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TCB The Montreux Jazz Label
09 September 2016
"This recording is considered a landmark in the career of Ray Charles."Smooth Jazz, 03-4-2017
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.
Garner, whose older brother Linton was also a fine pianist, appeared on the radio with the Kan-D-Kids at the age of ten. After working locally in Pittsburgh, he moved to New York in 1944 and worked with Slam Stewart's trio during 1944-1945 before going out on his own. By 1946, Garner had his sound together, and when he backed Charlie Parker on his famous Cool Blues session of 1947, the pianist was already an obvious giant. His unclassifiable style had an orchestral approach straight from the swing era but was open to the innovations of bop. From the early '50s on, Garner's accessible style became very popular and he never seemed to have an off day up until his forced retirement (due to illness) in early 1975. His composition "Misty" became a standard. Garner, who had the ability to sit at the piano without prior planning and record three albums in one day (all colorful first takes), made many records throughout his career for such companies as Savoy, Mercury, RCA, Dial, Columbia, EmArcy, ABC-Paramount, MGM, Reprise, and his own Octave label.
This recording is considered a landmark in the career of Ray Charles.
Smooth Jazz, 03-4-2017
(...) Past and present meet the future with this recording. (...)
The Absolute Sound, 21-3-2017
(...) But even better, Brother Ray and company slowly unroll several mournful blues heavy enough to flatten you. From the leader's stark and lonely self-accompanied first verse through the band's closing eruption of sound and emotion, "Come Rain or Come Shine" stretches into eight minutes of agonized yet joyful blues. (...)
All About Jazz, 17-3-2017
This is Ray, just as he's breaking big in the States, in fine voice, backed by a stellar big band.
These arrangements are beautiful.
De Volkskrant, 13-1-2017
''But inspited performances by the leader, his go-for-the-throat band and the delightful Raelettes more than make up for this technical flaw.''
Down Beat, 07-12-2016
''The piano and canes are not well balanced.''
Doctor Jazz Magazine, 01-12-2016
Best Rating: 4 **** stars
"Six of the seventeen tracks presented that evening were arranged by Quincy Jones and others were from charts of Ernie Wilkins. This was a fit band ready to tackle the continent."
Audiophile Audition, 17-11-2016
Best Rating: 4 **** stars
The eclecticism of Ray Charles around this time was amazing in every way and is an effortless excitement in a way that no other leader and band is now.
Buffalo News, 03-11-2016
From start to finish, the Rhythm Section is immaculate, even with the most demanding arrangements by Quincy Jones or Ernie Wilkins, especially drummer Bruno Carr.
Jazz Fun, 01-11-2016
"This album is so good that you want to listen to it over and over again."
"...the Raelettes give the finishing touch to the music. Don't miss this one."
"The 17 tracks will take you directly to music heaven for almost 79 minutes."
...Just before the climax of his career, the 'genius' in an authentic way.