Archive for the ‘pianists’ Category

What does it mean when I hear people say, “She has a nice touch on the piano?”

Tuesday, May 12th, 2009

A piano is an instrument, a piece of equipment that makes sounds when you press the keys. Anyone can take piano lessons, and with some practice and a patient piano tutor, can manage to make the piano play a tune. But there’s more to playing a piano that being able to bang on the keys in the right sequence as dictated by the piece of music.

Music isn’t just about technical know-how as taught by a teacher, or even self-taught. It’s about feeling, and that’s where this statement comes from. Someone who has a nice touch on the piano is someone who really feels what they’re playing. They know the music they’re playing, they understand what the composer intended, they’re sensitive to the emotion that is supposed to come from the piece of music and they convey this through the way they play and the atmosphere it creates.
Sometimes real piano playing genius doesn’t move between head and fingers, it also passes through the heart. When you hear music that is played with that kind of emotion, whether it’s soft and tender, or it’s loud and filled with passion, the piano player conveys this raw emotion through the way they place their hands above the keys, the force with which they strike the keys, the way they move their body as they play and the way even the slightest of mood changes are reflected in both the player and the sound from the keyboard.

To have a nice touch on the piano doesn’t mean that you can read a piece of music and make it loud and soft in the right places, that again is technique that can be learned. The emotion is something that comes in time to those who not only practice the actual playing of the music, but also have done some research and have an understanding of what the composer was thinking about when he created the piece. If the pianist has the right emotion for each piece when they start to play they will be able to produce music that doesn’t just sound fast and loud, but rather urgent and afraid, or happy and free. It won’t just sound slow and monotonous, but rather sad and lonely. This isn’t anything to do with the notation on a piece of manuscript paper that sits on the music stand, but everything to do with the pianist’s empathy and understanding of what the composer intended entwined with the technical skills that come from hours of practice.

Anyone can learn the basics of piano playing, but if you want to be great, if you want to have a nice touch on the keyboard, then you need to not only think about the notes and chords you play, but develop a sensitive understanding of each piece of music’s history that you play, and deliver the emotion accordingly. Listen to how various pianists play the same piece of music, you might be surprised how some of them touch you, and yet others playing the same music go right over your head. The pianists with the nice touch, they’re the ones that play from their heart and their music touches yours.

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Vince Guaraldi: The “Charlie Brown Sound”

Saturday, March 7th, 2009

Vince Guaraldi’s music will forever stand as the sound of Charlie Brown. While other composers wrote quality music for Charlie Brown TV specials after his death, he is the true original. His jazz riffs that are part of the Peanuts musical oeuvre are instantly recognizable. His musical talent was a gift to the American public.

Known as Charlie Brown’s piano player in the music industry, Vince Guaraldi also had the moniker Dr. Funk. His early piano playing inspirations were the boogie-woogie pianists. He then developed a taste for the more laid-back styles of jazz pianists like Bill Evans.

In fact, Vince Guaraldi was a talented and proficient jazz pianist himself. His desire was to write memorable standards. He felt this was more important than just penning hits.

Guaraldi was born on July 17, 1928 in San Francisco, Calif. He grew up and went to high school there. He then graduated from San Francisco State College. He began performing as a pianist while in college. He played musical gigs, such as weddings and high school shindigs, among other events.

He developed as a musician and eventually made it into the recording studio. His first recorded work was a 1953 album put out by the Cal Tjader Trio. In 1955 he put together his own trio and did more studio work that year. In 1956, Vince Guaraldi toured with the legendary Woody Herman and his Thundering Herd.

The year 1963 was one of great recognition for the composer and pianist. He earned a Grammy Award for Best Instrumental Jazz Composition. His song “Cast Your Fate to the Wind” was the winner that year in this category. This was a laid back, congenial song. It was a contrast to much of the music on the airwaves at the time and resonated with listeners.

That year, and the following, saw Vince Guaraldi record many more albums. Then, on the horizon was a major compositional work for the musician. He composed a modern jazz piece for the choral Episcopal Eucharist. This was for the Grace Cathedral in San Francisco.

He spent 18 months creating, and with his trio and a 68-member choir, constructed an exemplary work. This music received a live performance on May 21, 1965. The recorded album version was a success both critically and with the public.

