Jazz

Erroll Garner - Gemini (1972)

2016-01-16T17:01:31Z

Erroll Garner - Gemini (1972)


A1 	How High The Moon 	5:03
A2 	It Could Happen To You 	3:24
A3 	Gemini 	4:02
A4 	When A Gipsy Makes His Violin Cry 	6:22
B1 	Tea For Two 	5:24
B2 	Something 	1:48
B3 	Eldorado 	5:46
B4 	These Foolish Things 	7:00

Erroll Garner – piano, harpsichord
Ernest McCarty Jr. – bass
Jimmie Smith – percussion
Jose Mangual – congas

Erroll Garner is one of the most distinctive pianists of the jazz genre. Other than Thelonious Monk, no one is more identifiable or harder to imitate. A self-taught virtuoso, Garner devised a solo style that eliminated rhythm accompaniment. His hands worked totally independent of each other. With block chords he set the rhythmic tempo in his left hand, and with his right, he embellished on the tune, taking liberties with melody and time, often lagging behind the beat. Some jazz purists dismissed him because he maintained his style throughout his career and enjoyed popularity unknown to most jazz artists. But Garner’s interpretive abilities and technical superiority cannot be denied.

He made frequent TV appearances, toured five continents, fronted major symphony orchestras, and composed film scores. His compositions were for jazz piano, but in 1962, when Johnny Burke added lyrics to “Misty,” Garner’s 1954 tune soared in popularity and entered the jazz standard repertoire.

Garner began his professional career at seven, playing with the Candy Kids, and at 16 he joined the Leroy Brown band. In 1944-45 he played in a trio with bassist Slam Stewart and guitarist Tiny Grimes before setting off on his solo career.

During the ‘60s Garner established his own record label. These LP’s have been reissued on CD by Telarc and reveal Garner’s sense of humor. The title cut of That’s My Kick is a new composition based on the changes of “I Get a Kick Out of You”; the lounge set song, “More,” is remade into a burner; and Garner makes “Tea for Two” fresh, playing with the time against bongo accompaniment, and alternating between piano and harpsichord. Still, Concert By The Sea (1955) is the epitome of his artistry.

His older brother Linton, who died in 2003, was also an accomplished pianist, based in Vancouver, B.C. --- Sandra Burlingame, jazzbiographies.com

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Erroll Garner - Nightconcert (2018)

2018-07-20T12:54:08Z

Erroll Garner - Nightconcert (2018)


1 	Where Or When 	4:18
2 	Easy To Love 	4:21
3 	On Green Dolphin Street 	4:47
4 	Theme From 'A New Kind Of Love' (All Yours) 	5:37
5 	Night And Day 	4:52
6 	Cheek To Cheek 	5:29
7 	My Funny Valentine 	8:19
8 	Gypsy In My Soul 	5:23
9 	That Amsterdam Swing 	6:07
10 	Over The Rainbow 	5:00
11 	What Is This Thing Called Love 	4:46
12 	Laura 	5:20
13 	When Your Lover Has Gone 	4:37
14 	No More Shadows 	5:33
15 	's Wonderful 	4:16
16 	Thanks For The Memory 	0:53

Erroll Garner - piano
Eddie Calhoun - bass
Kelly Martin - drums

It's the jazz equivalent of finding a Van Gogh or a Ming vase in the attic: the discovery of a complete 1964 perfectly recorded concert by one of the music's greatest virtuoso solo pianists. In the beginning was Art Tatum. Then came Oscar Peterson. Finally—and in many ways the most interesting of the holy trinity—was Erroll Garner.

Garner was flashy, famed for his long, rambling introductions. In a section of the liner notes jazz historian Professor Robin D. G. Kelley writes: "His signature introductions left audiences—not to mention his own sidemen—in great anticipation of what was to come. He was prone to meandering, rubato introductions that initially bear little resemblance to the song or the key, before suddenly leaping into the melody."

They have to be heard to be believed and—to be honest—can become irritating. Many a modern listener may find himself longing for the "less is more" approach to jazz piano taken by the likes of Ahmad Jamal. But Garner was at his peak for this midnight concert before an audience of 2,000 in the Royal Concertgebouw, Amsterdam, on November 7, 1964.

Before it got underway, drummer Kelly Martin nervously asked bassist Eddie Calhoun about the set list for the night. "Man, I can't tell you nothing," said Calhoun. "We just get up there and play. I don't know what this cat is going to do."

In the event, as Professor Kelly gleefully puts it, the trio "rocked the 76-year-old concert hall like there was no tomorrow."

Writing in the New Yorker, critic Whitney Balliett said "Garner's appeal stems from his style which is rococo and eccentric, and from the easily accessible flash, geniality, and warmth that continually propel it."

His words conjure up a magical age when jazz was still unfolding, rock was yet to be born and Garner's Concert By The Sea was the cornerstone to any self-respecting jazz fan's record collection. That classic album now has a worthy companion, blessed with all the aids of modern technology. A collector would have difficulty choosing between them.

