red garland- retirement period?

[chewy-chew-chew-bean-benitez]

is it true he stopped playin in the mid 60s....if so, what did he do? is that even true? i know he didnt record again till the early 70s...but still.....whats known about this>? tahnkx!

[brownie]

Wasn't this mentioned in a previous thread?

In any case, he went back to his native Texas to look over his ailing mother. He played locally from time to time.

He returned to the scene in December 1977 when he recorded the album 'Crossings' (with Ron Carter and Philly Joe Jones).

[sidewinder]

Wasn't this mentioned in a previous thread?

Yes. I'm sure there's a thread where JSngry posted some recollections of meeting him.

[JSngry]

I sat in with him a few times. He pretty much played when he wanted to.

[chewy-chew-chew-bean-benitez]

he was chill w/ you sittin in? awesomeeeee! i remember yr famous story u told us about u following him home one night, lolz. what was it like jammin' w/ him on the stand?

[JSngry]

Red would let you sit in if you got the rec from somebody he trusted. I had been sitting in at the club (The Recovery Room) long enough so that I knew the scene and the various peoples, so it was cool. This was when he just kinda showed up when he felt like it, or called the club up and asked for a night.

How was it having him comp behind you? Like walking barefoot on spring grass.

[chewy-chew-chew-bean-benitez]

awwwsome!!!!!!!!!!!!!!

[thirdtry]

I'm a little surprised that so many of Red's 1978-1979 Galaxy recordings haven't been issued on CD. As far as I can tell Equinox, Stepping Out, Strike Up The Band and So Long Blues have never gotten to CD. Is there a good reason why these haven't been re-issued when so much of his earlier stuff has?

[The Magnificent Goldberg]

Concord.

Well, it's a BAD reason, actually, but may be the truth. Fantasy didn't get around to a lot of stuff before the company was sold to Concord.

I never heard any of those Galaxy albums of Red Garland. I guess they're good, eh?

MG

[Larry Kart]

My memory of the Galaxy-era Garland albums was that they weren't so good, largely because they were recorded in a very late-'70s manner -- instruments fairly isolated from each other, bass (the instrument, not the register) too prominent.

[chewy-chew-chew-bean-benitez]

My memory of the Galaxy-era Garland albums was that they weren't so good, largely because they were recorded in a very late-'70s manner -- instruments fairly isolated from each other, bass (the instrument, not the register) too prominent.

youre absolutely correct, even though its the great red garland, theres this real sterile sound to these records. theres one on MUSE from abt this time thats good...

how am i gonna find this one:

Red Garland - Auf Wiedersehen (MPS (G) 15322)

Red Garland (piano) Sam Jones (bass) Roy Brooks (drums)

RCA Studios, NYC, May, 1971

Hobo Joe Auf Wiedersehen A Night In Tunisia Old Stinky Butt Stella By Starlight Daahoud

** also issued on MPS/BASF (G) 21 20910-5.

[Gheorghe]

As much as I remember, there was also another album from around 1970/71 titled "The Quota", with Jimmy Heath, Peck Morrison and if I remember right, Lenni McBrown on drums.

A friend of mine had that album, nice little album with nice tunes......

Yes, I also would have liked to purchase some of those Galaxy albums. Remember there was also a thing called "Galaxy All Stars" recorded in Japan if I remember right. I think they had some very good stuff. I only got my "Return of the Griffin" on CD and it costed me a fortune

[sidewinder]

My memory of the Galaxy-era Garland albums was that they weren't so good, largely because they were recorded in a very late-'70s manner -- instruments fairly isolated from each other, bass (the instrument, not the register) too prominent.

youre absolutely correct, even though its the great red garland, theres this real sterile sound to these records. theres one on MUSE from abt this time thats good...

how am i gonna find this one:

Red Garland - Auf Wiedersehen (MPS (G) 15322)

Red Garland (piano) Sam Jones (bass) Roy Brooks (drums)

RCA Studios, NYC, May, 1971

Hobo Joe Auf Wiedersehen A Night In Tunisia Old Stinky Butt Stella By Starlight Daahoud

** also issued on MPS/BASF (G) 21 20910-5.

I found a copy of the Japanese CD reissue of this just a few weeks ago. Very pleased to find it - until then had just the one track on a compilation BASF 'Piano Power' LP.

Edited December 29, 2013 by sidewinder

[John L]

Red Garland was really a class act. My appreciation of him grows all the time.

