Mail Me Art

Jewels in the Treasure Box: The 1953 Chicago Blue Note Jazz Club Recordings is a previously unissued 3-LP collection of recordings from jazz icon and virtuosic pianist, Art Tatum, captured live at the Blue Note jazz club in Chicago in March of 1953 with guitarist Everett Barksdale and bassist Slam Stewart. These recordings were transferred from the original tape reels and mastered for LP and CD by engineer Matthew Lutthans (who also worked on Resonance’s Grammy-nominated 2019 Nat King Cole release Hittin’ the Ramp). Containing a whopping nearly 3 hours of never-before-heard Art Tatum captured in an intimate setting at the height of his powers with his longtime trio, the deluxe, limited-edition 180-gram 3-LP gatefold set (and 3-CD set) includes rare photos and memorabilia from Herman Leonard, Bob Parent and the Holzfeind family archives (owners of the Blue Note jazz club in Chicago); plus liner notes from Columbia University professor and author, Brent Hayes Edwards; as well as statements from Ahmad Jamal, Sonny Rollins, Monty Alexander, ELEW, Spike Wilner, Johnny O’Neal, Michael Weiss and Terry Gibbs.

Art Tatum - TatumArt (1934-1956) {10 CDs+DVD5 NTSC Set, Storyville Records 108 8603 rel 2008}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 2.36 Gb | MP3 @320 -> 1.70 Gb
DVD5 -> 678 Mb | All Regions | NTSC 4:3 | English (LinearPCM, 2 ch) | ISO Image
Full Artwork @ 300 dpi (jpg) -> 54 Mb | 5% repair rar
© 1934-56, 2008 Storyville Records | 108 8603
Jazz / Swing / Stride / Boogie-Woogie / Piano

This boxed set consists of 10 CD and 1 DVD comprising 212 tracks and 12½ hours of playing time. They range in date from early 1934 to mid-October 1956, only three weeks before Tatum’s death. None of the tracks in this box was recorded in a studio for ultimate sale to the public. With the exception of some recordings made for the U.S. government, they are all live performances, from a wide variety of sources, including off-the-air radio broadcasts, the audio portion of his limited TV appearances, private parties, night club performances, after-hours clubs, transcriptions, recordings in private homes (including his own), and tracks from pressings made gratis for the Voice of America, and for the U.S. Armed Forces during World War II.