Vince Guaraldi composed the music for the first Peanuts television special in 1964. The Peanuts franchise was the brainchild of cartoonist Charles Schulz. Today, fans of the cartoon know Guaraldi’s music immediately upon hearing. The music is a manifestation of the personality of the piano player. He had a penchant for funny hats, extravagant moustaches and varied hairstyles. His persona was evident in this unique music.

This first Peanuts television special never did sell to the networks. No one in the general American viewing public has ever seen this program. However, it did lead to the making of “A Charlie Brown Christmas.” This program originally aired in December of 1965.

This television special led to subsequent Charlie Brown music work for Vince Guaraldi. The signature theme we recognize today and other compositions became part of numerous Peanuts TV specials. Fifteen Charlie Brown programs contained the composer’s original music. Some of these songs include “Peppermint Patty,” “Linus and Lucy,” “Red Baron” and “Great Pumpkin Waltz.”

Vince Guaraldi died from a heart attack on February 6, 1976. He died at 47 while waiting in between performances in his room in Menlo Park, Calif. He was performing at a nightclub there, forever at the piano giving musical enjoyment to others. That afternoon he completed his recording work for the most recent Charlie Brown television special.

Audiences today have the gift of Vince Guaraldi’s music as a reminder of his talents. He was, and still is, through recordings, the sound of Charlie Brown. Whenever you hear those catchy songs from the cartoon specials, think of the man gently playing in the background.

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Harry Connick, Jr.: Great Musician and Noteworthy Humanitarian

Thursday, February 5th, 2009

 

The charming crooner known best by the name Harry Connick, Jr. was born Joseph Harry Fowler Connick, Jr. on September 11, 1967 in New Orleans, Louisiana. His father was the district attorney of New Orleans. His mother was also a lawyer, judge and former Louisiana Supreme Court justice. In addition to their legal background, Harry Connick, Jr.’s parents also owned a record shop.

By three years old, Harry Connick, Jr. was already showing his musical talent by tinkering about on a keyboard. By age six, he was playing publicly. At age 10, he already made his first recording with a local jazz band. His formal education took place at Jesuit High School and Isidore Newman School in New Orleans.

After graduation, Connick made an attempt to study jazz at Loyola University, but it did not work out. He then moved to New York City to attend the Manhattan School of Music at Hunter College. Before much time passed, a music executive with Columbia Records, which is a subsidiary label of Sony, heard Harry Connick, Jr. and signed him to the label. Soon after, Connick released a self titled album.

His presence in the New York City jazz scene and major label success soon grew Connick a great reputation for musicianship. In 1989, Rob Reiner asked Harry to provide a soundtrack for the movie “When Harry Met Sally.” This was the major break Connick had been waiting for his whole career. The album, mostly comprised of jazz standards, went double-platinum and earned him a Grammy.

Connick then added to his success with an acting debut in the 1990 film Memphis Belle. He also earned another Grammy for his vocal performance on the album “We Are in Love” in the same year. Over the rest of the decade, Connick experienced continued success in both acting and music. His album entitled “She” saw the singer expand his jazz horizons into funk, and he appeared in the most successful film of 1996 alongside Will Smith when he played a role in “Independence Day.”

His first lead role in a film was in the 1998 movie Hope Floats. He starred alongside Sandra Bullock in the well-received romantic comedy. In 2000, he wrote the score for the Broadway musical “Thou Shalt Not,” and it earned Connick a Tony award nomination. The success of Harry Connick, Jr. in the entertainment field is as diverse as his interests, and his talent is seemingly limitless.

In recent years, Harry Connick, Jr. has musically returned to his jazz roots. He is also a noteworthy humanitarian. Connick championed relief efforts for local residents after the Hurricane Katrina disaster in 2005. On September 2, 2005, he helped organized and performed on the NBC telethon “A Concert for Hurricane Relief.”

Connick also spent several days touring the flood ravaged areas of his native city to drum up publicity and international attention in order to raise funds to aid flood victims. On September 6, Habitat for Humanity officially named him the honorary chair of their long-term project to rebuild homes in the city.

Connick married his wife, model Jill Goodacre, in 1994. They are happily married with three daughters named Georgia Tatom, Sarah Kate and Charlotte. Their family currently resides in Connecticut.

