ERROLL GARNER — Serenade to "Laura" (1955) APE (image + .cue), lossless

In 1993, the original source recordings for this classic album, Erroll Garner's Serenade to Laura, were remastered in 24-bit digital audio, with quietly spectacular results -- you can now hear every nuance of every key stroke, and also the action of the piano on some numbers, such as "Goodbye." This reissue also contains a previously unissued recording of "Love Walked In" that makes a perfect pairing with "Laura." Bruce Eder
Tracklist :
1. Laura (Mercer, Raksin) 2:40
2. This Can't Be Love (Hart, Rodgers) 2:23
3. The Man I Love (Gershwin, Gershwin) 2:41
4. Moonglow (DeLange, Hudson, Mills) 2:40
5. I Want a Little Girl (Mencher, Moll) 2:51
6. It's Easy to Remember (Hart, Rodgers) 2:45
7. Goodbye (Jenkins) 2:40
8. She's Funny That Way (Moret, Whiting) 2:35
9. Until the Real Thing Comes Along (Cahn, Chaplin, Freeman, Holiner, Nichols) 2:53
10. Confessin' Daugherty, Neiburg, Reynolds 3:01
11. Stormy Weather Arlen, Koehler 2:48
12. I Surrender, Dear (Barris, Clifford) 3:02
13. I'm in the Mood for Love (Fields, McHugh) 2:57
14. All of Me (Marks, Simons) 2:50
Credits :
Erroll Garner (Piano)
Jonh Levy (Bass) (1), John Simons (Bass) (2-14)
George de Hart (Drums) (1), Albin Stohler (Drums) (2-14)
Nota.
Track 1: September 25, 1945
Tracks 6,7, 12 - 14: March 29, 1949
Tracks 2 - 5, 8 - 11: Summer, 1949

CHARLIE PARKER – 1945-1947 | The Chronogical Classics – 980 (2000) FLAC (tracks+.cue), lossless

This features Bird's first solo sides: the legendary early Savoy and Dial sides. Although most of this material has been reissued ad nauseam in various packages and in varying fidelity, Classics gets all the BB's in the right holes, with great annotation and stellar transfers of the material. No alternate takes -- just the issued sides in that space of compressed genius between 1945 and early 1947. As such, a major document of jazz history. Cub Koda    Tracklist + Credits :

ERROLL GARNER – 1944 | The Classics Chronological Series – 802 (1995) FLAC (tracks+.cue), lossless

Pianist Erroll Garner's earliest recordings were taped privately at Baron Timme Rosenkrantz's apartment in New York. While Garner practiced, stretched out and tried out new ideas, Rosenkrantz kept a recorder running. The resulting discs were originally not planned for release, but in the early 1950s (with Garner's great popularity), some did come out. This Classics CD, one of four that contain all of the performances, finds Garner performing for as long as ten minutes ("Floating On a Cloud") on one piece. His style was not quite fully formed (it would solidify in 1945), and Garner sounds surprisingly impressionistic on such numbers as "The Clock Stood Still," "Autumn Mood" and "Overture to Dawn." Only on the faster pieces is he fairly distinctive, making this CD (and its follow-up) a true historical curiosity. Scott Yanow
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ERROLL GARNER – 1944, Vol. 2 | The Classics Chronological Series – 818 (1995) FLAC (tracks+.cue), lossless

The second in the Classics label's Erroll Garner series has nine unusual piano solos recorded privately at Baron Timme Rosenkrantz's apartment (ranging from the 2-1/2 minute novelty "Twisting the Cat's Tail" to an extensive eight-minute exploration of "I Hear a Rhapsody"), along with the ten songs that comprised Garner's first officially recorded session. The latter were originally cut as piano solos for the Rex label (later put out by Atlantic), but had bass (John Simmons) and drums (Doc West) overdubbed, which explains why they are better recorded than the piano. Overall, this is an interesting but not overly essential release. Scott Yanow
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ERROLL GARNER – 1944, Vol. 3 | The Classics Chronological Series – 850 (1995) FLAC (tracks+.cue), lossless

