Among the ensembles highlighted is the quintet of pianist Raph Schecroun (born October 30, 1925 in Oran, Algeria)—better known as Erroll Parker, a working name that derives from two of his jazz heroes, Erroll Garner and Charlie Parker. An artist of undeniable talent who, despite his gifts, remains relatively unknown today. He moved to Paris at the age of 18 where for a time he was a fixture at the Club Saint-Germain during its golden age, playing alongside Kenny Clarke and, above all, James Moody, whose influence left a lasting mark on him.

“An artist through and through,” wrote journalist, promoter, and producer Marcel Romano, “Raph is gifted in many areas, and ultimately this abundance of talents is harmful to him, because he cannot make a choice. When he gave up music more than five years ago to devote himself to sculpture, Raph only played the tenor sax. Through contact with Moody, he had managed in a few months to express himself with perfect assurance and an almost satisfactory technique, which proves that here again, he could have astonished us. If he hadn’t sold his instrument, he would undoubtedly be at the forefront among our best  specialists.”

Despite his voluntary exile, Raph never truly lost touch with jazz. A restless bohemian, he returned to the piano now and then, often during seasons on the French coast—holidays that rarely ended well, since he was sometimes forced to leave hotels in the middle of the night. That summer of 1955, Juan-les- Pins did not see him; instead he returned to the Club Saint-Germain before departing on a Scandinavian tour with Chet Baker in December 1955.

In the meantime, he had the chance to establish his name with a recording that confirmed him not only as a brilliant soloist in his own style, but also as an arranger and leader. His quintet brought together two tenor saxophonists, Jean-Louis Chautemps and Jean-Claude Fohrenbach, supported by the powerful rhythm of young bassist Jean-Marie Ingrand and drummer Jacques David.

Raph’s playing was a constant source of energy, pushing the soloists forward and keeping the pulse aloft. Chautemps combined soul and sound, while Fohrenbach, his close friend, played with a more forceful edge. Their interplay on vibrant readings of Out of Nowhere, Star Eyes, and Broadway recalls the celebrated dialogues of Bill Perkins and Richie Kamuca—two tenors sparring with individuality and spirit, clearly delighting in each other’s company [...]

Schecroun recorded some commercial music on organ in 1960 and then, to escape from an exclusive contract so as to record jazz versions of Top 40 material on piano, he used the pseudonym Erroll Parker. In 1964, he wrote the song "Lorre", which became a hit in France, and opened his own jazz club "Le Ladybird" on Rue de la Huchette. The latter records sold so well that he permanently changed his name. A car accident in 1963 cut short his commercial success and forced him to change his style.

After moving to New York in 1968, he formed the Erroll Parker Experience, which featured two horns. Because he was not satisfied with any other drummers, he began doubling on drums himself and the first few records for his Sahara label find him playing (via overdubbing) both piano and drums. In 1982, while teaching at the Williamsburg Music Center, he formed a big band that eventually became his tentet. Due to the eight horns he utilized, Schecroun stopped playing piano except for solo engagements and stuck to drums. His recordings (which include a solo piano tribute to Thelonious Monk) utilized such sidemen as Robin Eubanks, Wallace Roney, Donald Harrison, Steve Coleman, Graham Haynes, Philip Harper, Byard Lancaster, and Jimmy Owens, among others. Schecroun died of liver cancer on June 2, 1998.

—Jordi Pujol (Excerpts taken from the inside liner-notes of FSRCD 1166)