erroll garner live origina~ piano solos
bounce with high octane young Iove from c to c babette
me
CRITERION MUSIC CORP.
It is strange how a young p~ano player.ach~eves r~cogn[tlon in the iazz field. There are so many good piano players that some unusual talent must stand out to make people label one indlvldual, great. Erroll Garner bas achleved that distlnction. This wrlter has been favored wlth many opportunities to heat Garner play at hls best-at infimate galherings. Some of these come to mind-like the time a party of twe[ve had heen told of h~s prowess at the piano and were anxious to heat hlm. It was a Tuesday night, and ofter being seoted comfortably in the club, we found out that it was Garner’s night off. As a sponsor of the group, whlch included Jo Stafford, Paul Weston, Johnny Mercer and others, it was qulte embarrass~ng. Luckily, Garner, on h~s nlght off, was across the street "digging" Billie Holiday. He graclous[y consented to sít in. There was a nolsy audlence and it was feared that th~s wou~d upset the mood. However, music soothes the beast, a few bars by Garner and every drunk in the place was hypnotlzed. It was a memorable concert, wh~ch made those present Garner fans, from then on. At other gather~ngs in Hollywood, music~ans ~ike Axel Stordahl, Paul Weston, Gordon Jenklns and Skltch Henderson were amazed at hls techn[que and ide~s. Many people hove trled to label Garner wlth names ~ike "The Debussy of Jazz", and surely that is a compliment. Garner’s background serves to throw some light on his co[orful style whlch could not stem from only a íazz upbringing. Erroll did hot have múch forma~ muskal educatlon and had to rely upon hls ear for instructlon. If you listen to his playlng, you wil[ heat some of bis tutors. Outstanding, is Fats Waaier. Also not[ceable is the fact that he li~tened to many classlcal recordings, wh~ch has influenced his s~y~e. Erro[I was born in Pittsburgh in 1921, He came from a musical famiIy whlch induded his brother L~nton, one of the better accompanlsts. He served a short tlme wlth some orchestras, but was definlte~y slated tobe a sololst. Garner’s greatest successes are achieved at intimate gatherlngs. Some 6f hls blggest trlumphs have been attalned at oncerts throughout the nafion. This book contalns various examples of the Garner style, some of whlch have never been reco~ded~ commerclally. Garner’s musical knack of ~mprovlsing is best exemplified by "Babette" whlch he composed comp[ete[y at one "take" at a prlvate recordlng session. "Young Love" ís one of h~s toost beautiful works. There are also fine examples of hls rhythmic style in "Bounce With Me", "From C to C" and "High Octane". These solos were transcrlbed by Morr~s Fe[dman, on outstandlng man in the field. Garner heard these played by Feldman and was amazed at their accuracy. This book wi~l rema~n a wrltten record of Garner’s greatness and wil~ he~p .other plonisls learn the color which he, and only he, has contributed to piano playlng.
erroll garner live original piano solos transcribed by morris feldman
contents
page
babette
2
bounce with me
10
t-ro, m c to c
15
high octane
6
young Iove
20
Copyright MCMI. MICHAEI. H. GOLDSEN, INC.
2
BABETTE ERROLL GARNER
a tempo
6
HIGH 0CTANE ERROLL GARNER
Piano
10
BOUNCE WITH ME ERROLL GARNER
Medium Bounce Tempo
Piano
)~-
"--~’"
~~----~
~"
’ ’ I "~ ....
^A
11
12
lS
FROM C TO C ERROLL GARNER
Moderately Bright
Piano
© Copyright 1950. MICHAEL H. GOLDSEN, INC. AII Ri~hts Reserved Mede in U.S.A. International Copyright Secured
116
il-’ bJ F bJ.-l I:~ I ~ I
18
20
YOUNG LOVE ERROLL GARNER
Moderately Slow I$
.
~ ~ ff’~---’Ï
i loco
© Copyright 1950, M]CHAEL H. GOLDSEN, INC. Made In U,S.A.
International Copyright Secured
21
24
-1 loco
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