On this CD, the third Classics set featuring Erroll Garner at the beginning of his career, the pianist is mostly heard during Dec. 22-25, 1944, when he was caught on disc practicing at Baron Timme Rosenkrantz's home. Because there were no time restrictions, Garner really stretches out on a few of the numbers, including the 10-1/2 minute "Duke for Dinner" (which has abstract references to many of Duke Ellington's songs) and nine-minute versions of "Variations on a Nursery Rhyme," "I Got Rhythm" and his own "In the Beginning." In addition, there is an eight-minute medley of Christmas songs. In general, Erroll Garner is surprisingly unrecognizable in spots, playing quite impressionistically with only his sly wit being identifiable. The set is rounded off by a previously unreleased version of "Somebody Loves Me" (with a vocal by Inez Cavanaugh) from Nov. 3, 1944 that is actually the earliest documentation of Garner discovered yet. The music is historic, but not as significant as what was to come from the pianist very shortly. Scott Yanow
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ERROLL GARNER – 1944-1945 | The Classics Chronological Series – 873 (1996) FLAC (tracks+.cue), lossless

The fourth in Classics' reissuance of all of the early recordings by the great pianist Erroll Garner has some unusual performances. The first eight numbers were private recordings cut during a jam session at Timme Rosenkrantz's apartment. Garner (who at that point in time only hinted at his emerging distinctive style and showed the influence of Fats Waller) and trumpeter Charlie Shavers constantly inspire each other and are assisted by trombonist Vic Dickenson, altoist Lem Davis, bassist Slam Stewart (in top form), drummer Cliff Leeman and on one song clarinetist Hank D'Amico. Those selections are quite extended (two songs exceed ten minutes) and sometimes a little loose but filled with excitement; the ad-lib ending of "Red Cross" is pretty humorous. Wrapping up this CD are Garner's first studio recordings: four selections cut with a trio for the Black & White label and four piano solos made for Signature. Although performed only a short time after the earlier jam session, Garner was already starting to play in his own familiar style. Recommended. Scott Yanow
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ERROLL GARNER – 1945-1946 | The Classics Chronological Series – 924 (1997) FLAC (tracks+.cue), lossless

The fifth CD in the European Classics label's Erroll Garner reissue series showcases the great pianist on the 21 recordings that he cut in a five-month period during 1945-46. Garner's four trio numbers for Savoy (particularly his hit version of "Laura") helped make him famous. Those are included on this set along with four obscure piano solos for the Disc and Arco labels, 11 numbers for Mercury, and a couple of V-Disc performances. Despite the success of "Laura," Garner, at that early point in time, was better at medium-tempo numbers. He romps on such tunes as "Indiana," "Lady Be Good," "Bouncin' With Me" and "High Octane." This outing is not quite essential, but it does contain plenty of enjoyable numbers. Scott Yanow
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ERROLL GARNER – 1946-1947 | The Classics Chronological Series – 1004 (1998) FLAC (tracks+.cue), lossless

This sixth volume of the complete recordings of Erroll Garner reissued in chronological order opens with eight sides recorded in Los Angeles for the Mercury label during the spring and summer of 1946. Only about two years into his recording career, Garner had developed into a master interpreter of ballads both soft and piquant. His own slightly eccentric "Frantonality" is a classic manifestation of Garner's habit of strutting his stuff using quirky twists and rambunctious turns of phrase. While drummers Nick Fatool and Lou Singer each interacted wonderfully with the pianist, bassist Red Callender's resonant tonalities really enhance the atmosphere, adding an extra dimension to each performance. On February 19, 1947, Garner made five beautiful records with Charlie Parker for the Dial label. "Trio" and "Pastel" -- which includes a fine bass solo by Callender -- were waxed at that same session with support from percussionist supreme Harold "Doc" West. In April of 1947 Garner dished out four solo recordings for the Victor label, beginning with two originals, "Erroll's Bounce" and a very attractive "Erroll's Blues." A few weeks later, Garner was invited back to the Dial studio to record eight tracks all by himself. This was to be the only solo piano session ever presented on Dial by that label's owner, Ross Russell. arwulf arwulf  
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ERROLL GARNER – 1947-1949 | The Classics Chronological Series – 1109 (2000) FLAC (tracks+.cue), lossless

