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One of the greatest figures of the 20th century, Bob Dylan helped shape the sound and form of popular music in the rock & roll era. Dylan emerged from the Greenwich Village folk scene in the early 1960s, earning a reputation as a perceptive, powerful songwriter, equally capable of penning a protest anthem or a romantic love song. His flair for impressionistic, stream-of-conscious lyrics marked a shift within folk music, an evolution Dylan also introduced to rock & roll when he picked up an electric guitar in 1965. Over the course of 18 months, he released Bringing It All Back Home, Highway 61 Revisited and Blonde on Blonde, a trio of records that broadened the vocabulary of rock & roll, placing Dylan at the cutting edge of popular culture.

What do Freddie Hubbard, Stan Getz, Elvin Jones, Lee Konitz, Stanley Clarke, Eddie Daniels, Joe Farrell, David Bowie, Nine Inch Nails, The Smashing Pumpkins, Gwen Stefani, Seal, the Los Angeles Philharmonic and Martha Reeves (to name a few) have in common? The answer is, Mike Garson has played with them all!. These have been called “The fastest fingers in jazz.” David Bowie, for whom Garson has long been music director, says, “He’s the best rock & roll pianist I know.” Recording group Free Flight took advantage of his classical training, and Hollywood calls when it needs a virtuoso assoluto. In short, Mike Garson is a phenomenon, able to mimic Bill Evans or Liberace on command, or to soothe an audience with New Age hypnotics. But he’s at his very best wearing his “jazz hat.” Supported by a stellar cast of Brian Bromberg (acoustic bass), Ralph Humphries (drums) and Eric Marienthal (alto saxophone), Garson turns in a memorable set of originals and imaginative arrangements of standards.