Video: Classical Pianist Playing Jazz! :D Art Tatum/Dvorak, Humoresque

[masterraro]

Hey everyone,

What are your thoughts on classical pianists playing jazz? 

I played this piece of Tatum's in a recital that was otherwise all classical repertoire, though I suppose the fact that it's also Dvorak keeps it in the "classical realm."

A few comments on the process of learning one of Tatum's transcriptions:  Even though they're pretty good overall, they do not accurately reflect what you hear in his recordings.  I wouldn't say this is because Tatum truly "improvised" his performances each time, but rather that he was 1. constantly changing the arrangements and 2. not properly putting down all the awesome stuff he did in those performances we've listened to.  I decided to take his written transcription of the Dvorak as more of a starting point and ended up doing my own stuff + a lot of listening to his recordings for inspiration. The result is, naturally, not even close to what HE manages to sound like.

It's impossible to emulate Tatum and even harder to compare with him...  as a classical pianist, the technical challenges more easily dealt with, yet the default desire to attain precise intentionality and precise execution might stand in the way of achieving the groovy charisma you hear in a great jazz pianist like Tatum.

What do you all think?  Your comments and conversation are much appreciated!

[ted]

Very enjoyable, thanks for posting. Many classically trained pianists have trouble with rhythm when playing this sort of music but your sense of rhythm is excellent. I think you are right to make something of your own out of it rather than attempt to scrupulously imitate the original player. I haven't played many stride transcriptions but those I have present a few issues. Firstly, the transcriber might actually have some notes wrong. John Farrell, to my mind was a wonderful transcriber of stride, possibly the best, but mistakes do exist. Secondly, the player might have had big hands, for example Waller, and played things impossible for an interpreter; this issue is common in stride. Thirdly, what was played might be impossible to notate approximately and conveniently, for example syncopated tremolos and asynchronous ornaments of various types.

I think you are right in that careful listening to the original recording in conjunction with the transcription is essential, but always with the objective of producing a musical result of your own. As to classical pianists playing jazz, anybody should feel completely free to play anything in any manner they wish; rules are for fools.

[frodo1]

I am not passionate about music other than classical music with the rare exception of Tatum and maybe a couple other things.  Tatum is among the greatest pianists that ever lived.  My thoughts on classical pianists playing jazz? When played as well as you did in the style of Tatum – I’m all for it!  Congratulations!

[kalospiano]

absolutely fantastic, I love the original version and I loved the jazz rendition just as much!

[frodo1]

absolutely fantastic, I love the original version and I loved the jazz rendition just as much!

I agree - Absolutely fantastic!  Just to clarify, after the brief introduction, the "original version" is not the original Op 101 #7 Humoresque as written by Dvorak. It is the Tatum style jazz embellishment of this piece.  Also, the "jazz rendition" is the Tatum style stride version of the piece.  Please correct me if I'm wrong. 

[masterraro]

Very enjoyable, thanks for posting. Many classically trained pianists have trouble with rhythm when playing this sort of music but your sense of rhythm is excellent. I think you are right to make something of your own out of it rather than attempt to scrupulously imitate the original player. I haven't played many stride transcriptions but those I have present a few issues. Firstly, the transcriber might actually have some notes wrong. John Farrell, to my mind was a wonderful transcriber of stride, possibly the best, but mistakes do exist. Secondly, the player might have had big hands, for example Waller, and played things impossible for an interpreter; this issue is common in stride. Thirdly, what was played might be impossible to notate approximately and conveniently, for example syncopated tremolos and asynchronous ornaments of various types.

I think you are right in that careful listening to the original recording in conjunction with the transcription is essential, but always with the objective of producing a musical result of your own. As to classical pianists playing jazz, anybody should feel completely free to play anything in any manner they wish; rules are for fools.

Thanks for the very kind words and the helpful info!  I don't recall the source or authenticity of the transcription I found and used as a guideline for this piece... It was a legit publication though. I'll have to research John Farrell. 

Also, I totally agree about the nature of these players/their recordings and the difficulty in faithfully transcribing.  At the end of the day, like any other music a performer interprets, one still has to make it one's own!

[masterraro]

I agree - Absolutely fantastic!  Just to clarify, after the brief introduction, the "original version" is not the original Op 101 #7 Humoresque as written by Dvorak. It is the Tatum style jazz embellishment of this piece.  Also, the "jazz rendition" is the Tatum style stride version of the piece.  Please correct me if I'm wrong.

The way I would describe it:  Yes, there is a very brief intro that, with the help of some cool chords, simply establishes the tonic... then we hear the music of Dvorak, but already of course very embellished by Tatum.  The music goes A (primary theme), B (secondary theme), then instead of returning straight back to A' (as the music is meant to), Tatum writes in some extended set-up material, punctuated by some mysterious diminished chords, before breaking out into a stride version A'.  This stride section, which is more dance-like, carries a full statement of the A-B-A' structure and then ends with a coda.

Tatum might have been a genius improviser, but these pieces of his were certainly thought out!

[ronde_des_sylphes]

This is excellent!

And I'd like to echo what Ted said. I feel that you play this with the right level of freedom.

[frodo1]

The way I would describe it:  Yes, there is a very brief intro that, with the help of some cool chords, simply establishes the tonic... then we hear the music of Dvorak, but already of course very embellished by Tatum.  The music goes A (primary theme), B (secondary theme), then instead of returning straight back to A' (as the music is meant to), Tatum writes in some extended set-up material, punctuated by some mysterious diminished chords, before breaking out into a stride version A'.  This stride section, which is more dance-like, carries a full statement of the A-B-A' structure and then ends with a coda.

Tatum might have been a genius improviser, but these pieces of his were certainly thought out!

Thank you for this description!  When you say the B section (secondary theme), you are referring to the F-sharp minor section (assuming the key Dvorak wrote it in - G-flat major, not your D-flat major version).  The A section (primary theme) is in 2 parts: 1) the bouncy part, and 2) the part that sounds maybe a little like Chopin to me (in the original work written by Dvorak, that is).

The "extended set-up material, punctuated by some mysterious diminished chords" sounds quite rhapsodic to me - maybe something like you hear in Liszt Hungarian Rhapsody #2?  Almost comical, perhaps.  The coda is great fun.

I agree that Tatum carefully thought this out - making it not a true improvisation - at least in my mind.

EDIT:
Just for my fun:   The form of the original work written by Dvorak is: A, A, B, A, C, A, B
A = "Bouncy part" - G-flat major
B = "Chopinish sounding part" - G-flat major
C = "Secondary theme" - F-sharp minor

Just for my fun: The form (as I see it) of the FANTASTIC Tatum style performance here is:
Intro, A, B, A, C, Rhapsodic episode, A*, B*, A*, C* with pedal point trill, A* ,Coda
* - Stride style

[rogertilton]

Wow, great playing! I first heard your rendition of Over the Rainbow, very nice arrangement and beautifully played. Then I heard the classical pieces and now your rendition of Art Tatum. Your an exceptional pianist with a tremendous technique. Although my background is in classical piano I am primarily a jazz pianist now. I'm more into modern jazz piano: Bill Evans, Chick Corea, McCoy Tyner, Keith Jarrett, Herbie Hancock, but Tatum was tremendous, and I've probably heard most of his recordings including the Humoresque which I've heard many times. I thought you played it very well, and you had a good sense of swing. Besides being a superb pianist you are also very versatile!
Roger