Here's one package that demonstrates the piano artistry of Erroll Garner in several settings -- as a solo act, with trio and quartet, and as an integral part of a jumpin' sextet caught live in concert. The Just Jazz series was producer Gene Norman's answer to Norman Granz's Jazz at the Philharmonic. Beginning with a jam on Edgar Sampson's "Blue Lou," the main attraction here is tenor saxophonist Wardell Gray. "One O'Clock Jump" and its three sequels bring on trumpeter Howard McGhee, trombonist Vic Dickenson, and Benny Carter on alto sax. (Neither the bassist nor the excellent guitarist are even mentioned let alone identified in the enclosed discography.) In a tasty example of resourceful editing, tracks three through six have been seamlessly linked into one more or less continuous performance. The same trick was accomplished with both halves of "Lover" (tracks seven and eight), which was performed by the rhythm section only. Garner's next recordings were made almost exactly one year later in front of a live audience with guitarist Ulysses Livingston and bassist John Simmons. Four beautiful, superbly crafted studies for solo piano were recorded for the Vogue label in Paris on May 15, 1948. These tracks, which might be new to some U.S. listeners, are a real treat for the Garner connoisseur. Garner was back in California two months later, punching out a version of "Just You, Just Me" at another Just Jazz concert with guitarist Oscar Moore, bassist Nelson Boyd, and drummer Teddy Stewart. This excellent compilation concludes with seven relaxed ballads and one feisty take of "Stompin' at the Savoy" recorded for the Savoy label in February and March 1949. Alvin Stoller and John Simmons interact marvelously with Garner, who was now developing into a purveyor of what has been accurately described as the "rhapsodic ballad." The wide range of styles and instrumentation on this disc mark it as an excellent choice for those who wish to experience the art of Erroll Garner from a variety of musical perspectives. arwulf arwulf  
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ERROLL GARNER – 1949 | The Classics Chronological Series – 1138 (2000) FLAC (tracks+.cue), lossless

Errol Garner's textured, expressive piano playing is featuring on the 2001 compilation 1949. Garner is an interesting player; at times he can be quite powerful and intense as he bangs away on old standards like "All of Me" and "I'm in the Mood for Love." At other times he really adds nothing to the songs, instead just playing the straight melody and letting the original composition speak for itself. These are the moments where he is at his weakest; despite his excellent playing skills, these are songs that are fairly simple and have been performed many times before, and his excellent flourishes would have helped the music out greatly. But then there are the other tracks, which at least balance out the album. The other problem here is the sound quality, something that curses many jazz recordings from this era. Some songs simply sound bad; the album is quite fuzzy and scratchy at times. But, overall, the music on the album manages to impress for a good portion of the album, and fans of Garner can at least get more of his recordings from this era. Bradley Torreano  
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ERROLL GARNER – 1949, Vol. 2 | The Classics Chronological Series – 1182 (2001) FLAC (tracks+.cue), lossless

One of Erroll Garner's very best albums, The Greatest Garner (Atlantic LP 1227), drew heavily upon the pianist's outstanding session of July 20, 1949. This ninth installment in the complete recordings of Erroll Garner on Classics places that session in context by presenting eight titles recorded for Savoy exactly one month earlier, together with four selections gleaned from a Gene Norman Just Jazz concert in Los Angeles. These are enjoyable tidbits, but the previously mentioned Atlantic session is the real treasure. This is chamber jazz of the highest order. While some critics and commentators seem to chafe at Garner's ethereal tendencies during ballads and introspective interludes, it is precisely these graceful moments that contrast so nicely with his familiar rambunctious manner. Maybe that's why this particular compilation feels so wonderfully well balanced. Garner gets his licks in with Rodgers & Hart and Fields & McHugh, floats through a Ravel "Pavanne" and a Debussy "Reverie," answers these mysteries with his own "Impressions" and private visions of "Twilight" and "Turquoise," muses over Hoagy Carmichael's "Skylark," and closes with Jerome Kern's "The Way You Look Tonight," a beautiful rendering that belongs among his very greatest achievements on record for its theatrical timing, ebullient pacing, and immaculate execution. arwulf arwulf  
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ERROLL GARNER – 1949-1950 | The Classics Chronological Series – 1205 (2001) FLAC (tracks+.cue), lossless

The four tracks that open this tenth volume in the Classics Erroll Garner chronology represent a sort of distilled essence of Garner. They are a marvelous byproduct of a special sort of artistic chemistry that existed between the diminutive Pittsburgh pianist, bassist John Simmons, and drummer Alvin Stoller. 

