Lester also reveals that Tatum was generous with younger players, but his extraordinary technical brilliance often devastated them. He was simply inexhaustible and had a life-long habit of staying up all night after a gig, usually seeking an after-hours club in which to listen and play until daybreak. He often joked about his blindness, but did not like it mentioned as a handicap and preferred to pre-plan his entrance to the piano in a club, rather than have someone lead him there. Tatum, who was virtually blind, suffering between 70% and 90% visual impairment, emerges as cheerful, fun-loving, energetic and out-going, with none of the demonic self-destructiveness that seemed to haunt such jazz greats as Charlie Parker or Billie Holiday. Lester creates a memorable portrait of this unique musician and of the vibrant jazz world of the 1930s and 1940s, capturing the complexity and vitality of this remarkable performer. What were his origins, who taught him and who provided early pianistic influences, how did he break into the jazz field, what role did he play in the development of other jazz players, and what was he like when he wasn't playing? To answer these questions, Lester has conducted almost a hundred interviews for this book, with surviving family, childhood friends, schoolteachers, and the famous jazz musicians who played with him or knew him. Before this volume, little was known about Tatum, even among jazz afficionados. And to have heard him play, one musician said, "was as awe-inspiring as to have seen the Grand Canyon or Halley's Comet." Now, in Too Marvelous For Words, James Lester provides the first full-length biography of the greatest virtuoso performer in the history of jazz.
Each one-no matter how fast the tempo-was light and complete and resonant, like the letters on a finely printed page." His famous runs have been compared to the arc left against the night sky by a Fourth-of-July sparkler. His deep-in-the-keys full piano sonority, the tone and touch control in pyrotechnical passages.are miracles of performance." Whitney Balliett wrote "no pianist has ever hit notes more beautifully. Gunther Schuller called Tatum's playing "a marvel of perfection. Art Tatum defined the limits of the possible in jazz piano.
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