This material is quite excellent, often adventuresome and some of his best studio sides. Included here from 2/5/68 and never issued before is a brief "Nice Work If You Can Get It" with Garner singing along to himself - it's a wonderful gem of a private moment. Backup is Eddie Calhoun or Ike Isaacs on bass, Kelly Martin or Jimmie Smith on drums and Jose Mangual, congas.

3 CD Set, 45 essential tracks from the brilliant jazz pianist & composer. 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.

Inspired by a trip to Paris in late 1957, Erroll Garner entered the studio in the spring of 1958 to create his own impressions of the city, which were presented on the LP Erroll Garner in Paris (Philips B 07375 L). Garner is showcased here leading his trio, which featured bassist Eddie Calhoun and drummer Kelly Martin. The material consists of familiar French favorites such as Édith Piaf’s “La Vie en Rose,” Paris-related songs such as Jerome Kern’s “The Last Time I Saw Paris” and Cole Porter’s “I Love Paris,” plus several original compositions.

In 1954 Woody Herman recorded one of his most unusual sets, a purely vocal album in which he was accompanied by the Erroll Garner Trio. Herman, who originally sang on half of his band's recordings, was always an expressive ballad singer and he does a fine job on such standards as "My Melancholy Baby," "Let's Fall in Love" and "I'm Beginning to See the Light."

This exciting CD has 20 diverse performances that were originally produced by Leonard Feather for the Victor label during 1946-47. The first eight selections feature various versions of Esquire's All-American Award Winners and have some unique combinations of musicians. "Long Long Journey" was the first record to match together Duke Ellington (who verbally introduces the song) and Louis Armstrong, and on "Snafu" Armstrong takes a surprisingly modern solo that hints at bebop. Trumpeter Charlie Shavers creates a remarkable improvisation on "The One That Got Away," ltoist Johnny Hodges plays beautifully on "Gone with the Wind" and other key players include tenor saxophonist Don Byas, trumpeter Buck Clayton, trombonist J.J. Johnson and tenor saxophonist Coleman Hawkins. In addition, there are selections featuring trombonist Jack Teagarden, the 52nd Street All-Stars (with Shavers, Hawkins and tenorman Allan Eager), the tenor of Lucky Thompson, trumpeter Neal Hefti, altoist Benny Carter, singer Mildred Bailey and solo piano records by Art Tatum and Erroll Garner. The mid-to-late '40s were a particularly rich period for jazz and this highly recommended CD is filled with gems.

One of the most popular jazz pianists during his lifetime, the great Erroll Garner played by ear and never learned to read music. Nevertheless, he created a highly personal and unmistakable style. He also composed wonderful tunes, the most famous of which is the immortal “Misty”. Presented here is the complete LP One More Time (Harmony HS-11268), represented on tracks 2-10, and consisting of a selection of Garner’s brilliant Columbia recordings. Two versions of the aforementioned “Misty”, as well as 11 additional hits, fill out this release.

Erroll Louis Garner (1921-1977) was one of the greatest and most popular pianists in jazz history. At three years of age, being the youngest of six very musical siblings, he was able to play everything by ear, that the family's piano teacher presented to him. Reading sheet music, on the other hand, was of no interest to Garner, who had a phenomenal musical memory. When asked about this, he once said: "You can't hear me reading."

On January 17, 1959, jazz immortal Erroll Garner took the stage of Boston’s Symphony Hall for a historic performance to a sold-out crowd. Recorded 11 months prior to the Dreamstreet sessions, which heralded Garner’s return after a lengthy battle for control over his catalog, Symphony Hall Concert is a previously unreleased compilation capturing the unparalleled genius of Garner’s live performances at the beginning of one of the most defining years of his life.

Many of Erroll Garner's sessions from the 1960s have been reissued by Telarc. This single CD brings back all of the music from two former LPs. Garner and his quartet (bassist Ike Isaacs, drummer Jimmie Smith and percussionist Jose Mangual) romp through 13 songs taken from movies (including "You Made Me Love You," "I Found a Million Dollar Baby," "It's Only a Paper Moon" and even "Sonny Boy") during the first half of the set while the later session finds the group backed by seven horns arranged by Don Sebesky on nine diverse tunes ranging from swing standards to "The Girl from Ipanema," "Groovin' High" and Garner's lone original "Up in Erroll's Room." All of the Telarc Erroll Garner CDs are easily recommended (the pianist never seems to have made an uninspired record) and this one is no exception.

Two of pianist Erroll Garner's albums for his Octave label have been reissued on full on this single CD from Telarc. Backed by bassist Eddie Calhoun and drummer Kelly Martin, Garner is heard stretching out in the studios and playing in concert at the 1962 Seattle World's Fair. Among the most consistent of jazzmen, Garner typically romps through a variety of standards plus his own "Misty," "Dreamstreet," "Mambo Gotham" and a medley of songs from the play Oklahoma. Other highlights of the spirited set include "Just One of Those Things," "Blue Lou," "The Lady Is a Tramp," "The Way You Look Tonight" and "Mack the Knife."

Two former LPs were reissued in full on this single CD. The earlier date features pianist Erroll Garner in typically brilliant and witty form with his 1961 trio, which also included bassist Eddie Calhoun and drummer Kelly Martin. Whether it be a sly "My Silent Love," "All of Me," or a joyful "Back In Your Own Backyard," Garner is heard throughout in his prime. The later date is a bit more unusual, for the pianist improvises on ten themes that would be used in the Paul Newman film A New Kind of Love. Joined by a big band and string orchestra conducted by Leith Stevens, Garner, who never learned to read or write music, contributed several original themes to the score (a few of which are quite catchy) in addition to jamming on such tunes as "You Brought a New Kind of Love to Me," "Louise," and "Mimi"…

Though purists will find Erroll Garner's This Is Jazz frustratingly incomplete, it isn't designed for them. The entire This is Jazz series is targeted at casual fans and neophytes, who only want a sampling of a famous jazz artist. In that sense, this disc does its job quite well, illustrating Garner's gift for swing and ballads. Of course, this only is the tip of the iceberg as far as Garner's music is concerned, but it's enough to spark the interest of anyone wanting to explore his vast catalog.

This fine set features Garner with both bassist Slam Stewart's group and one of his own early trios. Having arrived in New York from his hometown of Pittsburgh, Garner quickly gained recognition via a slew of 52nd Street gigs and a smattering of sessions in the mid-'40s. The four Slam Stewart sides that kick off this release come from Garner's second formal recording session during the period and spotlight his work as much as Stewart's incredible bowing technique. While not in his full glory yet, Garner still turns in impressive solos over the four tracks, especially showing bold intimations of his mature style on "Jumpin' at the Deuces"…