Soon after these two rosy bounces, each backed with a pair of lush ballads, were brought out on the modest Portrait record label, the masters were snapped up, reissued, and widely disseminated by Savoy. On August 23, 1949, Erroll Garner's trio provided musical accompaniment for mellifluous crooner Johnny Hartman. These four Mercury recordings, rare examples of Garner the accompanist, form a languid bridge between Hartman's formative years with Earl Hines and Dizzy Gillespie and his magnificent later work with Howard McGhee and John Coltrane. Using the same players, bassist Leonard Gaskin and drummer Charlie Smith, Garner polished off eight delightful sides for the 3 Deuces label on September 8, 1949. "Scatter Brain," made famous by saxophonist and bandleader Freddy Martin, here seems as rambunctious as the personality of the pianist who has gotten a hold of it. His "What Is This Thing Called Love?" is almost as magical as James P. Johnson's groundbreaking version of 1930. Garner's wonderfully slow treatment of "I Let a Song Go Out of My Heart" carries with it a cloud of blues and soul that might not have materialized at a quicker tempo. This artist's full majesty is in evidence during ruminative readings of Gordon Jenkins' "Goodbye" and Thomas Waller's "Jitterbug Waltz." A rare 1950 piano solo, originally issued on the Futurama label, is followed with eight equally uncommon sides from the Royal Roost catalog featuring once again bassist John Simmons and now drummer Harold "Doc" West. "Bonny Boy" is of course Garner's private approach to "Danny Boy," the Irish air from County Derry. In addition to initiating a smart stroll up Hoagy Carmichael's "Lazy River," this excellent session enabled the pianist to stretch out and explore several bop-informed improvisation vehicles of his own devising: "Minor with the Trio," "Tippin' Out with Erroll," and "Relaxin' at Sugar Ray's." This volume of vintage mid-20th century piano jazz belongs among the best Erroll Garner compilations in the Classics catalog, or anywhere else for that matter. As an extra treat the CD packaging provides a friendly snapshot of Erroll Garner relaxing in the company of Sarah Vaughan and Mitch Miller. arwulf arwulf  
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ERROLL GARNER – 1950 | The Classics Chronological Series – 1240 (2002) FLAC (tracks+.cue), lossless

The music on this CD was formerly put out by Atlantic (including an obscure LP), Columbia (the final four titles), and National. The latter is the rarest track, one in which Garner and an unidentified rhythm section accompany singer Florence Wright on "The Real Gone Tune." Otherwise, the great Garner performs with bassist John Simmons and either Doc West or Shadow Wilson on a marathon 15-song and the four Columbia titles. Most of these performances were formerly quite rare and they find Garner, whose style was very much together by 1950, sounding as joyous and swinging as always. Among the many highlights are "Margie," "Ramona," "The Sheik of Araby," "Trees," "When Johnny Comes Marching Home," and "It Could Happen to You." Scott Yanow
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ERROLL GARNER – 1950-1951 | The Classics Chronological Series – 1310 (2003) FLAC (tracks+.cue), lossless

