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This double-disc set gathers material from four previous albums that dribbled out over twenty years, from the '60s to the '80s. It's the complete record of one night in HarlemOctober 2, 1959when the Red Garland trio did three sets at a club called the Prelude. The night was historic for many reasons; my focus is what the music actually sounds like, and why it's still of interest nearly half a century later.
Aside from the incomparable energy of a live date, including some false starts, audience laughter, and the distinct loosening-up of players and listeners by the third set, this recording conveys the essence of no-frills trio playing. Garland had an open, deceptively simple style with a lot of space and air; it supposedly developed at the urging of his one-time boss, Miles Davis, who wanted an Ahmad Jamal-like sound in his quintet. Whatever the source, it's an uncluttered approach that lends itself to both swing and bluessee, for example, "Perdido," "Bye Bye Blackbird" and "A Foggy Day" and any of the three versions of "One O'Clock Jump" for the former, and the nearly ten-minute "Bohemian Blues" for the latter.
This music remains relevant and enjoyable: it's timeless. (So is the revelation that in 1959, in the very cradle of jazz, people were also talking over bass solos!)
Track Listing: CD1: M Squad Theme, There Will Never Be Another You, Let Me See, We Kiss in a Shadow,
Blues in the Closet, Satin Doll (previously unissued), Lil' Darlin' (previously unissued), Lil'
Darlin', One O'Clock Jump, Perdido, Bye Bye Blackbird, Like Someone in Love. CD: It's a Blue
World, Marie, Bohemian Blues, One O'Clock Jump, A Foggy Day, Satin Doll, Mr. Wonderful,
Just Squeeze Me, Prelude Blues, Cherokee (previously unissued), One O'Clock Jump
Personnel: Red Garland: piano; Jimmy Rowser: bass; Charles "Specs" Wright: drums.
I love jazz because anything is possible; it has few rules and the best jazz breaks those ones. I prefer free improv because it doesn't really have any rules at all.
I was first exposed to jazz in my teens (in the late sixties).
The first jazz record I bought was Filles de Kilimanjaro by Miles Davis, shortly followed by Extrapolation by John McLaughlin.
My advice to new listeners is to listen as widely as possible and not to make snap judgments--stick with it.