The program is pretty typical, overwhelmingly standards, kicking off with "Where Or When" and continuing with Cole Porter's "Easy To Love." "On Green Dolphin Street" is from 1947, composed for a film everyone's forgotten but which Miles Davis converted to a jazz classic. More interesting are Garner's versions of "Cheek To Cheek" and "My Funny Valentine," in which he doffs his cap to what was then the avant-garde. He arrives back on terra firma with the swinger "Gipsy In My Soul," which he made his very own.

In Garner's version of "Laura," Christian Sands, another contributor to the copious liner notes, hears echoes of—believe it or not—Cecil Taylor. More plausibly, he highlights Garner's examination of his stride roots in "When Your Lover Has Gone."

In each number the maestro gives you something different to get your teeth into. It's what his particular genius was all about and it is truly marvellous to be reminded of it again. ---Chris Mosey, allaboutjazz.com

Zmarły w 1977 roku genialny pianista Erroll Garner postrzegany jest, obok Arta Tatuma i Oscara Petersona jako jeden najwybitniejszych pianistów jazzowych wszech czasów. Garner rozpoczął karierę muzyka jazzowego mając 16 lat, grając zarobkowo w lokalnych zespołach. Po przeprowadzce do Nowego Jorku występował jako pianista zespołu Slama Stewarta, a wkrótce uformował własne trio. Szczyt jego popularności przypadł na lata 50., kiedy to m.in. nagrany został najsłynniejszy album muzyka "Concert By The Sea" (1955). Mimo iż Garner był samoukiem, nie znającym nut, nie przeszkodziło mu to w skomponowaniu tak monumentalnych utworów jak m.in. "Koncert na fortepian i orkiestrę" czy muzykę do filmu "A New Kind of Love" w roku 1963. Rok później z własnym trio tworzonym wraz z kontrabasistą Eddiem Calhounem i perkusistą Kellym Martinem, Garner wystąpił przed 2-tysięcznym audytorium w słynnej sali Concertgebouw w Amsterdamie. W programie nocnego koncertu znalazły się tak słynne tematy jak m.in. "On Green Dolphin Street" Bronisława Kapera, "Night And Day" Cole Portera, "Cheek To Cheek" Irvinga Berlina, "My Funny Valentine" Rodgersa & Harta, czy "Over The Rainbow" Harolda Arlena. Podczas historycznego koncertu trio zagrało też trzy autorskie utwory pianisty: "Theme From A New Kind of Love (All Yours)", "No More Shadows" i specjalnie przygotowaną na tę okazję kompozycję: "That Amsterdam Swing". Zapis tego historycznego koncertu zmiksowanego przy użyciu oryginalnych taśm-matek, znalazł się na pięknie wydanym nakładem wytwórni Mack Avenue albumie "Nightconcert". Publikacja tego doskonałego również pod względem technicznym materiału, pochodzącego z najlepszego okresu działalności pianisty to wyjątkowa gratka dla miłośników jazzu. O wartości nagrań w dużej mierze decyduje też fakt, iż repertuar płyty obejmuje aż osiem nieznanych dotąd z płyt utworów w interpretacji Garnera.

"Nightconcert" to prawdziwa esencja garnerowskiego stylu, pełnego spontaniczności i nieprzewidywalnych pomysłów. Ogromne znaczenie ma towarzysząca mu sekcja, z którą Erroll Garner współpracował wówczas już od dziesięciu lat. Eddie Calhoun i Kelly Martin instynktownie reagują na najmniejszą innowację interpretacyjną pianisty, słynącego ze stosowania w czasie występów zaskakujących, wcześniej nie omówionych rozwiązań. Poszczególne tematy Garner najczęściej poprzedza solowymi impresjami, z których dopiero wyłania się konkretna kompozycja, często stanowiąca niespodziankę także dla samego pianisty.

Nadzwyczajna telepatia, magia i synergia muzyków podczas amsterdamskiego koncertu, sprawiają że trudno nie zaliczyć płyty do grona najlepszych dotąd albumów z muzyką Errolla Garnera. Trudno uwierzyć że materiał spoczywał w archiwach aż 54 lata. ---Robert Ratajczak, longplayrecenzje.blox.pl

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Erroll Garner - The Complete Savoy & Dial Master Takes (2005)

2017-04-18T10:18:04Z

Erroll Garner - The Complete Savoy & Dial Master Takes (2005)

CD 1
1. Laura
2. Stardust
3. Somebody Loves Me
4. (Back Home Again In) Indiana
5. I Surrender, Dear
6. I Only Have Eyes for You
7. Stompin' at the Savoy
8. I Cover the Waterfront
9. It's Easy to Remember
10. Penthouse Serenade
11. Love Walked In
12. September Song
13. Body and Soul
14. All the Things You Are
15. A Ghost of a Chance
16. Yesterdays
17. Goodbye
18. I'm in the Mood for Love
19. I Can't Believe That You're in Love With Me
20. More Than You Know
21. Undecided
22. Red Sails in the Sunset
23. All of Me
24. Over the Rainbow
25. A Cottage for Sale
26. This Can't Be Love