It's easy to understand why Erroll Garner became so popular during the 1950s. There's nothing very challenging about him. He appears to delight in each and every melody that he can get his fingers into. There's lots going on here, but nothing that couldn't be presented in a nightclub or steak house. Most people want jazz to be interesting enough to distinguish itself, yet there is an expectation that for general consumption purposes, it had better stay in the background and serve as a "music bed" that can be talked over. On the other hand, for shutting up and listening to, this is gorgeous chamber music in its own light. There are the usual number of gentle reveries, interspersed with bounces, prances and cookers. Each three- or four- minute performance turns out nicely. "The Petite Waltz" is almost a bit too nice, it seems, until one realizes that much of Garner's approach consisted of sending conventionally accepted ideas of music right up the flagpole like a pair of long johns hoisted bravely and merrily into the air. "Petite Waltz Bounce" is the antidote, providing a textbook example of how Garner could take any piece of pop music and transform it into jazz music of remarkable merit. Hearing this session unfold, one is likely to become possessed by Garner's best, most exciting energies. "Lover" really cooks, and suddenly we're reminded that legendary be bop drummer Shadow Wilson is in the house. Bassist John Simmons is in here too, although on the previous quieter numbers it was easy to mistake this for a solo piano recital. "The Way You Look Tonight" is nice, not as immaculate as the 1949 version, but who cares. "Body and Soul" and "Honeysuckle Rose" are filled with rhythmic surprises. This is Garner at the top of his form. A highly developed theatrical sense percolates throughout Garner's original vampish compositions, represented here by "Play, Piano, Play" and "Garner in Hollywood." Be it oil, acrylic, charcoal, or gouache, this is the art of Erroll Garner. There never was nor will there ever be anyone else quite like him. arwulf arwulf  
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ERROLL GARNER – 1951-1952 | The Classics Chronological Series – 1341 (2004) FLAC (tracks+.cue), lossless

The 13th installment in the massively comprehensive Classics Erroll Garner chronology opens with three eloquently rhapsodic unaccompanied piano solos he cut for the Recorded in Hollywood label in Los Angeles in February 1951, during one of his happy-go-lucky deviations from contractual commitments to a major company (in this case, Columbia Records). Six months later, bolstered by bassist John Simmons and drummer Rossiere "Shadow" Wilson, Garner dished up eight beautiful performances that either softly glow with a gentle languor ("Sophisticated Lady," "You're Blasé") or emit sparks of rambunctious merriment ("Margin for Erroll" and "Robbins Nest"). The interplay among the three men is a marvel to behold; the almost rascally flavor of "Ain't She Sweet?" is guaranteed to please. On January 3, 1952, this trio waxed another ten sides for Columbia, including two extended tracks -- four minutes each -- for issue on the new LP format. This slice of the Garner chronology is exceptionally satisfying, particularly on account of the presence of master percussionist Shadow Wilson. If you're looking for dignified, well-played piano jazz, warmly laid-back at times but regularly spiced with bursts of joyous invention, try this. arwulf arwulf  
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ERROLL GARNER – 1952-1953 | The Classics Chronological Series – 1370 (2004) FLAC (tracks+.cue), lossless

Erroll Garner made one hell of a lot of records. This 14th volume of Garner's complete recordings consists entirely of material originally released on the Columbia label, beginning with an expansive session from February 1952. Garner's repertoire was perfectly enormous, and included occasional forays onto European "classical" turf. The pianist's great wealth of ideas and his apparent joy in the play of contrasting entities is neatly represented here by a set of "Chopin Impressions" followed by a cheerful romp through Cole Porter's "Anything Goes." Garner savors every drop of "Cocktails for Two," pours thunder onto Duke Ellington's "It Don't Mean a Thing," and uses an almost ska-like pattern during the introduction to "Dancing in the Dark." Garner's rendition of Gene Austin's "How Come You Do Me Like You Do" deviates wonderfully from the standard early-'50s jazz repertoire, and his powerfully searching "Love Me or Leave Me" picks up where Fats Waller left off in 1929. These are among the best solos that Garner ever put down on wax. Six selections recorded almost exactly one year after the opening session find the pianist in the company of bassist Wyatt Ruther and drummer Eugene "Fats" Heard. "Dancing Tambourine" is delightfully brisk and spirited. The modern recording technology of 1953 allowed for increasingly lengthy tracks, including over five minutes of Eubie Blake's "Memories of You" and more than six minutes of Isham Jones' "No Greater Love." As nice as these gorgeous meditations are, the most amazing cut of the whole package is Garner's own 65-mph opus "Look, Ma -- All Hands!" For sheer firepower and mother invention, Garner was in some ways every bit as formidable an improviser as Bud Powell or Thelonious Monk. The difference lay in Garner's unique approach to audiences and to popular music. arwulf arwulf  
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ERROLL GARNER – 1953 | The Classics Chronological Series – 1391 (2005) FLAC (tracks+.cue), lossless

