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  1. Main Street Programs aim to revitalize downtowns and commercial districts through preservation-based economic development and community revitalization. The "Main Street Project" was begun in 1977 with a pilot involving 3 towns: Galesburg, Illinois; Madison, Indiana; and Hot Springs, South Dakota.

  2. en.wikipedia.org › wiki › Art_TatumArt Tatum - Wikipedia

    • Early Life
    • Later Life and Career
    • Personality and Habits
    • After Hours and Repertoire
    • Style and Technique
    • Influence
    • Critical Standing
    • Other Forms of Recognition
    • Further Reading
    • External Links

    Tatum's mother, Mildred Hoskins, was born in Martinsville, Virginia, around 1890, and was a domestic worker. His father, Arthur Tatum Sr., was born in Statesville, North Carolina,[note 1] and had steady employment as a mechanic. In 1909, they made their way from North Carolina to begin a new life in Toledo, Ohio. The couple had four children; Art was the oldest to survive, and was born in Toledo on October 13, 1909. He was followed by Arline nine years later and by Karl after another two years. Karl went to college and became a social worker.The Tatum family was regarded as conventional and church-going. From infancy, Tatum had impaired vision. Several explanations for this have been posited, most involving cataracts.[note 2] As a result of eye operations, by the age of 11 Tatum could see objects close to him and perhaps distinguish colors. Any benefits from these procedures were reversed, however, when he was assaulted, probably in his early twenties. The attack left him completely...

    1927–1937

    In 1927, after winning an amateur competition, Tatum began playing on Toledo radio station WSPD during interludes in a morning shopping program and soon had his own daily program. After regular club dates, Tatum often visited after-hours clubs to be with other musicians; he enjoyed listening to other pianists and preferred to play after all the others had finished. He frequently played for hours on end into the dawn; his radio show was scheduled for noon, allowing him time to rest before even...

    1938–1949

    In March 1938, Tatum and his wife embarked on the Queen Mary for England. He performed there for three months, and enjoyed the quiet listeners who, unlike some American audiences, did not talk over his playing. While in England, he appeared twice on the BBC Television program Starlight. Four of his very limited number of compositions were also published in Britain. He then returned to the Three Deuces.The overseas trip appeared to have boosted his reputation, particularly with the white publi...

    1950–1956

    Tatum began working with a trio again in 1951. The trio – this time with bassist Stewart and guitarist Everett Barksdale – recorded in 1952. In the same year, Tatum toured the United States with fellow pianists Erroll Garner, Pete Johnson, and Meade Lux Lewis, for concerts billed as "Piano Parade". Tatum's four-year absence from the recording studios as a soloist ended when Granz, who owned Clef Records, decided to record his solo playing in a way that was "unprecedented in the recording indu...

    Tatum was independent-minded and generous with his time and money. Not wanting to be restricted by Musicians' Union rules, he avoided joining for as long as he could.He also disliked anything that drew attention to his blindness: he did not want to be physically led and so planned his independent walk to the piano in clubs if possible. People who met Tatum consistently "describe him as totally lacking in arrogance or ostentation" and as being gentlemanly in behavior. He avoided discussing his personal life and history in interviews and in conversation with acquaintances.Although marijuana use was common among musicians during his lifetime, Tatum was not linked to the use of illegal drugs.

    Tatum was said to be more spontaneous and creative in free-form nocturnal sessions than in his scheduled performances. Whereas in a professional setting he would often give audiences what they wanted – performances of songs that were similar to his recorded versions – but decline to play encores, in after-hours sessions with friends he would play the blues, improvise for long periods on the same sequence of chords, and move even more away from the melody of a composition. Tatum also sometimes sang the blues in such settings, accompanying himself on piano. Composer and historian Gunther Schullerdescribes "a night-weary, sleepy, slurry voice, of lost love and sexual innuendos which would have shocked (and repelled) those 'fans' who admired Tatum for his musical discipline and 'classical' [piano] propriety". In after-hours performances, Tatum's repertoire was much wider than for professional appearances, for which his staples were American popular songs. During his career, he also play...

    Saxophonist Benny Green wrote that Tatum was the only jazz musician to "attempt to conceive a style based upon all styles, to master the mannerisms of all schools, and then synthesize those into something personal".Tatum was able to transform the styles of preceding jazz piano through virtuosity: where other pianists had employed repetitive rhythmic patterns and relatively simple decoration, he created "harmonic sweeps of colour [...and] unpredictable and ever-changing shifts of rhythm." Musicologist Lewis Porter identified three aspects of Tatum's playing that a casual listener might miss: the dissonance in his chords; his advanced use of substitute chord progressions; and his occasional use of bitonality (playing in two keys at the same time). There are examples on record of the last of these going back to 1934, making Tatum the furthest harmonically out of jazz musicians until Lennie Tristano. On occasion, the bitonality was against what another musician was playing, as in "Lones...

    Tatum's improvisational style extended what was possible on jazz piano. The virtuoso solo aspects of Tatum's style were taken on by pianists such as Adam Makowicz, Simon Nabatov, Oscar Peterson, and Martial Solal. Even musicians who played in very different styles, such as Bud Powell, Lennie Tristano, and Herbie Hancock, memorized and recreated some of his recordings to learn from them. Although Powell was of the bebop movement, his prolific and exciting style showed Tatum's influence. Mary Lou Williamssaid, "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." Tatum's influence went beyond the piano, however: his innovations in harmony and rhythm established new ground in jazz more broadly. He made jazz musicians more aware of harmonic possibilities by changing the chords that he used with great frequency; this helped lay the foundations for the emergence of bebop in the 1940...

    There is little published information available about Tatum's life. One full-length biography has been published – Too Marvelous for Words (1994), written by James Lester.[note 4]This lack of detailed coverage may be attributable to Tatum's life and music not fitting any of the established critical narratives or frameworks for jazz: many historians of the music have marginalised him for this, so "not only is Tatum underrepresented in jazz criticism but his presence in jazz historiography seems largely to prompt no particular effort in historians beyond descriptive writing designed to summarize his pianistic approach". Critics have expressed strong opinions about Tatum's artistry: "Some applaud Tatum as supremely inventive, while others say that he was boringly repetitive, and that he barely improvised." Gary Giddinssuggested that Tatum's standing has not been elevated to the very highest level of jazz stars among the public because he did not employ the expected linear style of impr...

    In 1989, Tatum's hometown of Toledo established the Art Tatum African American Resource Center in its Kent Branch Library.It contains print and audio materials and microfiche, and organizes cultural programs, including festivals, concerts, and a gallery for local artists. In 1993, Jeff Bilmes, an MIT student in the field of computational musicology coined the term "tatum", which was named in recognition of the pianist's speed. It has been defined as "the smallest time interval between successive notes in a rhythmic phrase",and "the fastest pulse present in a piece of music". In 2003, a historical marker was placed outside Tatum's childhood home at 1123 City Park Avenue in Toledo, but by 2017 the unoccupied property was in a state of disrepair. Also in Toledo, the Lucas County Arenaunveiled a 27-feet-high sculpture, the "Art Tatum Celebration Column", in 2009.

    Howard, Joseph (1978). The Improvisational Techniques of Art Tatum (PhD). Case Western Reserve University.
    Scivales, Ricardo (1998). The Right Hand According to Tatum. Ekay Music. ISBN 0-943748-85-2.
    Williams, Iain Cameron. Underneath a Harlem Moon: The Harlem to Paris Years of Adelaide Hall. Bloomsbury Publishers, ISBN 0-8264-5893-9
    1955 radio broadcast by Voice of America, in which Willis Conoverinterviews Tatum
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