Red Garland Albums (47)
'Red Garland at the Prelude'
Release Date 1/1/2007
Tracks 8
Label Universal Japan
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What The Critics Say
Originally released as two LPs (Red Garland at the Prelude and Red Garland/Live!), this single CD (which has around 77 minutes of music) features a particularly strong trio set by the pianist, bassist Jimmy Rowser, and drummer Specs Wright. Garland mostly sticks to standards, and the highlights include "Perdido," "Bye Bye Blackbird" (which is reminiscent of the famous Miles Davis version), and two versions of "One O'Clock Jump." Straight-ahead jazz fans should get this one. ~ Scott Yanow, All Music Guide
'It's a Blue World'
Release Date 10/26/1999
Tracks 5
Label Prestige/OJC
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What The Critics Say
Of the miles of Red Garland sessions recorded in the late '50s, some of the tapes didn't see the light of day until many years later. This session, except for "Crazy Rhythm," first appeared in the early '70s, and is typical of Garland's trio work of the '50s, evoking a mid-century nightclub atmosphere from Rudy Van Gelder's studio with the perfectly gauged help of bassist Paul Chambers and drummer Art Taylor. "Since I Fell for You" and "Teach Me Tonight" are taken at relaxed tempos, and after Garland's trademark block chords in the left hand and octaves in the right hand take care of the themes, they ride easily and winningly. "Crazy Rhythm" zips along at the usual steeplechase pace, with a fluid bebop solo from Garland and some agile bowing from Chambers (Chambers also gets an unusually lengthy bowed solo on "This Can't Be Love"), and the title track closes the CD reissue on a jaunty note. Garland fans -- and for that matter, fans of Vince Guaraldi, whose chord voicings very much resemble those of Garland -- need not hesitate. ~ Richard S. Ginell, All Music Guide
What The Critics Say
After being very active on records and in clubs from 1955-62, pianist Red Garland went back to his native Texas. He did not return to records until 1971, when he cut "Auf Wiedersehen" and this particular LP, which has not yet been reissued on CD; except for a couple of Japanese dates in 1974, it would be another six years before Garland began making a real comeback. Teamed up with Jimmy Heath (who doubles on tenor and soprano), bassist Peck Morrison and drummer Lenny McBrowne, Garland plays in the same distinctive style he had in the 1950s, not showing any decline or loss of chops. The quartet performs four jazz standards, the title cut (a Heath original), and Leroy Vinnegar's "For Carl." ~ Scott Yanow, All Music Guide
What The Critics Say
Recorded during pianist Red Garland's final period, this enjoyable outing (a Muse LP) has three trio numbers by Garland with bassist Chris Amberger and drummer Eddie Moore plus three selections that add altoist Leo Wright to make the group a quartet. Garland's style was unchanged from the '50s, as he shows on "Will You Still Be Mine" and "Bye Bye Blackbird." Wright's portion of the date finds him playing lyrically on two ballads (including a surprise version of "I Left My Heart in San Francisco") and swinging on "Bag's Groove." The set was recorded live at San Francisco's Keystone Korner and was clearly a happy occasion. ~ Scott Yanow, All Music Guide
What The Critics Say
After years of silence (with only one recording cut during the 1963-73 period), Red Garland had a final outburst of recording activity during 1977-80 (with one final effort in 1982). His piano style was virtually unchanged from the late 1950s, and this trio outing with bassist Sam Jones and drummer Al Foster holds its own with his better-known earlier material. Garland is typically distinctive on such numbers as "It's All Right With Me," a swinging "On a Clear Day" and "Cherokee." Originally cut for Muse, this set was reissued on CD by 32 Jazz in 1998. ~ Scott Yanow, All Music Guide
What The Critics Say
The emphasis is on the blues (although not exclusively) on this CD reissue. The original eight-song program has been joined by "A Portrait of Jennie" by the same trio (pianist Red Garland, bassist Sam Jones and drummer Art Taylor) from an earlier date. Most unusual about the set is that Garland makes a rare (and effective) appearance on organ during "Halleloo-Y'All." Otherwise, this is a conventional but enjoyable set of bluesy bop, highlighted by "Revelation Blues," "Everytime I Feel the Spirit" and "Rocks In My Bed." ~ Scott Yanow, All Music Guide
What The Critics Say
Pianist Red Garland's fourth recording as a leader had often eluded reissue until this 1998 CD was released. Garland is teamed up with bassist Paul Chambers, drummer Art Taylor and (on "Four" and "Walkin'") guest guitarist Kenny Burrell. Garland plays in his distinctive style consistently throughout Red Garland Revisited!. Highlights include "Billy Boy" (which was adapted from Ahmad Jamal's rendition), "I'm Afraid the Masquerade Is Over," "It Could Happen to You," and two Burrell tracks. Predictably excellent music; Garland recorded more than 20 additional albums within the next five years. ~ Scott Yanow, All Music Guide
What The Critics Say
This CD is a reissue of P.C. Blues, a trio album from 1957 that features pianist Red Garland with bassist Paul Chambers (the "P.C." in the title) and drummer Art Taylor. In addition to the four original titles (which are highlighted by a sensitive version of "Lost April" and the lengthy "Tweedle Dee Dee"), Garland's feature on a 1956 Miles Davis record, "Ahmad's Blues" (which features him with Chambers and drummer Philly Joe Jones), adds to the value of this thoughtful but swinging release. ~ Scott Yanow, All Music Guide
'Red Garland at the Prelude, Vol. 1'
Release Date 3/28/1994
Tracks 13
Label Prestige Records
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What The Critics Say
Originally released as two LPs (Red Garland at the Prelude and Red Garland/Live!), this single CD (which has around 77 minutes of music) features a particularly strong trio set by the pianist, bassist Jimmy Rowser, and drummer Specs Wright. Garland mostly sticks to standards, and the highlights include "Perdido," "Bye Bye Blackbird" (which is reminiscent of the famous Miles Davis version), and two versions of "One O'Clock Jump." Straight-ahead jazz fans should get this one. ~ Scott Yanow, All Music Guide
