Miles Davis - Workin' with the Miles Davis Quintet

Styles: Trumpet Jazz
Year: 1956
File: MP3@320K/s
Time: 42:07
Size: 97,8 MB
Art: Front

(5:24) 1. It Never Entered My Mind
(7:13) 2. Four
(5:43) 3. In Your Own Sweet Way
(1:59) 4. The Theme (take 1)
(8:33) 5. Trane's Blues
(7:24) 6. Ahmad's Blues
(4:46) 7. Half Nelson
(1:02) 8. The Theme (take 2)

Trumpeter Miles Davis led several sessions for Prestige Records between November 1955 and October 1956 with his legendary "first" quintet, featuring tenor saxophonist John Coltrane, pianist Red Garland, bassist Paul Chambers, and drummer Philly Joe Jones. The sessions represent an incomparable musical legacy. Impeccably engineered by Rudy Van Gelder, the music was released on five albums that provide a unique glimpse at how five brilliant instrumentalists coalesced into one of the most extraordinary ensembles in modern jazz.

Workin' presents an easy going program that balances ballads with the blues and includes quintet performances of originals by Davis ("Four," "Half Nelson"), Coltrane ("Trane's Blues"), and Dave Brubeck ("In Your Own Sweet Way"); an interpretation of the standard "It Never Entered My Mind" without saxophone; and a piano-trio version of Ahmad Jamal's "Ahmad's Blues." Coltrane's melancholy solo on Brubeck's tune and Garland's spry excursion on Coltrane's are two of this classic's many highlights. By Mitchell Feldman https://www.amazon.com/Workin-Miles-Davis-Quintet/dp/B000000YGI

Workin' with the Miles Davis Quintet

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Miles Davis - The Miles Davis Quintet: At Peacock Alley Disc 1, Disc 2

Album: The Miles Davis Quintet: At Peacock Alley Disc 1
Styles: Trumpet Jazz
Year: 1956
File: MP3@320K/s
Time: 31:11
Size: 71,9 MB
Art: Front

(0:41) 1. Intro
(5:53) 2. Ah-leu-cha
(5:19) 3. A Foggy Day
(6:35) 4. All of You
(5:13) 5. Woody 'n' You
(7:27) 6. Walkin'

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Album: The Miles Davis Quintet: At Peacock Alley Disc 2
Time: 42:48
Size: 98,6 MB

( 5:16) 1. Two Bass Hit
( 7:39) 2. Well You Needn't
( 4:23) 3. Billy Boy
(11:03) 4. All of You
( 6:07) 5. Airegin
( 7:01) 6. Newk #2/Theme
( 1:16) 7. Sign Off-Theme

Miles Davis at Peacock Alley is an unauthorized bootleg album by jazz musician Miles Davis. It was recorded in a two-part broadcast on KXLW-AM on July 14 and July 21, 1956, from Peacock Alley in the Gaslight Square entertainment district of St. Louis. The sessions were hosted by Spider Burks, a local DJ who championed jazz, and was also one of St. Louis’ first black Disc Jockeys.

https://en.wikipedia.org/wiki/Miles_Davis_Quintet_at_Peacock_Alley

Personnel: Miles Davis — trumpet; John Coltrane — tenor saxophone; Red Garland — piano; Paul Chambers — bass; Philly Joe Jones — drums

Miles Davis - Miles Davis And The Modern Jazz Giants

Styles: Trumpet Jazz

Year: 1956

File: MP3@320K/s

Time: 42:12

Size: 98,5 MB

Art: Front

( 7:59)  1. The Man I Love (Take 2)

(10:46)  2. Swing Spring

( 5:24)  3. 'Round Midnight

( 9:32)  4. Bemsha Swing

( 8:29)  5. The Man I Love (Take 1)

Including sessions recorded the same day as those on Bags Groove, this album includes more classic performances from the date that matched together trumpeter Miles Davis, vibraphonist Milt Jackson, pianist Thelonious Monk, bassist Percy Heath, and drummer Kenny Clarke. Davis and Monk actually did not get along all that well, and the trumpeter did not want Monk playing behind his solos. Still, a great deal of brilliant music occurred on the day of their encounter, including "The Man I Love," "Bemsha Swing," and "Swing Spring." ~ Scott Yanow https://www.allmusic.com/album/miles-davis-and-the-modern-jazz-giants-mw0000199989

