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2 x CD |
| 4.901 Ft
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| 1. CD tartalma: |
| 1. | M Squad Theme
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| 2. | There Will Never Be Another You
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| 3. | Let Me See
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| 4. | We Kiss In A Shadow
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| 5. | Blues In The Closet
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| 6. | Satin Doll
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| 7. | Lil' Darlin' (False start)
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| 8. | Li'l Darlin'
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| 9. | One O'clock Jump
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| 10. | Perdido (instrumental)
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| 11. | Bye Bye Blackbird
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| 12. | Like Someone In Love
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| 2. CD tartalma: |
| 1. | It's A Blue World
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| 2. | Marie
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| 3. | Bohemian Blues
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| 4. | One O'clock Jump
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| 5. | A Foggy Day
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| 6. | Satin Doll
instrumental
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| 7. | Mr. Wonderful
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| 8. | Just Squeeze Me (but Don't Tease)
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| 9. | Prelude Blues
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| 10. | Cherokee
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| 11. | One O'Clock Jump
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Jazz / Hard Bop
Recorded: 10/02/1959
Red Garland Trio
Red Garland - piano
Jimmy Rowser - double bass
Charles "Specs" Wright - drums
Disc 1: 61:47 min.
Disc 2: 76:09 min.
On the night of October 2, 1959 William "Red" Garland, a former prizefighter turned winsome jazz pianist, delivered a knockout performance. Garland (1923-1984), best known for his work from 1955 to 1958 with Miles Davis's first great quintet, had since 1956 also made a series of well-received LPs for Prestige that balanced standards and jazz tunes, ballads and bounce tempos and - always - the blues. Known for his crystalline keyboard touch, punchy left hand, fleet single-note lines and, most of all, chiming block chords, Garland was among the most popular and influential piano stylists of his day.
On this autumnal evening at a Harlem taproom, now long shuttered, he was the perfect host, captivating his guests with a party mix of Swing Era favorites ("Marie," "One O'Clock Jump,"), breezy bebop ("Cherokee," "Blues in the Closet"), slow rockers ("Lil' Darlin’," "Like Someone in Love"), and fervent balladry ("Mr. Wonderful," "We Kiss in a Shadow"). And there were forays into Ellingtonia ("Perdido," "Just Squeeze Me," "Satin Doll"), some of Red's most masterful blues ("M-Squad Theme," "Prelude Blues"), and numbers with which he'd become synonymous, thanks to his association with Miles ("Bye Bye Blackbird").
Backed by two friends from Philadelphia, the rock-steady bassist Jimmy Rowser and the drummer Charles "Specs" Wright, who played the brushes (and sticks) as adroitly as Minnesota Fats handled his pool cue, Garland was at the very top of his game. Luckily for us, Rudy Van Gelder, jazz's foremost engineer, was on the premises with his recording equipment, capturing every golden note.
Pianist Red Garland is best known for his work with Miles Davis's groundbreaking quintet (where he played alongside John Coltrane and Philly Joe Jones), but he turned in some excellent albums as a leader as well. The two-disc set AT THE PRELUDE, a live date recorded in 1959, is one of them.
Bassist Jimmy Rowser and drummer Charles Wright lend light, propulsive support to Garland's keyboard work, which is highlighted by deft, melodic solos and his famed block chords. The repertoire includes standards ("A Foggy Day"), jazz favorites ("Cherokee"), and a host of swinging, bop-inflected blues. This package comes highly recommended to Garland enthusiasts, and should please fans of classic '50s and '60s jazz.
Red Garland
Active Decades: '50s, '60s, '70s and '80s
Born: May 13, 1923 in Dallas, TX
Died: Apr 23, 1984 in Dallas, TX
Genre: Jazz
Styles: Hard Bop
Red Garland mixed together the usual influences of his generation (Nat Cole, Bud Powell, and Ahmad Jamal) into his own distinctive approach; Garland's block chords themselves became influential on the players of the 1960s. He started out playing clarinet and alto, switching to piano when he was 18. During 1946-1955, he worked steadily in New York and Philadelphia, backing such major players as Charlie Parker, Coleman Hawkins, Lester Young, and Roy Eldridge, but still remaining fairly obscure. That changed when he became a member of the classic Miles Davis Quintet (1955-1958), heading a rhythm section that also included Paul Chambers and Philly Joe Jones. After leaving Miles, Garland had his own popular trio and recorded very frequently for Prestige, Jazzland, and Moodsville during 1956-1962 (the majority of which are available in the Original Jazz Classics series). The pianist eventually returned to Texas and was in semi-retirement, but came back gradually in the 1970s, recording for MPS (1971) and Galaxy (1977-1979) before retiring again.
---Scott Yanow, All Music Guide |
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