Monday, January 11, 2016
Then his place in Jazz seemed to vanish. The Fusion/Disco/Rock Drums/Death of Jazz era came crashing down, maybe more on Erroll than others. His exuberant, happy piano was ruled fatuous and simplistic, partly because he couldn't read music. (So every session was truly improvised, first note to last.) The style he had devised--long, quizzical, inventive introductions followed by a kind of theme-and-variations dissection of the song, ending (usually) in a percussive, emphatic, slowing-to-a-stop of the music--was finally rejected as more ignorant than original, and his habit of grunting along with the melody sneered at (before Keith Jarrett brought a whole barnyard of ecstatic noises to the recording studio). Because the diminutive, elfin Erroll needed telephone directories to lift him higher on the piano bench, even this quirk was held against him. Yes, he couldn't "get no respect."
Garner died in the Seventies before the digital era and multiple-reissue CD sets brought artists back from Jazz obscurity. But throughout the decades of his eclipse, Concert by the Sea kept selling. I first heard Garner in the early Sixties, another college kid more ignorant than hip, drawn to the bouncy joy of his records, and then I got to see Erroll in action at the Seattle World's Fair. I didn't know anything about Jazz back then, but I had no trouble enjoying Garner at the keyboard; I subsequently learned of his proficiency (able to record enough tracks in one three-hour session to produce three separate 12-inch LongPlay records!), and I even loved his deluxe two-disc set of tunes celebrating Paris and France, many of them played on harpsichord. My vinyl copy of the Carmel concert had to be replaced a couple of times as the years passed, and I finally gave up imagining an expanded issue. But a couple of months ago, without much fanfare, The Complete Concert by the Sea suddenly appeared, 60 years on.
Also, recreating the "new" full-length concert rearranged for a chronological placement of tunes, seems to destroy the structured rise-and-fall, the careful build-up to a musical climax, that I believe one can hear in the 11 selections as originally presented. (This arrangement you can hear on Disc Three of the new set. I suppose there must be hundreds of concert albums that silently offer a selection arranged for effectiveness, but being able immediately to compare the two versions I'll bet is uncommon.)
I don't want to belabor the matters mentioned. This three CD set is a veritable feast for sore ears. (As we used to say in Spanish class, Punto final.) Instead, I'm going to end the brief review right here by advising all Garner and Concert by the Sea fans to proceed with abandon rather than caution. What was for 60 years a concise source of piano pleasure has belatedly and amazingly become an embarrassment of riches... even if henceforth I may personally choose to program Disc Three ahead of the other two.