Personnel:  Miles Davis – trumpet;  John Coltrane – tenor saxophone;  Milt Jackson – vibraphone;  Thelonious Monk – piano;  Red Garland – piano;  Percy Heath – bass;  Paul Chambers – bass;  Kenny Clarke – drums;  Philly Joe Jones – drums

Miles Davis And The Modern Jazz Giants

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Miles Davis Quintet - Steamin'

Styles: Trumpet Jazz
Year: 1961
File: MP3@320K/s
Time: 40:11
Size: 92,3 MB
Art: Front

(9:06) 1. Surrey with the Fringe on Top
(6:10) 2. Salt Peanuts
(6:17) 3. Something I Dreamed Last Night
(7:52) 4. Diane
(6:20) 5. Well, You Needn't
(4:24) 6. When I Fall in Love

Although chronologically the last to be issued, this collection includes some of the best performances from the tapes which would produce the albums Cookin', Relaxin', Workin', and ultimately, Steamin'. A primary consideration of these fruitful sessions is the caliber of musicians Miles Davis (trumpet), Red Garland (piano), John Coltrane (tenor sax), and Philly Joe Jones (drums) who were basically doing their stage act in the studio. As actively performing musicians, the material they are most intimate with would be their live repertoire. Likewise, what more obvious place than a studio is there to capture every inescapable audible nuance of the combo's musical group mind. The end results are consistently astonishing. At the center of Steamin', as with most outings by this band, are the group improvisations which consist of solo upon solo of arguably the sweetest and otherwise most swinging interactions known to have existed between musicians.

"Surrey With the Fringe on Top" is passed between the mates like an old joke. Garland compliments threads started by Davis and Coltrane as their seamless interaction yields a stream of strikingly lyrical passages. There are two well-placed nods to fellow bop pioneers Charlie Parker and Dizzy Gillespie on a revision of their "Salt Peanuts." Philly Joe Jones' mimicking cymbal speak which replicates Gillespie's original vocals is nothing short of genius. This rendition is definitely as crazy and unpredictable here as the original. Thelonious Monk also gets kudos on "Well, You Needn't." This quintet makes short work of the intricacies of the arrangement, adding the double horn lead on the choruses and ultimately redefining this jazz standard. Although there is no original material on Steamin', it may best represent the ability of the Miles Davis quintet to take standards and rebuild them to suit their qualifications.~ Lindsay Planer https://www.allmusic.com/album/steamin-with-the-miles-davis-quintet-mw0000191715

Personnel: Miles Davis – trumpet; John Coltrane – tenor saxophone (except 3 and 6); Red Garland – piano; Paul Chambers – bass; Philly Joe Jones – drums

Steamin'

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Red Garland - Soul Junction

Bitrate: MP3@320K/s
Time: 42:22
Size: 97.0 MB
Styles: Bop, Piano jazz
Year: 1957/2013
Art: Front

[15:24] 1. Soul Junction
[ 6:46] 2. Woodyn' You
[ 7:31] 3. Birks' Works
[ 6:12] 4. I've Got It Bad And That Ain't Good
[ 6:27] 5. Hallelujah

Bass – George Joyner; Drums – Arthur Taylor; Piano – Red Garland; Tenor Saxophone – John Coltrane; Trumpet – Donald Byrd.

Pianist Red Garland's very relaxed, marathon blues solo on the 15-minute "Soul Junction" is the most memorable aspect of this CD reissue. With such soloists as tenor saxophonist John Coltrane and trumpeter Donald Byrd, plus steady support provided by bassist George Joyner and drummer Art Taylor, Garland gets to stretch out on the title cut and four jazz originals, including "Birk's Works" and "Hallelujah." Coltrane is in excellent form, playing several stunning sheets of sound solos. ~Scott Yanow

Soul Junction

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Art Pepper - Art Pepper Meets The Rhythm Section

Styles: Saxophone Jazz
Year: 1957
File: MP3@320K/s
Time: 43:45
Size: 101,7 MB
Art: Front

(5:24)  1. You'd Be So Nice To Come Home To
(3:36)  2. Red Pepper Blues
(5:51)  3. Imagination
(2:55)  4. Waltz Me Blues
(3:58)  5. Straight LIfe
(4:46)  6. Jazz Me Blues
(7:41)  7. Tin Tin Deo
(5:11)  8. Star Eyes
(4:17)  9. Birks Works