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Billy Joel: The Piano Man

Tuesday, February 3rd, 2009

 

William Martin Joel, better known as pianist and pop tunesmith Billy Joel, was born on May 9, 1949 in the Bronx. He was raised in a town called Hicksville, New York by an English mother and a German father. He has a sister named Judith and a half-brother named Alexander, who is also an accomplished piano player and conductor. In fact, Joel’s father was an acclaimed piano player as well. A talent for tickling the ivories seems to run in the Joel family.

Ironically, Billy Joel didn’t initially want to take piano lessons. He finally did at his mother’s insistence, but neighborhood kids picked on Joel for being interested in music instead of sports. Joel studied under a Julliard music teacher who also happened to teach ballet, so bullies accused him of taking dance lessons.

Joel eventually took boxing lessons in order to defend himself. He ended up being a somewhat successful contender on the amateur Golden Glove circuit.

Partly due to his rock and roll lifestyle, Billy Joel was one credit short of graduating high school. Music was his true calling, and he decided to pursue his dreams of becoming a pop star after seeing The Beatles perform on The Ed Sullivan Show in 1964. Joel made his first recording at age 16 with a British Invasion cover band called The Echoes.

Joel signed his first solo record contract in 1971 with Artie Ripp of Family Productions. It was entitled “Cold Spring Harbor,” but it was mastered at the wrong speed and distorted the pitch of Joel’s voice. Songs like “She’s Got a Way” and “Everybody Loves You Now” were on the album, but they consequently didn’t garner much attention until the 1980s when they were re-released.

Billy Joel’s first hit song was “The Piano Man.” Released in 1973, it is still a popular radio and jukebox tune around the world today. It skyrocketed his career, and he was then able to be more hands-on in the production of his own songs. He is one of a select few musicians recording today that are in charge of their own brand of music by having their name on the copyright instead of a recording company.

Once Joel was in control, the hits of the late ’70s and ’80s started to hit the streets. From ballads like “Just the Way You Are” to rocking tunes like “Uptown Girl,” Joel’s music made him a household name.
Billy Joel was inducted to the Rock and Roll Hall of Fame in 1999. Although he officially announced his retirement from recording music in 1993, he frequently tours and releases compilation albums. Rumors are circulating about an upcoming tour with Joel and Elton John, reuniting the two piano legends onstage.

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Ragtime Pianists Down Through the Years

Sunday, February 1st, 2009

 

Ragtime is a style that developed from the roughest of neighborhoods and was originally performed in brothels. A precursor to jazz, it is enjoying a resurgence in popularity today. There are quite a few famous ragtime pianists, though many of the originators of the genre died before audio recording was widely available.

Though not famous purely for his piano playing, Scott Joplin remains the most influential ragtime composer. Joplin wrote the first instrumental (“Maple Leaf Rag”) to sell over one million copies. Though he never recorded a note, famous friends bore witness to his skills, saying that he played slowly but with perfect execution.

Joplin created several piano rolls for companies, some of which survive today. Unfortunately, the illness that eventually killed him also caused his later playing to suffer, which is why there is debate as to his technical skill. Still, Joplin’s mastery of ragtime composition laid the groundwork upon which later pianists would embellish.

Another ragtime composer noted for his piano skills was Ferdinand “Jelly Roll” Morton. Beginning his training at a young age in a local brothel, Morton developed both great technical skills and a rather infamous ego. He brought the techniques he had learned from playing ragtime piano to Chicago, where he wrote the first jazz song, “Jelly Roll Blues.” Morton brought traditions from New Orleans to the rest of the world and turned piano playing, and music in general, completely upside down.

Eubie Blake was yet another practitioner of the style, though he incorporated other musical genres into his playing. As a boy of four or five, he climbed onto an organ bench while shopping with his mother. Blake started fooling around with the instrument, causing the store owner to proclaim him a genius. His parents bought a pump organ, and he received lessons from his neighbor. He also played in a bordello before moving on to play in proper bands.

Blake composed the song Charleston Rag, which became a huge crossover hit. He went on to write one of the first Broadway musicals written and directed by African Americans.

Sometimes referred to as New York Ragtime, stride piano developed from traditional styles into its own form of playing. Developed during World War I by Luckey Roberts and James Johnson, it relies heavily on the left hand playing a bass line and the right hand playing chords on alternating beats. Though it is often related more to jazz playing, stride was given birth through ragtime.

