Label: Ojc
Audio CD: (July 1, 1991)
Jazz
I can't add much to the stylistic notes from the always- knowledgeable Mr. Chell in his review. I will say, however, that this is an extremely good introductory album for anyone interested in great, not-watered-down (read, "contemporary" or "mellow") jazz. Coltrane and Garland mesh extremely well together, and even Donald Byrd, not my favorite trumpet player for the reasons stated by Mr. Chell, sounds strong, confident, and in synch with the other musicians. All three songs are masterpieces highlighted by immensely satisfying solos (what else would you expect from musicians of this caliber), especially the title cut and the slightly boppish take on "They Can't Take That Away From Me."
This was one of the first jazz albums I owned; I purchased a used vinyl with a notation on the cover that read something like "scratchy but excellent!" I listened to it many times, and the supremacy of the musicians rose like cream through the worn record. Fortunately, I found it again at Amazon.com in CD form, and am enjoying it just as much as when the jazz genre was so new to me. Yes, it's a personal favorite with some history behind it, but its excellence may make it one of your favorites as well.
With George Joyner on bass and Arthur Taylor on drums(who are also featured on "The Best of the Red Garland Quintets," another CD worth checking out.) Engineered by the great Rudy Van Gelder, this 1957 studio date was remastered for its 2001 re-release.
By M. Allen Greenbaum.
**
How easy it is to dismiss, ignore, take for granted the brilliance of Red Garland. On the other hand, maybe Coltrane deserves the credit for bringing out the best in these "merely" frontline musicians. "All Mornin' Long" is a Bb blues running over 20 minutes. Coltrane has the first solo--probing, passionate, daring. Time for the ensuing players to run for cover or stand up like real men. Donald Byrd, always a tasteful and melodic if "safe" player, practically goes for broke for a change. He employs some half-valve effects (rare for Byrd) and aims for some upper-register notes that aren't there (no matter--it's one of the few recorded moments when Byrd really reaches). Then it's Red's turn.
Red not only holds his own but makes you forget about what's preceded--not through blazing technique or adventurous innovation but ceaseless invention and an incorporation of every possible style. He alternates "trite" rhythm and blues riffs with breathtakingly lithe, Powell-like single-note lines; he moves to his "stretched" block chord style for two, not just one, extended stretches; he makes the blocked-chord style work at a tempo that would discourage its use by any other pianist. His solo, however harmonically and melodically "conservative," is a tour de force.
Dozens of pianists have borrowed from the Garland vocabulary--Gene Harris, Wynton Kelly, Monty Alexander, Ahmad Jamal. This recording is just another reminder that there was only one pianist who mastered that language.
By Samuel Chell.
**
On November 15, 1957, a quintet headed by pianist Red Garland recorded enough material for two records. This CD reissue (whose companion is Soul Junction) has a 20-minute version of "All Mornin' Long," along with briefer renditions of "They Can't Take That Away from Me" (a mere ten minutes) and Tadd Dameron's "Our Delight." More important than the material is that, in addition to Garland, the main soloists are John Coltrane and trumpeter Donald Byrd. Byrd was on his way to getting his sound together, while Trane, very much in his sheets-of-sound period, was already blazing a new path for jazz to follow. An excellent and often quite colorful jam session-flavored hard bop set.
**
Red Garland- Piano
John Coltrane- Saxophone
Donald Byrd- Trumpet
Art Taylor- Drums
George Joyner- Bass
**
01. All Mornin' Long 20.18
02. They Can't Take That Away From Me 10.25
03. Our Delight 6.18
**
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