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And Red is always blue when he records. Death, Taxes, and Red Garland playing the blues— One can count on all of these things. Red's Good Groove was recorded in early 1962 by the Miles Davis nucleus of Garland and drummer Philly Joe Jones. Sam Jones replaces the ubiquitous Paul Chambers and Blue Mitchell and Pepper Adams round out the not-so-common trumpet-baritone front. This is a brief and relaxed session that finds some rather intricate arrangement. I would ask the listener to note Blue Mitchell's accompaniment of Red Garland during the latter's solo on "Our Love Is To Here To Stay." This calls to mind Miles Davis's trumpet obbligato behind solo's on the studio "Walkin'."
For the most part, this is a typical late '50s early '60s blowing session. The main difference is that a little more than "blowing session" care was taken to put the music together, in both arrangements and song choice. "Take Me in Your Arms" is certainly not the most "standard" standard". The Adams original "Excerenti" is also a treat, oddly named and executed. "Red's Good Groove" is a super-relaxed opener that swings effortlessly.
This is a quite descent release. I don't suppose one can have too much Red Garland. But for the uninitiated, I would suggest checking out Red Garland's Piano (Prestige/OJC OJCCD-073-2) or A Garland of Red (Prestige/OJC OJCCD-126-2).
Red's Good Groove; Our Love Is Here To Stay; This Time The Dream's On Me; Take Me In Your Arms; Excerenti; Falling In Love With Love. (Total Time: 36:50).
Red Garland: Piano; Blue Mitchell: Trumpet; Pepper Adams: Baritone Saxophone; Sam Jones: Bass; Philly Joe Jones: Drums.
I grew up listening to mainstream '70s rock then ended up on the staff at the college paper at San Diego State, and volunteered to review heavy metal LPs. My second semester, the music editor dropped a Fenton Robinson LP on my desk, Night Flight. You like metal; they play guitar--he plays guitar, the editor told me
I grew up listening to mainstream '70s rock then ended up on the staff at the college paper at San Diego State, and volunteered to review heavy metal LPs. My second semester, the music editor dropped a Fenton Robinson LP on my desk, Night Flight. You like metal; they play guitar--he plays guitar, the editor told me. If we don't run a review, Alligator Records is going to stop servicing us.
Night Flight opened up a whole new world for me--the blues led me, inevitably, to Basie, who led to Duke, who led to Mingus, who led to Miles, who led to ...