Ahmad Jamal
Like Garner, Ahmad Jamal is a master of rhythm and space, hailing from the same Pittsburgh high school. While Garner created a full orchestra with his two hands, Jamal achieved a similar effect with his revolutionary trio concept. He famously used bassist
Israel Crosby and drummer Vernel Fournier as an extension of the piano, freeing himself up to build dramatic, dynamic solos full of surprising twists. Critics note that Jamal's style is an amalgam of Garner's ebullient flourishes and Art Tatum's prowess. If you love Garner's ability to turn a song into a grand event, you'll appreciate Jamal’s architectural approach to improvisation, which influenced everyone from Miles Davis to a generation of modern pianists. His use of space and suspense offers a fascinating contrast to Garner’s delightfully relentless fullness.
Oscar Peterson
If it's Garner's jaw-dropping virtuosity that captivates you, Oscar Peterson is a must-listen. Peterson himself was in awe of Garner's technique, particularly his ability to play blindingly fast octaves with one hand. While both were titans of the keyboard, their approach to swing differed. Garner's time was famously elastic, with his right hand often lagging behind the beat set by his guitar-like left hand, creating immense rhythmic tension. Peterson, on the other hand, was known for his flawless, driving, and precise sense of swing. Both pianists could command the entire instrument, creating a sound bigger than any one person should be able to make. For a taste of this shared brilliance, listen to Peterson's takes on Garner's classic composition, "Misty."
Dave McKenna
Erroll Garner was essentially a one-man big band. Dave McKenna was, too. McKenna was a master of what he called "three-handed swing," a powerful solo style where he’d play a walking bassline with his left hand, chords with his right thumb, and melody with his right-hand fingers. This created a full, swinging sound that, like Garner's, needed no accompaniment. While Garner's left hand kept a steady, four-to-the-bar rhythmic pulse, McKenna's was more mobile, emulating a walking bassist. This connection to the earlier stride and swing eras is a thread both pianists share. If you love the self-sufficient, all-encompassing joy of Garner's solo records, McKenna's work will feel like coming home.
Phineas Newborn Jr.
For sheer technical firepower that rivals Garner's, look no further than Phineas Newborn Jr. A pianist whose skill drew comparisons to Art Tatum and Oscar Peterson, Newborn was a true virtuoso. His signature move was playing lightning-fast melodic lines in octaves with both hands, a dazzling feat of coordination and power. While critics sometimes felt his technique overshadowed his emotion, there's no denying the excitement in his playing. His approach had components of Bud Powell and Erroll Garner, but was ultimately his own unique creation. If you appreciate the moments when Garner unleashes the full, awesome power of the piano, the explosive and intricate playing of Phineas Newborn Jr. will leave you breathless.
Cyrus Chestnut
For a more contemporary artist who carries Garner's torch of joyful, swinging, and soulful playing, Cyrus Chestnut is a perfect choice. Like Garner, Chestnut’s playing is deeply infused with a sense of happiness and a connection to blues and gospel traditions. His style isn't a direct imitation, but the spirit is there—the playful energy, the robust sound, and the ability to connect with an audience on a purely emotional level. While many modern pianists have pursued more cerebral or abstract paths, Chestnut has remained a powerful advocate for the kind of uplifting, rhythmically grounded jazz that Garner perfected. If you find yourself smiling whenever you hear a Garner tune, you'll likely find the same infectious delight in the music of Cyrus Chestnut.