Art Pepper Meets the Rhythm Section is a mythic recording. The circumstances surrounding its genesis were first revealed in Pepper's steely autobiography Straight Life and reproduced countless times in articles and liner notes. Here it goes, one more time. On the morning of the recording session, January 19, 1957, Pepper's then-wife Diane informed him that she had secured an afternoon recording session with the Miles Davis rhythm section who were in Los Angeles appearing with Davis. Unhappily surprised and with a horn in bad need of repair, Pepper fixed an extra large amount of heroin and was off to the session. The music produced from this chaos has been described as "a diamond of recorded jazz history." The material for the session previously selected by the artists. After some discussion, drummer Philly Joe Jones suggested Cole Porter's "You'd Be So Nice To Come Home To" and the historic session was off and running. The date gradually began to take shape. Red Garland provided an original "Red Pepper Blues." The Burke/Van Heusen ballad "Imagination" was included. The quartet mixed things up with the New Orleans classic "Jazz Me Blues" played against Chano Pozo?s Afro-Cubano credo "Tin Tin Deo" (featuring some solid drumming by Jones) A pair of blues juxtaposes as well. "Waltz Me Blues" was a session original composed by Pepper and bassist Paul Chambers. It is lilting and light. It stands in great contrast to John Birks "Dizzy" Gillespie?s smoky minor blues "Birks? Works." Perhaps central to the recording was the Pepper original "Straight Life." This Pepper classic is a complex and fast paced piece of West Coast Be Bop. It, along with "Somewhere over the Rainbow," would become his signature song. A brisk "Star Eyes" and bonus track "The Man I Love" round out the collection.  Art Pepper Meets the Rhythm Section is one of those singular events that can only occur in a blaze like reading King Lear by a lightning flash. ~ C.Michael Bailey https://www.allaboutjazz.com/art-pepper-meets-the-rhythm-section-remastered-art-pepper-contemporary-review-by-c-michael-bailey.php

Personnel: Art Pepper: Alto Saxophone; Red Garland: Piano; Paul Chambers: Bass; Philly Joe Jones: Drums.

Art Pepper Meets The Rhythm Section

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Arnett Cobb with the Red Garland Trio - Sizzling & Blue And Sentimental

Styles: Saxophone Jazz
Year: 2001
File: MP3@320K/s
Time: 72:39
Size: 168,2 MB
Art: Front

(5:08)  1. Sweet Georgia Brown
(5:24)  2. Black Velvet
(7:46)  3. Blue Sermon
(6:05)  4. Georgia On My Mind
(7:37)  5. Sizzlin'
(6:58)  6. The Way You Look Tonight
(7:13)  7. Willow Weep For Me
(4:49)  8. Hurry Home
(5:10)  9. P.S. I Love You
(5:23) 10. Blue And Sentimental
(4:49) 11. Darn That Dream
(2:52) 12. Why Try To Change Me Now
(3:18) 13. Your Wonderful Love

This CD reissue combines together tenor saxophonist Arnett Cobb's two LPs, Sizzlin' and Ballads by Cobb. The former session has a good mixture of stomps and ballads with highlights including "Black Velvet," "Georgia on My Mind," and "The Way You Look Tonight." The latter date (originally cut for the Moodsville label) is all slow ballads and, despite the warmth in Cobb's tone, a certain sameness pervades the performances. Pianist Red Garland and drummer J.C. Heard are on both sessions with either George Tucker or George Duvivier on bass. Good music but not quite essential.~ Scott Yanow https://www.allmusic.com/album/blue-and-sentimental-mw0000096767

Personnel:  Arnett Cobb (ts), Red Garland (p), George Tucker, George Duvivier (b), J.C. Heard (d)

Sizzling & Blue And Sentimental

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Red Garland - Red Alone

Styles: Piano Jazz
Year: 1960
File: MP3@320K/s
Time: 43:03
Size: 98,9 MB
Art: Front

(6:45)  1. When Your Lover Has Gone
(5:08)  2. These Foolish Things
(3:39)  3. My Last Affair
(4:45)  4. You Are Too Beautiful
(7:09)  5. I Got It Bad (And That Ain't Good)
(5:04)  6. The Nearness of You
(5:25)  7. Nancy (With the Laughing Face)
(5:06)  8. When I Fall in Love

Red Garland recorded 16 ballads during this single 1960 session for Prestige's Moodsville subsidiary. Although these selections were intended as mood music for lovers, Garland's imaginative arrangements keep things interesting. The pianist's strolling tempo of "When Your Lover Has Gone" suggests nostalgic reflection rather than melancholy from the typically slow performances by singers. His playful side comes out in "These Foolish Things," while the graceful runs in the upper keyboard are complemented by his rich block chords in "My Last Affair." The subtlety of his interpretation of "You Are Too Beautiful" and the delicate rendition of "The Nearness of You" are also memorable. But the obvious high point of this release is his stunning exploration of Duke Ellington's "I Got It Bad (And That Ain't Good)," which succeeds in conveying the powerful emotions of this ballad without a singer. This remarkable collection of standards should appeal to any fan of jazz piano.~ Ken Dryden https://www.allmusic.com/album/red-alone-mw0000220452        

Personnel: Red Garland (piano).