Modern pianists continue to keep ragtime in the public eye. Butch Thompson was an integral part of A Prairie Home Companion between 1974 and 1986, serving as both the house pianist and band leader. Thompson began playing at the age of three, taking up lessons a few years later. After playing the clarinet in high school, he went to college and joined a local jazz group. After this, he traveled to New Orleans to learn from the masters of jazz and ragtime. He currently tours the world and hosts a jazz program on the radio in Minneapolis.

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Franz Liszt: The Greatest Pianist Ever?

Saturday, January 31st, 2009

 

Is there a way to definitively say someone is the “greatest pianist ever,” especially when the person in question lived long before recorded music? One of the contenders for the title is a gentleman by the name of Franz Liszt. His peers were awed at his skill and proclaimed his playing to be the pinnacle of instrumental prowess. European audiences bowed before him; women fawned over him; and fellow musicians aspired to be like him. Liszt was a master of the piano.

Born in the Kingdom of Hungary in 1811, Liszt was exposed to music at an early age. His father was an aspiring musician who played piano, violin and guitar and was personally acquainted with Beethoven. As a young child, Liszt would watch his father playing piano. He was interested in both sacred and gypsy music, which greatly influenced his later playing.

At age 11 he studied in Vienna and met both Schumann and Beethoven. Moving to Paris as a teenager, he was surrounded by virtuosos. The great violinist Paganini, who so accomplished that he was accused of being in league with the devil, sparked Liszt’s imagination. If someone could perform that well on the violin, he thought, why couldn’t a virtuoso do the same with the piano. He quit playing concerts for a few years in order to devote himself to practice. Having already become wildly successful as a live performer, this move stunned the public.

After moving back into the public eye, Liszt showed his new mastery of the instrument. He wrote that “ten fingers have the power to reproduce the harmonies which are created by hundreds of performers.” Just to show the audience what he meant, he followed an orchestral version of a Berlioz piece with his own solo arrangement. On a lone piano he made the piece more powerful than the entire orchestra.

In 1933 Liszt made an impression on Countess Marie D’Agoult, who left her husband and children to join his side. The couple lived in Switzerland and Italy for four years. He still gave performances, one of which is particularly noteworthy. The pianist Sigismond Thalberg had become very popular, and the two gave a dueling piano concert. While Liszt hadn’t been playing as often as Thalberg, he was more than ready to match his skill. Before a stunned audience, each pianist transcended the ordinary confines of the instrument, both technically and emotionally. Both were proclaimed victors by the assembled guests.

Though he constantly toured and composed his own pieces to rapturous reviews, he wanted to be recognized as a composer rather than a performer. He quit touring at age 36 in order to concentrate on his pieces. Liszt conducted orchestras and gave away free piano lessons. Later in his life he took holy orders, which was a definite contrast to his earlier life as a notorious playboy. He continued to compose experimental piano pieces until his death in 1886.

Throughout both his concert and composing careers, Liszt pushed the envelope of the piano. His work stretched the definitions of both acceptability and accessibility. Since his life, piano playing has never been the same.

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Mr. ShowmanShip of the Piano: Liberace

Friday, January 30th, 2009

Better known as just Liberace, Wladziu Valentino Liberace was born on the 16th of May, 1919. Born of Polish-Irish parents, he was born with a caul - a membrane covering him when he was born. In some cultures, including the cultural background that Liberace came from, being born with a caul was a sign that the new born was going to be genius in life. True or not, he was a great entertainer otherwise he would have not earned the names - Mr. Showmanship and The Glitter Man.

His father used to blow a horn in many bands and in movie theaters. When it didn’t pay the bills, he had the odd job here and there, working as a laborer. While the father taught the family to learn to value music, Liberace’s mother was one who didn’t agree that investment in music - be it a music player or music lessons - was a wise investment taking into consideration the amount of poverty that they lived in.

Liberace was quoted saying later in career that it was his father’s love for music, which he imbibed in his children was what taught him his musical values. Liberace’s musical education began with the piano classes that he started attending. The concerts that he was taken to and the way they were put to task, to practice and grow in music, imbibed in Liberace the need to be excellent.

Liberace’s obvious talents were noticed by the fact that at age seven, he learned many difficult pieces of music. He became well versed with fellow Polish pianist Paderewski’s work, whom he met when he was eight years old. His meeting with Paderewski greatly fired him up and he admitted that his new found passion for the piano post meeting Paderewski made his the passion previous to the meeting look like neglect, Liberace later said.