CD 2
1. The Man I Love
2. Moonglow
3. I Want a Little Girl
4. She's Funny That Way
5. Until the Real Thing Comes Along
6. Confessin'
7. Stormy Weather
8. On the Sunny Side of the Street
9. Rosalie
10. Everything Happens to Me
11. A Stairway to the Stars
12. Play, Fiddle, Play
13. Dark Eyes
14. Laff, Slam, Laff
15. Jumpin' at the Deuces
16. Pastel
17. Trio
18. Play Piano Play
19. Love Is the Strangest Game
20. Blues Garni
21. Don't Worry 'Bout Me
22. Loose Nut
23. Love for Sale
24. Fantasy on Frankie and Johnny
25. Sloe Gin Fizz

Erroll Garner - piano
Mike Bryant - guitar
John Levy, John Simmons, Slam Stewart, Red Callender - bass
George De Hart, Alvin Stoller, Jesse Price, Harold "Doc" West – drums

Perhaps best known as the composer of "Misty," Erroll Garner was also one of the most original, intuitive and exciting pianists to emerge during the modern jazz era. Garner's significance as a major jazz innovator easily rivals his status as a successful composer. His approach to melody, harmony, and especially rhythm were fresh and inventive.

Born on June 15, 1921 in Pittsburgh, Penn., Garner and his twin brother Ernest were the youngest of six children. Raised in a musical family, he was playing the piano by the age of three. A self-taught pianist, Garner never learned to read music. Childhood friend and bassist Wyatt Bull Ruther took piano lessons from Garner's sister and recalls how easily Garner picked up music. Garner's natural ability was recognized by his high school band teacher, who encouraged him not to take lessons for fear it would corrupt his extraordinary talents.

In the 1940s, Garner headed to New York with an undeniable style of his own. Garner's first recording, with its distinctive, romantic version of "Laura," captured public attention. Other events, such as his appearance on The Tonight Show with Steve Allen helped bolster Garner's popularity. But it was his original tune "Misty" that catapulted him into the ranks of stardom. Today, "Misty" remains one of the most recognized and requested jazz standards.

In 1950, with the help of manager Martha Glaser, Garner broke new ground with his performance at the prestigious Cleveland Music Hall, traditionally a classical concert venue. Later, he became the first and only jazz artist to perform under the auspices of classical impresario Sol Hurok. His first live recording, Concert By The Sea, captured nearly every aspect of Garner's artistry and helped him become the biggest-selling Columbia Records jazz artist of his day.

During the 1960s and 70s, Garner continued to travel and record, adding Latin rhythms to his repertoire. He remained popular and sold out venues around the world. In 1975, declining health forced him off the road. He was later diagnosed with lung cancer and died on January 2, 1977 at the age of 55.

A humble pianist, Garner will long be remembered for remaining true to his art and for his spirit and joy that he gave to his audiences all over the world. --- npr.org

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Erroll Garner - The Original Misty (1954)

2011-09-11T09:16:42Z

Erroll Garner - The Original Misty (1954)


1. Misty						play
2. Rosalie
3. I've Got the World on a String
4. 7-11 Jump
5. Don't Worry 'Bout Me
6. You Are My Sunshine
7. Part Time Blues
8. All of a Sudden
9. In a Mellow Tone
10. There's a Small Hotel
11. I Wanna Be a Rug Cutter
12. Exactly Like You 
13. Oh, Lady Be Good			play 

Personnel: 
Erroll Garner (piano); 
Wyatt Ruther (bass); 
Eugene Heard (drums).

There are only so many songs that rank in the first chapter of the American songbook alongside Hoagy Carmichael's "Stardust," and a handful of beloved Irving Berlin and George Gershwin tunes. Erroll Garner's "Misty," however, is one of them. One of the most recognized and interpreted standards in the jazz repertoire, "Misty" is Erroll Garner's signature composition, and THE ORIGINAL MISTY CD marks the first digital appearance of the tune's initial recording. As legend has it, Garner composed the song in his head as he was flying to the recording session (July 27, 1954); then, once he arrived, he sat down and recorded it in one take.

Given the thousands of interpretations of "Misty" that followed and will continue to follow, hearing this original version is a historical and musical thrill. The song is also a showcase for Garner's lush lyricism and fluid phrasing. The rest of the album is equally engaging, with Garner taking on several standards including Duke Ellington's "In a Mellow Tone" and George Gershwin's "Oh, Lady Be Good." From the same session as "Misty," these songs were also recorded in one take, and feature Garner's famous blend of ragtime exuberance, advanced technical prowess, and pop-song accessibility. ---cduniverse.com

Recorded in 1954 in Chicago, and originally released under the title of "Erroll Garner Contrasts", this disc features a number of one-take recordings. Two tracks from the same session (but different original LP releases) have been added to this CD release: "Exactly Like You" and "Oh, Lady Be Good."

Although perhaps it was simply coincidence, the Chicago location of the recording date shows through in the bluesy edge that many of the tracks have. Most of the performances are a lot more bouncy and upbeat than other Garner recordings I've listened to, yet they retain a relaxed feeling.

According to the liner notes this is the very first version of "Misty" ever recorded. Apparently Garner composed it in his head while flying to the session. The version heard here is take 1. ---hyperbolium, amazon.com

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