[chewy-chew-chew-bean-benitez]

is 'hobo-joe' the same song thats on "LITTLE JOHNNY C"- red certainly doesnt do it in a funky style like the orig., no?

[brownie]

I purchased the Galaxy albums when they came out (and enjoyed many of them) but the one I really loved was the Xanadu CD 'Keystones!) that Leroy Vinnegar privately taped when he, Red and Philly Joe Jones played at the Keystone Korner in 1977. Sound is not really great but the music is!

[sidewinder]

is 'hobo-joe' the same song thats on "LITTLE JOHNNY C"- red certainly doesnt do it in a funky style like the orig., no?

Yes chewy, it is. Just listening to it - not as funky as Johnny Coles' version.

[ghost of miles]

Elemental Music Announces Archival, Previously Unissued, 2 CD/3 LP Release By Legendary Pianist Red Garland On An Exclusive December 1977 Engagement,

Recordings at San Francisco's

Keystone Korner

Out January 20, 2015

Swingin' on the Korner, A Rare Document In Underappreciated Pianist's Career, Reunites Garland with Former Miles Davis Colleague,

Drummer Philly Joe Jones & Bassist Leroy Vinnegar

The release also includes unprecedented 44 page booklet with never-before-seen pictures & new words by Nat Hentoff, Ira Gitler, Don Schlitten, Kenny Washington & others

Legendary jazz critic Nat Hentoff calls him a pianist “with infectiously lyrical inherent swing — and surprises that flowed as naturally as his beat.”

Renowned historian and journalist Ira Gitler calls him “one the most multi-dimensional, solid-swinging, deeply lyrical piano stylists in our music, an unmistakably multi-dimensional artist who contributed so much to the groups of Miles Davis, Coleman Hawkins, and so many others.”

Torch-bearing pianist Benny Green says that each of his performances “addresses a full spectrum of emotion, and the innate sense of hipness, taste, and timing seemingly possessed by only the greatest voices of the music creates a musical brew which maintains its pure cool and freshness throughout the ages.”

Universally respected drummer Kenny Washington simply calls him, “one of the masters.”

Despite such high praise from these undoubted authorities, and his integral role in the first great Miles Davis Quintet, Red Garland’s name is too rarely mentioned in the pantheon of jazz greats. With the release of Swingin’ on the Korner on January 20, Elemental Music helps to remedy those oversights with the release of over 150 minutes of previously unheard live Red Garland performances on two CDs or 3 LPs, recorded in 1977 at San Francisco’s landmark Keystone Korner jazz club with a once-in-a-lifetime trio. None of this material has ever been released – officially or otherwise.

This swinging treasure trove arrives with a 44 page booklet including essays by the aforementioned experts (Nat Hentoff, Ira Gitler, Don Schlitten, Doug Ramsey, Benny Green, Kenny Washington, with an introduction by producers Zev Feldman and Todd Barkan) as well as photographs taken during the actual concerts by Keystone staff photographer Tom Copi. Images, information and music combine to transport listeners back to a magical week in one of jazz’s most beloved rooms. Additionally, the booklet includes an article on Red Garland from Doug Ramsey "Seeing Red", printed with permission from Texas Monthly that ran back in 1979. As producer Zev Feldman says, "this may be one of the most important projects I've ever worked on and I've had the pleasure to co-produce this with Todd Barkan. I was determined from the start to build the most exhaustive package ever created for Garland that truly celebrates his memory. There's never been a book on Red, and this is the closest there is. We built this and I couldn't be more proud. He deserves it". Fans will learn about Red via music but also by critical voices who have something to say about this master who has sadly been gone now for over 31 years." (he passed away in 1983).

Our time machine arrives in December, 1977, as Garland is reunited with his bandmate from the Miles Davis Quintet, legendary drummer Philly Joe Jones. For the first and only time, Garland and Jones were joined for the occasion by bassist Leroy Vinnegar, best known for his recordings with Stan Getz, Chet Baker, and Lee Konitz, among others. The trio was the brainchild of Keystone Korner owner Todd Barkan, who aimed (successfully, as these recordings attest) to turn the engagement into a special, exclusive occasion.

“Red played the Keystone a few other times,” says Feldman, “but this time was the most memorable because the band is so great. You couldn’t ask to have better sidemen that what we have here, and we culled through an entire week of performances to get the best stuff.”