Apart from the music side of things, the family was not doing well. The Great Depression has reduced their manner of living greatly. Liberace had a speech problem which he was ridiculed for, in addition to him not being sports savvy and had liking to cook. For ten years, he studied under the able guidance of his teacher Florence Kelly. He learned all he could simultaneously playing gigs wherever he could find them for various occasions.

His first group was the mixers which he formed in 1934. He decided to name himself Walter Busterkeys during this period of time. He started making the style statement that he would be known for in his later life as an entertainer. It got a lot of attention which worked for him.

In 1937, Liberace competed in a music competition where he won the appreciation for his flare and showmanship. At 21, he was playing with the Chicago Symphony Orchestra. In 1942 Liberace made a switch to a more pop sound as opposed to playing classical music which was his forte.

He had to struggle making a career in the early 40’s, but by the time the 40’s ended, he was pretty well established. The reason for this was that he moved on from classical piano, to a more commercial pop sound which was more fun and he made the change from piano player to an all round entertainer.

He used the attention seeking acts that he used when he was growing - only this time he was getting more attention as a result of them. He started talking to the crowds and interacting with them instead of just playing for them. He even had a phonograph accompany him at times. What drove the drive to innovate the way he did was the wish that he had to connect directly with his audience and also to escape the reality of the struggle that a classical pianist would go through at the time.

He tried his hand at soundies too. Soundies were the early versions of the music videos, that we have now. He used the acts that he used to enthrall people with at his nightclub gigs and reproduced them in the soundies that he was in. He became a regular at Las Vegas.

His innovativeness took him to extremes to see that he was the talk of the town, that he got people’s attention. He finally took his final stage name Liberace, categorically stating that it should be pronounced as “Liber-Ah-Chee”. Liberace extended his fans base to the rich and famous at whose parties he was a regular act.

In 1947, he brought a gold plated piano to go with the image that he projected then of being Liberace - the most amazing piano virtuoso of the present day.

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The Great “Cocktail” Pianists

Monday, January 26th, 2009

 

Nothing adds more elegance to a party than a cocktail pianist tinkling away gently in the background. These days you can flip through the phone book to find a good cocktail pianist to play at your wedding, engagement party or gala dinner. Most of them sing too, and they definitely take special requests. Modern cocktail pianists follow in the style of greats like Eddy Duchin, Liberace and Carman Cavallero, among others.

Eddy Duchin was relatively young when he died at age 40, but in his short life he managed to carve a legacy as a truly unique and standout cocktail pianist. He left his career as a pharmacist to concentrate on his love for music, particularly the piano. Despite having no formal training, his engaging personality, good looks and charm helped him achieve popularity at the Central Park Casino. It was a swanky nightclub more than a casino, and eventually Eddy took the lead in the orchestra.

Eddy Duchin was a household name by the mid-30’s, and today he’s known as one of the first pianists to lead an entire orchestra. His son, Peter Duchin, followed in his father’s footsteps. Peter became an accomplished pianist in his own right and is actively involved in the American arts and culture scene.

Carmen Cavallero earned himself the nickname “Poet of the Piano” for the way he played. His style was typical of what many contemporary cocktail pianists aim to sound like: tinkling, rippling melodies, classic mixed up with a little pop. He also experimented with Latin music and jazz. He quickly became the lead solo pianist in a group he joined, but then left to form his own five-piece band in 1939. It proved so successful that the group was expanded in the early 1940’s.

Carmen and his band toured across America, finding a favorite spot at San Francisco’s Mark Hopkins Hotel. Carmen’s popularity skyrocketed with the release of Sukiyaki, a song first made popular by Japanese singer Kyo Sakamoto. A few years before he died in 1989, Carmen Cavallero’s band was one of the most listened-to groups in San Francisco.

Duchin and Cavallero’s style of cocktail piano influenced many young pianists. One of them was a young Polish-Italian called Wladziu Valentino Liberace, better known as simply Liberace. Quite early on it was clear that the young Liberace would be a phenomenon. He learned the piano at age four. By seven he was memorizing and replaying complicated pieces. He was a lonely teen teased by his peers, so he threw himself into his music. He played at every event that would pay, even strip clubs and cabaret bars.

