The self-taught, stylistically distinct jazz pianist who sued his record label and became a trailblazer for artists’ rights and wrote “Misty” on an airplane in 1954… Erroll Garner of course! #jazzmonth #jazzlegends #jazzgiant #legend #musiclegend #errollgarner #icon #pianist #piano #jazzpiano #selftaught #qwesttv #selftaught #musicvideo #videoclip | Qwest TV

Who is Erroll Garner to you? After many months of development, we are excited to announce "Erroll Garner Uncovered", a 12-part podcast series hosted by acclaimed author and historian Robin D.G. Kelley. Each episode features an in-depth conversation with a different musician exploring one of Garner's Octave Remastered Series albums while examining their own musical journeys. Our guests include some of today's most important voices in jazz, as Uncovered attempts to answer one central question: Who

Erroll performing his original composition "No More Shadows" with his trio in on BBC's Jazz 625 television program. During the same tour, Erroll would perform "No More Shadows" in Amsterdam during his midnight Nightconcert performance at the Royal Concertgebouw. Get Nightconcert on double vinyl, CD, and digital on Amazon: explore.errollgarner.com/eg-nightconcert | Erroll Garner

Erroll Garner performing “Penthouse Serenade” with Eddie Calhoun on bass and Kelly Martin on drums live on Jazz 625. From his earliest years, Erroll Garner's relationship with music was defined by an intuitive genius. By four, he was recreating melodies on the piano by ear, soon revealing a photographic memory for sound. He could absorb a lengthy and intricate piece after a single hearing, later performing it with flawless recall. This innate ability meant he never learned to read music, buildin

Dizzy Gillespie said: "Earl Hines changed the style of the piano. You can find the roots of Bud Powell, Herbie Hancock, all the guys who came after that." Erroll Garner said, "When you talk about greatness, you talk about Art Tatum and Earl Hines." Earl Hines changed the sound of jazz piano by thinking beyond the keyboard. His horn-like attack, broken octaves, and rhythmic independence moved the instrument out of stride’s left-hand patterns and into a more modern, elastic language. That approach