Arguably the greatest jazz soloist of all time, Art Tatum could play the piano with blinding speed, had technique that amazed classical pianists, and in the 1930s was harmonically three decades ahead of his time. While he considered his main influence to be Fats Waller, Tatum took his music to another planet altogether and was once introduced by Waller who simply said, God is in the house.
A rewarding release… As to the Mandarin, first impressions suggest a gloved fist on Ozawa's part and a general softening of attack since [his earlier DG recording from] 1975… Ozawa is strong on sensuality - those all-pervading glissandos, the seduction games and the languidly teasing sequences that lead to the chase… As to the Concerto for Orchestra…the Bostonians' Bartókian pedigree - it was, after all, Koussevitzky who commissioned the work — guarantees a certain élan and refinement… Ozawa is best where the going gets frantic (his finale is terrific, especially at the outset, and he plays Bartok's more concise original ending)… Ozawa's virtues are intelligence, alertness and a fine ear for detail… (Gramophone [8/1995] reviewing the Bartók recordings, originally released as Philips 442783)
Through an exploration of his life and work, and close encounters with the man himself, this documentary offers and exceptional opportunity to examine the contrasting worlds of jazz and classical music. Great archival material is interwoven with original and richly detailed filmed interview with Keith, musicians with whom he's collaborated over the years, family members, tour managers, and other close musical and recording associates: Manfred Eicher, Gary Peacock, Jack DeJohnette, Steve Cloud, Scott Jarrett, George Avakian, Charles Lloyd, Gary Burton, Miles Davis, Toshinari Koinuma, Chick Corea, Charlie Haden, Dewey Redman, Rose Anne Jarrett, Jan Garbarek, John Christensen.