest virtuosos of the Piano - featured in his rare ASCH recordings -

Art Tatum ‎– Piano Solos
Label:
Asch Records ‎– 356
Format:
3 × Shellac, Album, 10", 78 RPM

Released:
21 Dec 1944

A Fine And Dandy
Lyrics By – James*
Music By – Swift*
Written By – James - Swift
B It Had To Be You
Lyrics By – Kahn*
Music By – Jones*
Written By – Kahn - Jones
C Ja Da
Written-By – Bob Carleton
D Where Or When
Written-By – Rodgers - Hart*
E Sweet & Lovely
Lyrics By – Tobias*
Music By – Le Meri*
Written By – Arnheim - Tobias - Le Meri
Written-By – Arnheim*
F Danny Boy
Written-By – Folk Tune*
Credits
Liner Notes – Charles Edward Smith

3x10" 78 rpm records w orig album and notes

Condition:

EXCELLENT rare scuff on WHERE, plays very quiet lightest crackle, album great, right side corners a little rough

A GREAT COPY

 

Tatum c. May 1946

Arthur Tatum Jr. (October 13, 1909 – November 5, 1956) was an American jazz pianist and virtuoso. The jazz pianist and educator Kenny Barron has commented that "I have every record [Tatum] ever made — and I try never to listen to them … If I did, I'd throw up my hands and give up!" Jean Cocteau dubbed Tatum "a crazed Chopin." Some jazz musicians liked to call him the eighth wonder of the world.

Biography
Tatum was born in Toledo, Ohio. From infancy he suffered from cataracts of disputed cause, which left him blind in one eye, and with only very limited vision in the other. Some surgery improved Tatum's eye condition to a degree, but this effort was reversed when he was assaulted in 1930 at age 20.[1] He played piano from his youth, and played professionally in Ohio and especially the Cleveland area before moving to New York City in 1932.

A child prodigy, Tatum learned to play by copying piano roll recordings his mother owned, playing by ear by the age of three. Tatum would learn both parts of a piece for four hands by feeling the keys depressed on the piano. By the age of six he was able to play songs originally performed as duets, unaware that there were supposed to be two players. In this way, he developed an incredibly fast playing style, without losing any of his accuracy. As a child Tatum was also very sensitive to the piano's intonation, and insisted it be tuned often.[1]

Tatum drew inspiration from his contemporaries James P. Johnson and Fats Waller, who exemplified the best stride piano style. Tatum's meteoric rise to the top began with his appearance at a cutting contest in 1933 that included Waller and others. Standard contest pieces included Johnson's "Harlem Strut" and "Carolina Shout," and Fats Waller's "Handful of Keys." Tatum was victorious, presenting his arrangement of "Tiger Rag." This was considered by Harlem musicians to be Tatum's ultimate contribution to stride piano, and taken as the most astonishing and original that would probably ever appear, in many respects, despite being an arrangement. In subsequent gatherings Tatum tended to prefer not to be followed by another pianist. He was not challenged further until Donald Lambert initiated a half-serious rivalry with him.

From the foundation of stride, Tatum made great leaps in terms of technique and theory, and honed a new style that would greatly influence later jazz pianists, such as Thelonious Monk, Oscar Peterson, Billy Taylor, Bill Evans, and Chick Corea. Tatum's extensive use of the pentatonic scale, for example, may have inspired later pianists to further mine its possibilities as a device for soloing.

Tatum introduced a strong, swinging pulse to jazz piano, as well as other new sounds in his improvisation and self-accompaniment. Tatum rarely abandoned the original melodic lines of the songs he played, preferring instead to feature innovative reharmonization (changing the chord progressions supporting the melodies). Occasionally, Tatum's reharmonizing was simply a matter of altering the root movements of a tune so as to more effectively apply already commonly used chords from early jazz and classical music. Yet many of Tatum's harmonic concepts and larger chord voicings 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 20 years later. Tatum worked some of the upper extensions of chords into his lines, and this practice was further developed by Bud Powell and Charlie Parker, which in turn was an influence on the development of 'modern jazz'. He also had a penchant for filling spaces within melodies with trademark runs and embellishments. The notes and phrases within those embellishments made genuine musical statements praised by jazz and classical audiences alike. The speed of the techniques, however, made them somewhat enigmatic and difficult for ensemble playing.

