[TR24][OF] Art Tatum, Benny Carter, Louis Bellson - Makin' Whoopee (Remastered) - 1958/2021 (Jazz)

Lossless Audio Checker 2.0.7 logfile from Friday 02 July 2021 03:49:17 PM
File:   D:\Temp\Download\Art Tatum - Makin' Whoopee - 1958-2021 (24-48)\1. Blues in C.flac
Result: Clean
File:   D:\Temp\Download\Art Tatum - Makin' Whoopee - 1958-2021 (24-48)\2. A Foggy Day.flac
Result: Clean
File:   D:\Temp\Download\Art Tatum - Makin' Whoopee - 1958-2021 (24-48)\3. You're Mine You.flac
Result: Clean
File:   D:\Temp\Download\Art Tatum - Makin' Whoopee - 1958-2021 (24-48)\4. Undecided.flac
Result: Clean
File:   D:\Temp\Download\Art Tatum - Makin' Whoopee - 1958-2021 (24-48)\5. Under a Blanket of Blue.flac
Result: Clean
File:   D:\Temp\Download\Art Tatum - Makin' Whoopee - 1958-2021 (24-48)\6. Makin' Whoopee.flac
Result: Clean

foobar2000 1.4.6 / Dynamic Range Meter 1.1.1
log date: 2021-07-01 21:34:37
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Analyzed: Art Tatum / Makin' Whoopee
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DR         Peak         RMS     Duration Track
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DR11      -0.01 dB   -14.69 dB      8:05 01-Blues in C
DR11      -0.04 dB   -13.02 dB      5:29 02-A Foggy Day
DR11      -0.04 dB   -13.39 dB      5:12 03-You're Mine You
DR11      -0.06 dB   -13.04 dB      4:53 04-Undecided
DR11      -0.06 dB   -13.54 dB      6:16 05-Under a Blanket of Blue
DR11      -0.04 dB   -13.15 dB      6:13 06-Makin' Whoopee
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Number of tracks:  6
Official DR value: DR11
Samplerate:        48000 Hz
Channels:          2
Bits per sample:   24
Bitrate:           1063 kbps
Codec:             FLAC
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Benny Carter - alto saxophone
Art Tatum - piano
Louis Bellson - drums

Arthur Tatum Jr. (/ˈteɪtəm/, October 13, 1909 – November 5, 1956) was an American jazz pianist who is widely regarded as one of the greatest in his field. From early in his career, Tatum’s technical ability was regarded by fellow musicians as extraordinary. Many pianists attempted to copy him; others questioned their own skills after encountering him, and some even switched instruments in response. In addition to being acclaimed for his virtuoso technique, Tatum extended the vocabulary and boundaries of jazz piano far beyond his initial stride influences, and established new ground in jazz through innovative use of reharmonization, voicing, and bitonality.
Tatum grew up in Toledo, Ohio, where he began playing piano professionally and had his own radio program, rebroadcast nationwide, while still in his teens. He left Toledo in 1932 and had residencies as a solo pianist at clubs in major urban centers including New York, Chicago, and Los Angeles. In that decade, he settled into a pattern that he followed for most of his career – paid performances followed by long after-hours playing, all accompanied by prodigious consumption of alcohol. He was said to be more spontaneous and creative in these after-hours venues, and although the drinking did not negatively affect his playing, it did damage his health.
In the 1940s, Tatum led a commercially successful trio for a short time and began playing in more formal jazz concert settings, including at Norman Granz-produced Jazz at the Philharmonic events. His popularity diminished towards the end of the decade, as he continued to play in his own style, ignoring the rise of bebop. Granz recorded Tatum extensively in solo and small group formats in the mid-1950s, with the last session occurring only two months before the pianist’s death from uremia at the age of 47.

This is one of a series of recordings in which producer Norman Granz put Art Tatum into the studio with a variety of other jazzmen. The results were stunningly impressive, particularly as Tatum had never been considered the ideal accompanying pianist. Yet here he fitted in without obtruding and added considerably to the rhythmic pulse of each tune. Another third of the trio on this particular album was altoist Benny Carter, whose sweet tone and smooth improvising made him the perfect counterbalance for Tatum.
The opening Blues in C is a model of relaxed, gentle swing. Tatum’s excellent accompaniments are typified by the trills with which he backs Benny Carter’s alto. Tatum had never recorded previously with Carter, but they sound absolutely comfortable in each other’s company.
You’re Mine, You is another number wholly suited to Carter’s rhapsodic approach.
Louie Bellson generally stays in the background, keeping the beat without much imagination.
Art Tatum was only a few years away from death when these sessions were recorded. Norman Granz got Tatum into the studio just in time to capture his genius in recordings with good modern sound. Hearing these tracks, nobody could deny that Tatum was the most extraordinary and technically brilliant jazz pianist of all time.