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Erroll Garner

* Real Name: Erroll Louis Garner
* Genre: Jazz
* Active: '40s - '70s
* Instrument: Piano

Biography

garnerOne of the most distinctive of all pianists, Erroll Garner proved that it was possible to be a sophisticated player without knowing how to read music, that a creative jazz musician can be very popular without watering down his music, and that it is possible to remain an enthusiastic player without changing one's style once it is formed. A brilliant virtuoso who sounded unlike anyone else, Erroll Garner on medium-tempo pieces often stated the beat with his left hand like a rhythm guitar while his right played chords slightly behind the beat, creating a memorable effect. His playful free-form introductions (which forced his sidemen to really listen), his ability to play stunning runs without once glancing at the keyboard, his grunting and the pure joy that he displayed while performing were also part of the Erroll Garner magic.

Garner, whose older brother Linton is also a fine pianist, appeared on the radio with the Kan-D-Kids at the age of ten. After working locally in Pittsburgh, he moved to New York in 1944 and worked with Slam Stewart's trio during 1944-45 before going out on his own. By 1946 Garner had his sound together and when he backed Charlie Parker on his famous "Cool Blues" session of 1947, the pianist was already an obvious giant. His unclassifiable style had an orchestral approach straight from the swing era but was open to the innovations of bop. From the early '50s Garner's accessible style became very popular and he never seemed to have an off day up until his forced retirement (due to illness) in early 1975. His composition "Misty" became a standard. Erroll Garner, who had the ability to sit at the piano without prior planning and record three albums in one day (all colorful first takes), made many records throughout his career for such companies as Savoy, Mercury, RCA, Dial, Columbia, EmArcy, ABC-Paramount, MGM, Reprise and his own Octave label. ~ Scott Yanow, All Music Guidegarner

Erroll Garner

Erroll Louis Garner (June 15, 1921 – January 2, 1977) was an American jazz pianist and composer whose distinctive and melodic style brought him both popular acclaim and the admiration of peers. It is a well-known fact that Garner was never able to read sheet music.

Life and career

Born in Pittsburgh, Pennsylvania, U.S. in 1921, Erroll began playing piano at the age of 3. He played locally in the shadow of his older pianist brother Linton Garner and moved to New York in 1944. He briefly worked with the bassist Slam Stewart, and though not a bebop musician per se, in 1947 played with Charlie Parker on the famous Cool Blues session.
Garner's ear and technique owed as much to practice as to a natural gift. His distinctive style could swing like no other, but some of his best recordings are ballads, such as his best-known composition, Misty.

A small man, Garner was reputed to perform sitting on a Manhattan telephone directory.

Erroll Garner is generally credited for having bridged the gap for jazz musicians between night clubs and the concert hall.

Garner is buried in Pittsburgh's Homewood Cemetery.

Works

His 1955 recording, Concert by the Sea, ranks among his very best work and has Eddie Calhoun on bass and Denzil Best on drums. Ironically this recording, in Carmel California, was made using relatively primitive sound equipment. But Erroll's inventiveness and swing got the point across in each cut. Other notable works include 1951's Long Ago and Far Away and 1974's Magician, both of which see Erroll perform a number of classic standards in his own style. Often the trio was expanded to add Latin percussion, usually a conga, with electric results.

What made Erroll easy to recognize were his trademark introductions, that seemed to make no sense but broke dramatically into his exposition of the tune he was to play, and the guitar strumming sound of his left hand, playing crotchet accompaniment to his rich sounding right hand. He places his chords and octaves on syncopated beats that swing very hard and can be used to build excellent tension, such as between phrases. The approach also suggests he was influenced by the iconic rhythm guitar work of Count Basie's long time guitarist, Freddie Green. But discerning listeners could find that while his even four left hand was a fixture, it was far from being the only rhythmic approach he took to playing.

 

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