Liberace developed his signature showman style slowly. He moved away from playing competitions to putting on his own shows. He started by tentatively mixing classics with the pop music of the moment. Then he started adding dialogue, interacting with his audience and even taking requests. By the mid-1940’s, Liberace was the talk of show business. His act became more flamboyant and entertaining. His costumes and custom-made pianos with sequins were fantastic, but he never allowed his showiness to overshadow his music. Even after his death in 1987, music critics still describe him as a potent, extraordinarily talented performer.

The first cocktail pianists were interesting because they were different. They broke away from playing stilted classics to halls of stuffy aristocrats. Cocktail pianists made the music their own, using their creative talent to produce something original and entertaining. They communicated with their audiences, making them feel like part of the performance rather than removed from it. The first cocktail pianists like Duchin, Cavallero and Liberace did us a favor when they set piano music free.

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Erroll Garner: One of a Kind Jazz Pianist & Composer of “Misty”

Thursday, December 11th, 2008

One of the most influential pianists in my life was Erroll Garner - affectionately nicknamed “the elf”. I went to see him at a concert in Sacramento when I was 14, and I was astounded that anyone could get that much music out of a piano. I went home that night and played and played, and decades later I’m still trying to master his style, and I still have a LONG way to go.

Born in Pittsburgh, Pennsylvania on June 15, 1921, Erroll Louis Garner was destined to be an amazing jazz pianist and composer. By the age of three, Erroll was playing the piano successfully. Like many successful composers and musicians, he did not choose to follow traditional teaching methods to learn the piano. He was a self-taught musician who never learned to read music. He simply played by ear, not by the page.
Being a piano savant, Erroll Garner began his long career in the spotlight at the age of seven. He started appearing on a Pittsburgh radio show. Nothing could stop Erroll. He was performing on the Allegheny riverboats by age 11. In 1937, his collaboration with saxophonist Leroy Brown became the highlight of Garner’s young career. Little did he know that his life was going to hold even more success.
In 1944, Erroll Garner moved to New York. From 1944 to 1947, Garner worked with bassist Slam Stewart and Charlie Parker. Although he was an amazing talent, he was quite small in stature; therefore, according to some, Garner would often sit on top of a large Manhattan telephone book.  During the majority of his performances, along with sitting on a telephone book, Erroll Garner also was rumored to sing while playing. His vocals are featured in many of his recorded performances.
Although his musical ear was his major asset, Garner was also well-known for his compositions.  His most recognized and celebrated composition was “Misty.”  “Misty” was written in 1954.  Because of this song, Erroll Garner was inducted into the Grammy Hall of Fame 37 years after its release. The song “Misty” also became an inspiration for the 1971 movie “Play Misty for Me.”
In his own words, Erroll discussed his gift, stating, “I always play what I feel. I always feel like me, but I’m a different me every day. I get ideas from everything. A big color, the sound of water and wind, or a flash of something cool. Playing is like life. Either you feel it or you don’t.”  Of course, Erroll Garner was modest about his talents. However, it is agreed that his ability for playing the piano and using his ear to play music were remarkable talents.
Earl Hines, a fellow pianist and Pittsburgh resident, was a great example and influence for Garner.  Garner’s level of success is often compared to the fame achieved by Louis Armstrong and Fats Waller.
From 1947 through 1991, Erroll Garner recorded and released 15 records. The most recent record from 1991 was “Body and Soul.”  His most popular live recording was “Concert by the Sea” with bassist Eddie Calhoun and drummer Denzil Best.  Other well-known albums included 1947’s “Giants of the Piano,” 1951’s “Erroll Garner at the Piano,” 1958’s “Paris Impressions” and 1967’s “That’s My Kick.” “Erroll Garner,” “Mambo Moves Garner,” “Misty,” “Feeling is Believing,” “Erroll Garner Amsterdam Concert,” “Erroll Garner Plays,” “Gemini,” “Magician” and “Play it Again Erroll” are the remaining of Garner’s recorded albums.
The United Kingdom hosted two rare consecutive appearances of Erroll Garner in 1964 on the British Broadcasting Corporation’s music series called “Jazz 625.” Garner performed with bassist Eddie Calhoun and drummer Kelly Martin in these performances. A notorious shot of Garner was taken during these sessions. This shot includes sweat running down Garner’s face due to extreme thought and concentration during the performances.
At the time of his death, Erroll Garner was well-known all over the world. On January 2, 1977, he died at the age of 56.

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