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Showing posts with label great pianists. Show all posts
Showing posts with label great pianists. Show all posts

Sunday, October 11, 2026

Scott Joplin: Maple Leaf Rag




Scott Joplin, born in Linden, Texas, in 1867, was a pianist and the most popular artist of ragtime music, the forerunner of jazz. Only Joseph Lamb, among ragtime performers, could rival Joplin’s omnipotence. At the height of ragtime’s popularity, print was the only medium for mass distribution of music, and ragtime compositions proved very popular among amateur musicians. “Maple Leaf Rag,” first published in 1899, sold over seven million copies and remains Joplin’s most popular work.
As a visionary composer and absolute master of syncopated rhythm, Joplin fundamentally transformed the landscape of turn-of-the-century American music. He merged the formal structures of European classical composition with the rich, polyrhythmic textures of African-American folk traditions to create a vibrant, completely unique art form. His complex, multi-strain piano works captivated the global imagination, laying down the rhythmic and harmonic foundations that directly triggered the birth of the modern jazz age.

As player pianos became widely available in the early 1900s, piano rolls became another way of distributing ragtime music. Piano rolls, which were fed into the player piano, triggered the motion of the piano keys and allowed a performance to be accurately reproduced on any player piano at any time. Joplin made a number of piano rolls in 1916 with the selections “Maple Leaf Rag,” “Magnetic Rag,” “Pleasant Moments,” “Something Doing,” and “Weeping Willow Rag.” Through these piano rolls, it is possible to hear the music just as Joplin played it at the time they were produced.
Joplin considered himself a classical composer and sought to elevate ragtime to the status of a respectable art form. Fortunately, pianists such as Jelly Roll Morton and James P. Johnson would pull it back by improvising variations that defied Joplin’s limitations for the music. This improvisation ultimately led to the creation of jazz.

Joplin died in 1917, just as jazz was first being recorded and beginning its infiltration of the American mainland.

Joplin’s music can be heard on several compilations of piano roll recordings, such as "Entertainer."
Essential Historical Collection: Scott Joplin - King of Ragtime Writers (From Piano Rolls)
This invaluable archival audio document preserves the absolute core of Joplin's artistic legacy, utilizing original, authentic 1916 hand-played piano rolls. Because audio recording technology was too primitive during his lifetime to accurately capture a piano, these physical rolls serve as a pristine, high-fidelity window into Joplin's actual playing style. The tracking beautifully reveals his precise articulation, rhythmic swing, and nuanced syncopation, serving as an irreplaceable historical textbook for classical ragtime performance.
  • Compilation Era: 1916 (Archival Release)
  • Label: Biograph Records / Legacy
  • Producer: Arnold S. Caplin
  • Core Personnel: Scott Joplin (Piano Rolls)
  • Key Historical Tracks: "Maple Leaf Rag", "Magnetic Rag", "Weeping Willow Rag"
Essential Compilation Review: The Entertainer - Classic Ragtime From Rare Piano Rolls
This comprehensive audio compilation gathers together a diverse selection of mechanical and hand-cut piano rolls that brought Joplin's genius into early twentieth-century living rooms. The collection expertly charts his rapid compositional evolution from the lighthearted ragtime style of his early Midwestern years to the sophisticated, melancholic movements of his late operatic works. It stands as a flawless entry point for evaluating how his complex sheet music translated into acoustic reality.
  • Released: 1974 (Archival Compilation)
  • Label: Olympic Records
  • Producer: Archival Assembly
  • Core Contributors: Scott Joplin (Composer / Performer)
  • Key Tracks: "The Entertainer", "Pleasant Moments", "Something Doing"

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Wednesday, September 9, 2026

