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| Verve Jazz Masters, Vol. 7 |
| Erroll Garner |
első megjelenés éve: 1955
71 perc |
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| (1993)
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CD |
Kérjen
árajánlatot! |
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| 1. | I've Got to Be a Rug Cutter
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| 2. | Misty
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| 3. | Smooth One
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| 4. | Love in Bloom
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| 5. | My Heart Sings
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| 6. | Don't Be That Way
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| 7. | 7-11 Jump
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| 8. | St. James Infirmary
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| 9. | Don't Worry 'Bout Me
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| 10. | Is You Is or Is You Ain't My Baby?
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| 11. | Part Time Blues
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| 12. | Yesterdays
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| 13. | Oh, Lady Be Good
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| 14. | Fandango
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| 15. | I've Got the World on a String
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Jazz / Bop
Erroll Garner - Piano
Aric Lach Morrison Assistant Producer
Bob Shad Producer
Candido Camero Conga
Christina Lage Design
Coleman Brice Vault Research
Etsuko Iseki Design
Eugene "Fats" Heard Drums
Fernando Santos Vault Research
Gary N. Mayo Mastering
Herman Leonard Photography
John McDonough Sequencing, Liner Notes, Selection
Jon Schapiro Assistant Producer
Michael Lang Sequencing, Compilation Supervisor
Peter Pullman Editing
Sheryl Lutz-Brown Art Direction
Suzanne Bender Design Coordinator
Wyatt Ruther Bass
Erroll Garner
Active Decades: '40s, '50s, '60s and '70s
Born: Jun 15, 1921 in Pittsburgh, PA
Died: Jan 07, 1977 in Los Angeles, CA
Genre: Jazz
One 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, on medium tempo pieces, Erroll Garner 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 was 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 1944-1945 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 on, 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. 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 Guide |
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