The first of these albums, That's My Kick, marks Garner's return to the studio in 1966 after a five-year gap.

Despite being a different lineup from his regular trio (guitar and congas being added) it is very formulaic – as much of his later work was. For the most part, out-of-time introductions morph into cheesy swing, or a Latin percussion straitjacket pins down his rhapsodic tendencies, so it's only on the flowing performance of his own ballad ‘Gaslight’, with its predominantly solo feel, that we hear the great artist who was so splendid in his live concert recordings of the time.

As in the first of this series of albums, reviewed recently, Mack Avenue have eschewed the strategy Telarc adopted when they originally issued this material on CD in the 1990s, so instead of (as Telarc did) fitting two albums onto a single disc, we only have the original 40-minute LP. This applies to the other two albums here as well, making them poor value for money compared to their predecessors (which can still be picked up pretty cheaply second-hand).

The addition of a brass section playing Don Sebesky's charts on Up In Erroll's Room is not as inhibiting as the rash of percussion on the first disc; indeed, Garner fitted naturally with the larger forces and in addition to some jumping dance tracks (‘Groovin' High’, ‘Watermelon Man’), there's a model of his ballad playing on ‘It's The Talk of The Town’. He's on characteristic form on ‘Cheek To Cheek’, urging himself on with grunts and groans, and playing brilliantly over the ‘brass bed’ as the sleeve titles his accompanists. This is the pick of these three albums.

By contrast, Feeling Is Believing, cut at the very end of the 1960s and released in 1970, has that imperative that many producers felt was needed to counter the rise of pop music – namely to include versions of recent hits, including the Beatles' ‘Yesterday’, Sinatra's ‘Strangers in the Night’ and Dusty Springfield's ‘Look of Love’. These don't fall under Garner's fingers as assuredly as his own compositions or the beautifully played standard ‘For Once In My Life’. So while it's great to have these albums available again, the playing times of all three are meagre, and only one of the three exemplifies Garner's very best work.