Garner In Paris (High Definition Remaster 2023) Erroll Garner

• 1 La Vie En Rose (Remastered 2023) 04:14
• 2 Paris Bounce (Remastered 2023) 04:22
• 3 Louise (Remastered 2023) 04:08
• 4 The Song From Moulin Rouge (Remastered 2023) 03:29
• 5 The French Touch (Remastered 2023) 05:58
• 6 La Petite Mambo (Remastered 2023) 04:35
• 7 The Last Time I Saw Paris (Remastered 2023) 05:32
• 8 Left Bank Swing (Remastered 2023) 05:41
• 9 I Love Paris (Remastered 2023) 05:05
• Total Runtime 43:04

Info for Garner In Paris (High Definition Remaster 2023)

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 album Erroll Garner in Paris. 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.

Erroll Garner this weekend. Recorded live in Paris on June 12, 1962 and preserved for posterity by Radio France. Lucky for everyone, the broadcasting outlets in Europe felt strongly about broadcasting and preserving American Jazz over the years. Something America became less and less interested in the last few decades. From an embarrassment of riches from the 1930s, 1940s and early 1950s, it started to taper off, with less and less radio stations actually presenting Jazz as a format and virtually no network (aside from the occasional appearance and NPR’s short-lived Jazz Alive series in the 70s) has supplied any live Jazz broadcasts today. So the onus is on Europe, as it has been largely since the post-World War 2 years.

If everyone took the same attitude that American broadcasters took, we would never have live broadcasts of so many Jazz legends of the past as we do today; so many important and one-of-a-kind collaborations that were part of the fabric of a live performance. I’ve always maintained that, even though there is validity in the controlled studio atmosphere and the alternate takes, there is something about a live performance that brings a sense of anticipation and discovery along with it. Even the wrong notes can be useful stepping off points where a live performance is concerned.

Erroll Garner, piano
Eddie Calhoun, double bass
Kelly Martin, drums

Digitally remastered

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)

This album contains no booklet.