The result is a uniformly high-caliber selection, though highlights abound, including the album’s opener, a rousing, 13-minute rendition of “Love for Sale” that begins with an epic solo introduction by Garland, playfully incorporating a touch of Beethoven’s “Für Elise” before leaping into the brisk, swinging tune. "Love for Sale" delivers both power and sensitivity. The set also includes a sprinting version of “Billy Boy” (familiar from Davis’ Milestones) that shows off Vinnegar’s muscular walking lines; a prime example of Garland’s tender ballad playing on “Never Let Me Go;” and a nod to the season with a poignant take on Mel Tormé’s classic “The Christmas Song.” Of course it wouldn't be a Red Garland without blues and balads which fans will be happy to know are included in ample form.

Swingin’ on the Korner follows the release of Elemental’s acclaimed set of previously unreleased Jimmy Giuffre live recordings, New York Concerts, and the label’s sophomore effort maintains its impeccable standards of quality and thoroughness. “I wanted to assemble one of the best packages ever for Red Garland,” Feldman says. “He’s one of my heroes and I wanted to help celebrate his legacy.”

He achieves that goal with a set that surrounds this fantastic music with writings by Todd Barkan, providing a first-hand account of these scintillating concerts; Nat Hentoff, who discusses Garland’s rich life and legacy; Ira Gitler, who delves deep into Garland’s style and his influential use of block chords; Benny Green, who recalls discovering Garland after the pianist returned from a long dormant period in the 1960s and the profound influence he had on the younger pianist; and Kenny Washington, sharing his personal memories of the pianist, who Washington got to know in the last years of his life.

Washington also offered key assistance in identifying the material, no small order when dealing with a repertoire as vast as Red Garland’s. One tune in particular proved daunting, referred to only as “Unidentified Ballad” until very late in the process. Through Feldman’s network of connections, the piece finally found its way to the ears of vocalist Sheila Jordan, who pegged it as “If I’m Lucky,” the theme song for an obscure 1946 movie originally sung by Perry Como (who also appeared in the film alongside Carmen Miranda). The package was designed & built by Burton Yount whose recent collaborations with producer Feldman include Jimmy Giuffre's New York Concerts, Bill Evans Live at Top of The Gate, and Wes Montgomery's Echoes of Indiana Avenue.

On the project's origins, Feldman recalls, "In 2013 when Elemental's owner Jordi Soley and I were starting the label, we were determined to find important previously unissued recordings. These tapes came from Todd's archives and upon even seeing these tapes existed, we immediately knew how rare they were and that they needed to be issued. I'm very grateful to Jordi for his support in this project. I presented my plan to build the greatest release ever for Red and I was given free reign to do what I felt was best. The results are a one-of-a-kind reference guide in addition to wonderful recordings from an era where Red wasn't recording all that much. I am grateful to Mr. Soley."

Feldman continues: “This is an important recording; a discovery coming to light from a period where Red really wasn’t recording that much. I hope it kicks the door open for people to go back and revisit his music, to stop and evaluate who this man was: a great musician and great artist.”

[JSngry]

Before they ceased operations, Leaning House Records was said to have been set to release selected recordings of Red (and others) from The Recovery Room days. Lord knows, there was a treasure lode of them, the Donelly's recorded every set every night (or so it seemed) on 8-Track cartridges(!). We're talking about Red, James Clay, Marchel Ivery, various sitter-inners both national and local, and mostly from before the "comeback" days. Jazz in Dallas was never the same after that place shuttered. It has survived, but...different times...

One of these archive-discovery labels like Elemental or Uptown owes it to themselves to get in touch with either Mark Elliot or Keith Foerster to see if they still have those tapes, and what condition they are in. As much as I will enjoy hearing Red w/Vinegar & Philly, I'd tentatively offer the last year or two of my life to hear Marchel, Clay, Red, Charles Scott, & Walter Winn on a hot night just one more time.

[marcello]

Calling Zev Feldman!

[Joe]

Before they ceased operations, Leaning House Records was said to have been set to release selected recordings of Red (and others) from The Recovery Room days. Lord knows, there was a treasure lode of them, the Donelly's recorded every set every night (or so it seemed) on 8-Track cartridges(!). We're talking about Red, James Clay, Marchel Ivery, various sitter-inners both national and local, and mostly from before the "comeback" days. Jazz in Dallas was never the same after that place shuttered. It has survived, but...different times...