Volume 15 in the Classics Erroll Garner chronology presents two Columbia recording sessions from February 27 and March 30, 1953. Liberated by the long-playing phonograph record format, the pianist stretches out for extended variations on jazz standards lasting six, seven, and even eight minutes. Garner interacts here with bassist Wyatt "Bull" Ruther and Eugene "Fats" Heard. The opening track, a bubbling rendition of "Caravan," should be considered for inclusion among Garner's all-time most exciting performances on record. Several aspects of Garner's art are in evidence on this compilation: the wild and rambunctious exertions of a master improviser, the unruffled confluence between pop music and bop logic, and the slow and wistful magic of a gradually unfolding reverie. Erroll Garner could take any song and transform it into a disarmingly personal episodic environment. The music on this album neatly personifies Garner the merry alchemist. arwulf arwulf  
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ERROLL GARNER – 1953-1954 | The Classics Chronological Series – 1423 (2006) FLAC (tracks+.cue), lossless

The 16th installment in the Classics Erroll Garner chronology combines eight numbers recorded for Columbia in New York on March 30, 1953; eight more for the same label cut in Detroit on July 8, 1954; and two tracks for Mercury Records in Chicago on July 27, 1954. At this point in his career, Garner became increasingly inventive, expressive, and rambunctious, as his bluesy take on Jerome Kern's "Yesterdays" and knuckle-busting renditions of "Frenesi" and "Oh, What a Beautiful Mornin'" illustrate. The Detroit session is remarkable for the presence of Woody Herman. Familiar to the public as a clarinet-blowing big-band leader with a penchant for rowdy novelty tunes and a tendency, during the late '40s, to employ young musicians with bop sensibilities, Herman appears with the Erroll Garner Trio as a warm and persuasive vocalist. Track nine, a medley lasting nearly 11 minutes, traces a progression from new love to romance to hopeless infatuation to heartbreak. Each successive vocal track is a gem, and the mutual enjoyment felt by Herman and Garner is palpable. Throughout this entire compilation, Garner's bassist was Pittsburgh native Wyatt "Bull" Ruther and his drummer was Eugene "Fats" Heard, who had worked with Lionel Hampton and Coleman Hawkins and who would leave Garner's band in 1955 to settle down and make steady money as a businessman in his hometown of Cleveland, OH. This album closes with two examples of what the Erroll Garner Trio sounded like when spiced up by the conga drumming of Cuban percussionist Candido Camero. arwulf arwulf  
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ERROLL GARNER – 1954 | The Classics Chronological Series – 1447 (2007) FLAC (tracks+.cue), lossless

Volume 17 in the complete recordings of Erroll Garner as compiled and reissued by the Classics Chronological Series contains 19 magnificent performances recorded at Universal Recording Studios in Chicago and Fine Sound Studios in New York during the month of July 1954 and subsequently released on the Mercury albums Contrasts and Mambo Moves Garner. Supported by Wyatt Ruther, Eugene "Fats" Heard,and Afro-Caribbean drum master Candido Camero, Garner is able to express himself with panache, good taste,and skillful reckless abandon. Perhaps the most thrilling surprise in this package is a romping rendition of "I've Got to Be a Rug Cutter," a tune popularized years earlier by Duke Ellington and Ivie Anderson. Most Erroll Garner recordings from the '50s are enthusiastically inspired, exciting,and at times dazzling. The music within this collection is some of the best that Garner ever made. arwulf arwulf  
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DON BYAS – 1945 | The Classics Chronological Series – 910 (1996) FLAC (tracks+.cue), lossless

Bookended by several pleasant yet minor blues and pop vocals by Albina Jones and Ruble Blakey, this Classics Don Byas disc finds the unsung tenor great on the eve of his indefinite stay in Europe. Having cut his teeth in the bands of Lionel Hampton, Andy Kirk, and Count Basie, among others, Byas marked the end of the war with several fine combo recordings spotlighting his boppish swing blowing style. Here is a generous chunk from 1945, featuring a few different lineups and the likes of Dizzy Gillespie, Buck Clayton, Errol Garner, Slam Stewart, and Sid Catlett. Byas is in top form throughout, plying his smoky and slightly tart tone on ballads like "Laura," while showing off a lithe brand of swing on an up-tempo "The Sheik of Araby." Not as solid as Classics' 1944-1945 volume, but still a fine selection for Byas completists. Stephen Cook
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