Tatum tended to record unaccompanied, partly because relatively few musicians could keep up with his lightning-fast tempos and advanced harmonic vocabulary. He formed a trio during the early 1940s with bassist Slam Stewart and guitarist Tiny Grimes. During their short period of time together, they recorded a number of 78 rpm discs that feature interplay among the musicians.

Transcriptions of Tatum are popular and are often practiced assiduously. But perhaps because his playing was so difficult to copy, only a handful of musicians — such as Oscar Peterson, Johnny Costa, Johnny Guarnieri, Francois Rilhac, Adam Makowicz, Steven Mayer and Dan Knight — have attempted to seriously emulate or challenge Tatum. Phineas Newborn's playing, such as his recording of Willow Weep For Me, is closely modelled on Tatum.

Tatum recorded commercially from 1932 until near his death, though the predominantly solo nature of his skills meant that recording opportunities were somewhat intermittent. Tatum recorded for Decca (1934–41), Capitol (1949, 1952) and for the labels associated with Norman Granz (1953–56). For Granz, he recorded an extended series of solo albums and group recordings with, among others, Ben Webster, Buddy DeFranco, Benny Carter and Lionel Hampton.

 Acclaim
Tatum posthumously received the Grammy Lifetime Achievement Award in 1989.

When Tatum walked into a club where Fats Waller was playing, Waller stepped away from the piano bench to make way for Tatum, announcing, "I only play the piano, but tonight God is in the house." In addition, Russian composer Sergei Rachmaninoff, after hearing Tatum play, claimed he was the greatest piano player in any style. Other luminaries of the day such as Vladimir Horowitz, Artur Rubinstein and George Gershwin marveled at Tatum's genius. Charlie Parker (who helped develop bebop) was highly influenced by Tatum. When newly arrived in New York, Parker briefly worked as a dishwasher in a Manhattan restaurant where Tatum happened to be performing, and often listened to the legendary pianist.

 

 

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A Quick NOTE ON GRADING AND SHIPPING:

As you can see from my feedback, I try hard to earn your POSITIVE FEEDBACK and FIVE STAR RATINGS.

If for any reason your transaction was NOT SATISFACTORY, pls contact me and I will work something out with you. YOU WILL NEVER HAVE A REASON TO GIVE ME A NEGATIVE RATING or a LOW STAR RATING.

Quick note on grading:

The Grade (Excellent to Poor, I don't give Mint) refers to the WEAR of the record. Any other defects are stated separately

When I listen to a record, I may also give it an aural grade (again E to P), and make a SUBJECTIVE judgment of the pressing quality for hiss and surface noise.
"SUPERQUIET" is basically noiseless, like a vinyl pressing.
"VERY QUIET" is an exceptionally quiet record for a given pressing.
"Quiet" is a record that is a great example without undue noise for a give pressing.

These judgments are SUBJECTIVE and will depend one the styli, phonograph etc. you use on your own equipment.

Pls check my other auctions for more great records and phonograph items:

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Records will be packed safely between corrugated cardboard in a sturdy box with plenty of padding for safe shipment.

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US Domestic Shipping:

Here is a guideline for US Media Mail Shipping:

Prices below are for regular 78 rpm records. Up to about 5 records, I will ship Edison Discs for the same rates. Albums from Album Sets count as 1 record. Above that and for international shipments, it will be actual weight plus a small packing charge (1-3$ depending on size of shipment)

1 record: 4.75 – 5.00$

2 records: 6.00$

5 records: 7.50$

10 records: 10.00$

MANY MORE RECORDS: Don't worry. I safely ship 40 - 50 pounds of records double boxed in moving boxes, and even then Media Mail will probably not exceed 35$.

Please send me a message if you would like to lower your shipping rates!

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Please use the EBAY shipping cost only as a guideline. My actual charges are usually lower

One record usually ships for 25 – 28$ for 10" 35$ for most 12" records (Less for Canada).

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As you can see from my feedback, I take great care in presenting, grading and shipping your items. I really want you to be happy with the purchase. If you feel that anything is wrong with the item or the shipping, contact me and we will work it out !!!

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