One of these archive-discovery labels like Elemental or Uptown owes it to themselves to get in touch with either Mark Elliot or Keith Foerster to see if they still have those tapes, and what condition they are in. As much as I will enjoy hearing Red w/Vinegar & Philly, I'd tentatively offer the last year or two of my life to hear Marchel, Clay, Red, Charles Scott, & Walter Winn on a hot night just one more time.

Synchronicity! I just looked up Mark Elliott earlier this week (for other reasons)... looks like he currently lives in Houston, and is still involved in music production somehow.

[The Magnificent Goldberg]

Before they ceased operations, Leaning House Records was said to have been set to release selected recordings of Red (and others) from The Recovery Room days. Lord knows, there was a treasure lode of them, the Donelly's recorded every set every night (or so it seemed) on 8-Track cartridges(!). We're talking about Red, James Clay, Marchel Ivery, various sitter-inners both national and local, and mostly from before the "comeback" days. Jazz in Dallas was never the same after that place shuttered. It has survived, but...different times...

One of these archive-discovery labels like Elemental or Uptown owes it to themselves to get in touch with either Mark Elliot or Keith Foerster to see if they still have those tapes, and what condition they are in. As much as I will enjoy hearing Red w/Vinegar & Philly, I'd tentatively offer the last year or two of my life to hear Marchel, Clay, Red, Charles Scott, & Walter Winn on a hot night just one more time.

So there's stuff of you with Red knocking about?

Whoa!!!!

MG

[JSngry]

Remotely possible, but very unlikely, and at most 3-4 tunes. I was just a minnow then (and in that world, still consider myself one, even though, what's left of it? Still...), and as such, respected the hierarchy and the etiquette, both of which were pretty basic - when Red was on the stand, you didn't sit in unless either you were a known, seasoned vet or, as for somebody like myself, invited by either a player already on the stand, or in advance by the Donellys (usually Jeannie). And should you be invited, you were expected to say your piece briefly and succinctly, get your lesson from what was going on all around you, and then get off to begin processing it all. This was not a workshop or a charity event, these were grownass men dealing with their business at a damn high level, ya' know? If you were ready to be treated as a full(er) peer, they'd let you know. Until then, pay attention, show respect, and keep learning.

It was all cool off the stand (within expected boundaries, of course, respect was still expected to be shown and your credibility was not assumed), but on the stand...serious business, always serious business. About as serious as I've personally witnessed any business being conducted, including backroom poker games with pistols on the table.

I cannot stress enough how blessed I felt, and still feel, to have been invited up to play just those few tunes with Red, both in terms of self-validation, and especially, to get a very real taste of what it felt like to play with somebody of that magnitude.

[mjzee]

Jim, did Red's comping behind you make you play any better, or realize different places to go in your solos?

[JSngry]

Two things, and I can't stress enough how I was just a relative beginner at this time, so whatever reactions I had and impressions I still have should take that into consideration. But...

To play in that language with somebody who spoke it as fluently, deeply, and intuitively as Red did let to two things - first was a lack of tension in the accompaniment, harmonically or, especially rhythmically. There was no insecurity or quibbling about how it went, this was how it went.

Related to that was the empathy of Red's comping. He had heard damn near everybody do damn near everything on these songs, so what you played, the language you were attempting to speak, he already knew what the options were, and knew what you were likely to say, probably before your yourself knew it. I know one time on "Satin Doll" (sic) I thought I was going to do a slick substitution, and DAMN, there was Red right there setting it up for me, leading me into it. Looking back, I was probably doing some "foreshadowing" in anticipation of doing that, but at the moment it was like, holy shit, ya' know?

So I don't know if it "made" me play better. But it damn sure allowed me to play with less tension, less worries, etc. What it did was to let me play, period. Here you go, you got something to say, go ahead, tell us! And then, hey, then it's on you, clear road ahead, how much gas you got in the tank? You just going a block or two, but..you still gotta get there!

And it really drove home to me how much of a true language music is, every type of it. Vocabulary, syntax, punctuation, everything. So if you're going to speak a language, learn the language. Don't just learn the words, learn the language. And by the same regard, know what you're saying, mean it, and never think that you've said it as well as you can, because language is infinite.

So that's what I learned from playing a few tunes a few times with Red Garland. Everything I've learned since only compliments it, illuminates it, nothing has invalidated any of it.

Like I said, a blessing. And the type of blessing that anybody who's had the same type of exposure to their "local heroes" has had.

This business might often suck and be evil, and the people who are involved are quite often flawed individuals, but the music itself is sacred. Not just "this" music, the music.