Red Garland at the Prelude – Red Garland

Though these selections have been issued at one time or another on four different albums, the definitive two-CD reissue from 2006 compiles what seems to be a complete, single-evening recording done at the Harlem nightclub the Prelude on October 2, 1959. With a rhythm section from Philadelphia including drummer Charles "Specs" Wright and bassist Jimmy Rowser, pianist Red Garland jogs through a stack of standards that exemplifies the refined, elegant approach to jazz that made him one of the most desired accompanists in history. At times running up and down the keyboard like a gazelle, or using the chiming, locked-hands technique perfected by Erroll Garner and Ahmad Jamal at the time, the pianist breezes through these tunes with the will of a true master and the heart of a lion. It is lovingly recorded by Rudy Van Gelder in one of his rare off-site, out-of-studio excursions, capturing a perfect balance of the instruments. What is most remarkable is Garland's consistency, as there are absolutely no bad apples in this bunch. The mix of material shows no particular single influence, although Count Basie and Duke Ellington loom large, while the variation between composers and mainstream jazz styles gives the recording considerable depth. Wright uses brushes on most of the material, contributing to the easy-as-pie feeling, while the brilliant and criminally underrated Rowser is there for the trio with any and every step, rhythm change, or tempo thrown at him. Basie's "M-Squad Theme" signifies Garland's style -- bebop constructed carefully -- while he takes creative liberties on the tuneful melody of "There Will Never Be Another You," clearly stretching the theme out. He takes off in flight during another Basie theme, "Let Me See," a fast bopper with two-fisted accents, and uses off-minor flourishes à la Thelonious Monk for "We Kiss in a Shadow." Most of these interpretations are concise and to the point, but a handful of them use extended solo passages, as in the straight-laced "Satin Doll," the easy and patient "Like Someone in Love," and the nine-minute self-explanatory ballad "Mr. Wonderful." The second CD of the 2006 reissue moves along quicker and the pianist changes up a bit. He does a playful take of the forgotten tune "It's a Blue World" as Wright pays deft attention to the rhythm, digs into the blues on the slow, steamy original "Bohemian Blues," fetes Ellington during "Just Squeeze Me," and gets down and dirty for another of his own compositions, this one the spontaneous "Prelude Blues." The last two tracks are previously unissued, including a furious take on "Cherokee" and the two-minute closer, "One O'Clock Jump," which he did on the bandstand two other previous times. There are also two versions of "Satin Doll" and a false start on "Lil' Darlin'" that were in his mind imperfect, so he chose to do them again during this evening. Garland's mistakes would still be genius for most jazz pianists, and the double-CD set of the pianist and his compatible trio in their prime stands as testament to the potency of artistic jazz viability at a peak time in his storied career. Red Garland at the Prelude comes easily recommended, and is a great example for students of the classic piano-bass-drums trio format. ~ Michael G. Nastos, All Music Guide