condition (records/cover): NM / EX+

Insert and obi included

September 1956, a few weeks before Art Tatum died, and Norman Granz puts him in a studio with Ben Webster. It should not work. Tatum's playing left no room for anyone: the runs, the substitutions, the sheer density of information made him a nightmare accompanist and he knew it. What happens instead is that Webster's enormous breathy tenor simply floats on top, unhurried, playing melody while Tatum decorates the space around it, and the two of them produce one of the most relaxed and affecting records either man made. "All The Things You Are" is the one people cry to.

Pablo pressing. Last-months Tatum, and among the best things Granz ever organised.