Art Tatum: Tea for Two




Art Tatum is considered by many to be the greatest pianist in the history of jazz music, whose technical skills were unrivalled. Tatum’s unmistakable sound was the result of his prodigious speed, harmonic inventiveness, and swinging style, which featured the frequent use of thrilling cadenzas. His playing was drawn from the stride style of James P. Johnson and Fats Waller and the more modern approach of Earl Hines. When a young Oscar Peterson first heard a recording of Tatum and was told that the recording was the work of a single pianist, Peterson refused to touch a piano for a week.
As a towering force of creative genius, Tatum possessed a level of keyboard dexterity that transcended the standard limits of human performance. His revolutionary reharmonizations and sophisticated chord substitutions completely dismantled the predictable harmonic structures of early popular music, laying down the absolute foundation for the subsequent bebop revolution. Revered by classical masters and jazz improvisers alike, Tatum redefined the solo piano format, transforming the instrument into a self-contained, multi-voiced orchestra that achieved an immortal, mythic status within American music history.
Tatum was born in Toledo, Ohio, in 1909. His parents were both musicians at a local Toledo church. As a child, Tatum developed cataracts and eventually lost sight in one eye completely, while being left with only partial sight in the other. Tatum was a child prodigy at the piano and learned to play by ear while listening to church hymns and music on the radio. In 1925, he began learning music and Braille at a school for the blind.
By 1933, Tatum was in New York City, and he began to make a name for himself at piano-playing competitions known as “cutting contests.” It was at one of these contests that Tatum famously out-duelled stride legends James P. Johnson, Willie “The Lion” Smith, and Fats Waller with spectacular versions of “Tea for Two” and “Tiger Rag.” While Tatum was working at the Onyx Club in March of 1933, he recorded his first four sides for the Brunswick label. For the remainder of the thirties, he toured around the Midwest and had stints in Chicago and trips out to Los Angeles before returning to New York.
In the forties, Tatum recorded with singer Big Joe Turner for Decca Records and formed a trio with guitarist Tiny Grimes and bassist Slam Stewart. By the end of the Forties, Tatum had returned to solo performing and continued solo until he died in 1956.
Any compilation of Tatum’s incredible recordings is a must-have. The best of these include “Piano Starts Here” (1968), "The Complete Capitol Recordings (Volumes 1-2)” (1989), “Classic Early Solos” (1991), “The Chronological Classics: ArtTatum 1932-1934” (1991), and “The Complete Capitol Recordings of Art Tatum" (1997).
Essential Compilation Review: Piano Starts Here (1968)
This landmark 1968 Columbia release serves as an indispensable historical anchor, preserving Tatum's definitive early artistic footprint. The tracking brings together his historic 1933 Brunswick solo studio sides alongside an explosive, pyrotechnic live performance captured at the Hollywood Bowl in 1949. Listening to his blindingly fast, intricate variations on "Tiger Rag" reveals the exact blueprint that left contemporary pianists utterly stunned, making it an essential entry point for evaluating his early legacy.
  • Released: 1968 (Recording Eras: 1933 & 1949)
  • Label: Columbia Records
  • Producer: Archival Assembly / Frank Driggs
  • Core Personnel: Art Tatum (Solo Piano)
  • Key Tracks: "Tiger Rag", "Tea for Two", "Sophisticated Lady"
Essential Compilation Review: The Complete Capitol Recordings of Art Tatum (1997)
Documenting a crucial mid-career period of pristine high-fidelity recording, this beautifully remastered collection captures Tatum operating at the absolute peak of his mature, harmonic powers. Recorded between 1949 and 1952, the tracking highlights his incredible ability to weave complex classical counterpoint seamlessly into standard popular themes. The audio space beautifully captures the subtle nuances of his touch, serving as a flawless textbook for modern jazz piano execution.
  • Released: 1997 (Recording Era: 1949–1952)
  • Label: Capitol Jazz / EMI
  • Producer: Pete Rugolo, Archival Assembly
  • Core Personnel: Art Tatum (Solo Piano / Trio), Everett Barksdale (Guitar), Slam Stewart (Bass)
  • Key Tracks: "Willow Weep for Me", "I Got Rhythm", "Aunt Hagar's Blues"

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JImmy Cliff: Too Many Rivers to Cross

                                              https://commons.wikimedia.org/wiki/File:Jimmy_Cliff.jpg Except for Bob Marley, Jimmy Cliff is ...