Entremont's piano can be heard on the Sony CD with Daniel Varsano.

An early 80's CD of his piano work, CBS/SONY 45505, should still be available. I believe SONY 828329 is the same CD.

Audio, Aug 82:

Here, recorded in France, is CBS' long-time French piano stalwart, an excellent man to have around. And here is that cryptic old goat, Satie, a man whose music stirs up controversy every time it gets heard, and has since around 1890. He really endures. And he is the dullest composer who ever lived, at least most of thetime on first hearing. Even Entremont, French to the core, doesn't change that.

The reasoning behind it all is that Satie was an iconoclast - an image smasher. He was a gentle John Cage in his day, doing outrageous things in a sharply humorous way, designed to shock people. But not the noisy kind of shock! The opposite. When Mahler and Bruckner and Sibelius were launching vast symphonies, when Tchaikovsky was pounding away with the "Pathétique" and Dvorak with "The New World", this Satie was launching nasty little pieces of nothing at all, lasting a minute or two, with names like "Piece in the Shape of a Pear," and assorted ribald comments written here and there. It was deliberately underplayed mayhem and a lot of perceptive musicians got the point - Debussy, for instance. You think you hear Debusssy in some of these little pieces; actually it's the other way around.

Satie, really, was no composer. Just clever with what he had. His later music, borrowing back from the bigger of his disciples, has more sparkle and style to it in musical terms but I wish somebody would bury those three deadly Gymnopédies, always played together like three very wet blankets. And several others too. Too much! Anyhow, Entremont being French, does these things up faithfully and well.
<further complains that the sound is unimpressive>

From Gramophone April 90:

There are few more rewarding recitals of Satie's piano music than Philippe Entremont's mid-price 1981 collection which includes the three favorite Gymnopédies, and Gnossiennes, plus the Avant-dernières pensées, Croquis et agaceries d'un gros bonhomme en bois, Descriptions automatiques, and Les trois valses distinguées du précieux dégoûté (with their subtitles indicating "waste", "spectacle", "legs). The programme opens with delectable performances of two of the Valses chantées - "Je te veuz" and "Poudre d'or" - and with the Premier Nocturne. Entremont is completely at home in the delicate melancholy of Satie's gentler pieces, playing them thoughtfully and introspectively. His tempos are often slow, but his concentration holds the listener in an atmospheric spell. The witty Descriptions automatiques are humorously light-hearted and the sly illusions to Mozart, Charier and Debussy in the Croquis et agaceries d'un gros are relished with a proper sense of fun. The piano recording is most realistic. CBS/Slony Classical 40-45505


From Penguin 1990 Guide:

Entremont's tempi to be on the slow side, and the gentler pieces have a grave melancholy and a dark color which is very affecting. He finds plenty of wit in the picaresque items and, although the Valses chantées could perhaps have a little more rhythmic touch, this is still distinctive playing. The CBS recording is modern and attractively full in timbre.

Gramophone Aug 80, Max Harrison:
Parade, Relâche, Gymnopédies 1 & 3 (orchestrateded by Debussy)
Royal Philharmonic Orchestra conducted by Philippe Entremont, March 1971
CBS 61882 (CBS 61992?)

When this first appeared I welcomed it and I do so again, even if the numbers of the two Gymnopédies are still reversed on sleeve and label as they were in 1971. Entremont, whom we think of mainly as a pianist, responds well to the various popular idioms Satie employs in Parade, not overstressing them but, rather, balancing these many different facets, which sound unrelated in less committed performances. According to Picabia, it scenarist, "Relâche, like infinity, has no friends", yet it, too, receives a beneficially decisive interpretation, with the sequence of brief dances well characterized. In each ballet Entremont is aided by fine orchestral playin that is recorded both with warmth and clarity; in Parade the several special effects of typewriter, revolver, foghorn, etc. are, for once, in correct perspective. In comparison, the two brief Gymnopédies sound ponderous, but this largely because of Debussy's interesting yet inappropriate orchestrations.

Harrison also says about Parade in his 1983 review of the Adés CD: "It lacks the poetic atmosphere of Entremont's reading, which has remained the best locally obtainable version <of Parade> since it appeared in 1971."

From Penguin 1982 Guide:
(review of above orchestral LP)

Entremont presents the Gymnopédies sympathetically and brings plenty of bite and point to the other two scores, though he rather overdoes the humor in Parade. Still his Relâche is very good, and the recordings are fully acceptable.