Technique
Critic Gunther Schuller declared, "On one point there is universal agreement: Tatum's awesome technique." That technique was marked by a calm physical demeanor and efficiency. He did not indulge in theatrical physical or facial expression. The effortless gliding of his hands over difficult passages puzzled most who witnessed the phenomenon. He especially mystified other pianists to whom Tatum appeared to be "playing the impossible." Even when playing scintillating runs at high velocity, it appeared that his fingers hardly moved. Hank Jones said, "When I finally met him and got a chance to hear him play in person, it seemed as if he wasn’t really exerting much effort, he had an effortless way of playing. It was deceptive. You’d watch him and you couldn’t believe what was coming out, what was reaching your ears. He didn’t have that much motion at the piano. He didn’t make a big show of moving around and waving his hands and going through all sorts of physical gyrations to produce the music that he produced, so that in itself is amazing. There had to be intense concentration there, but you couldn’t tell by just looking at him play."
Using self-taught fingering, including an array of two-fingered runs, he executed the pyrotechnics with meticulous accuracy and timing. His execution was all the more remarkable considering that he drank prodigious amounts of alcohol when performing, yet his recordings are never sloppy. Tatum also displayed phenomenal independence of the hands and ambidexterity, which was particularly evident while improvising counterpoint.
Jazz historian and commentator Ira Gitler declared that Tatum's "left hand was the equal of his right." When Bud Powell was opening for Tatum at Birdland around 1950, the end of an era when musicians engaged in overt competition and so-called cutting sessions, Powell reportedly said to Tatum, "Man, I'm going to really show you about tempo and playing fast. Anytime you're ready." Tatum laughed and replied, "Look, you come in here tomorrow, and anything you do with your right hand, I'll do with my left." Powell never took up the challenge.
Tatum played chords with a relatively flat-fingered technique compared to the curvature taught in classical training. Composer/pianist Mary Lou Williams told Whitney Balliett, "Tatum taught me how to hit my notes, how to control them without using pedals. And he showed me how to keep my fingers flat on the keys to get that clean tone." Jimmy Rowles said, "Most of the stuff he played was clear over my head. There was too much going on — both hands were impossible to believe. You couldn't pick out what he was doing because his fingers were so smooth and soft, and the way he did it — it was like camouflage." When his fastest tracks of "Tiger Rag" are slowed down, they still reveal a coherent, syncopated rhythm.
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Famous quotes containing the word technique:
“The audience is the most revered member of the theater. Without an audience there is no theater. Every technique learned by the actor, every curtain, every flat on the stage, every careful analysis by the director, every coordinated scene, is for the enjoyment of the audience. They are our guests, our evaluators, and the last spoke in the wheel which can then begin to roll. They make the performance meaningful.”
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“Technique is the test of sincerity. If a thing isn’t worth getting the technique to say, it is of inferior value.”
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