Red Alone

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Red Garland - Can't See for Lookin'

Styles: Piano Jazz
Year: 1958
File: MP3@320K/s
Time: 35:07
Size: 80,5 MB
Art: Front

(9:28)  1. I Can't See for Lookin'
(6:56)  2. Soon
(8:56)  3. Blackout
(9:45)  4. Castle Rock

Pianist Red Garland recorded many sets in the late 1950s and early '60s, often (as in this case) with bassist Paul Chambers and drummer Art Taylor. Despite the slight length of this LP (under 35 minutes), this is a particularly strong showcase of Garland's talents. His block chords are distinctive, as is his use of space, and the music always swings. The trio sounds in top form on "I Can't See for Looking," George Gershwin's "Soon," "Blackout," and a driving version of the classic blues "Castle Rock." Recommended.

~ Scott Yanow https://www.allmusic.com/album/cant-see-for-lookin-mw0000089212       

Personnel: Red Garland (piano); Paul Chambers (bass); Arthur Taylor (drums).

Can't See for Lookin'

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Red Garland - Halleloo-Y'-All

Styles: Piano Jazz
Year: 1960
File: MP3@320K/s
Time: 35:50
Size: 82,1 MB
Art: Front

( 6:59)  1. Back Slidin'
( 6:13)  2. Revelation Blues
( 4:50)  3. Everytime I Feel the Spirit
( 6:38)  4. Halleloo-Y'-All
(11:08)  5. I'll Never Be Free

Except for Count Basie, few pianists in the post-war years could swing the blues like Red Garland. Certainly, Garland could give standards a handsome spin with dramatic lyricism, plenty of space and clusters of block chords. But the blues were in Garland's blood system, and his trio album Halleloo-Y'-All from 1960 remains for me one of the finest examples of his blues trio playing. Garland grew up in Dallas, began his music education on reed instruments, joined the Army in 1941and began playing piano while stationed in Arizona. After being discharged from the service in '44, Garland gigged around Texas and soon joined Oran “Hot Lips" Page's orchestra. When the band hit New York, Garland quit to remain in the city, which turned out to be a shrewd career move.

In New York, Garland played and recorded with many of the greats of the late 1940s. When Miles Davis was unable to persuade Ahmad Jamal and his trio to back him in the early 1950s, Davis turned to Garland, looking to the pianist for an emulation of Jamal's elegant and bright melodic style. Garland delivered (in comes cases on the exact same songs) but with a more pronounced and bluesy style than Jamal. By 1956, Prestige was recording Garland as the leader of a trio when he wasn't playing as a member of Davis's and John Coltrane's rhythm sections. [Photo above of Red Garland and Miles Davis]

Virtually all of Garland's leadership dates had a blues pull. Like a posh musical bartender, Garland was masterful at perfectly blending church and club to produce music that was neither and both. Like B.B. King and Ray Charles, every song Garland touched was saturated in the blues. "Garland recorded several blues-centric albums, including Alone With the Blues and P.C. Blues. But perhaps his best was Halleloo-Y'-All. Recorded in April 1960, the album featured my favorite Garland trio Sam Jones on bass and Art Taylor on drums. Both musicians have been vastly overlooked as industrial and inventive trio players. And this Red Garland Trio ranks up there with the best of the decade. Halleloo-Y'-All features a full menu of five blues. As Dan Morganstern wrote in his original album liner notes, “the program consists of three Garland originals, a rhythm-and-blues hit of fairly recent vintage [I'll Never Be Free] and an old traditional gospel hymn. The emphasis is on relaxed tempos and a bluesy groove, but there is none of the pseudo funk which is marketed in such quantity these days under titles similar to some of the 'churcy' ones found here. Red Garland is a stylist not a gimmick-merchant and everything he plays is musical and unforced. He isn't trying to prove anything and what comes out is uncontrived and happy jazz." The album also features Garland's playing organ on the title track, a play on hallelujah. Garland could swing and extract the Hammond's full gospel flavor using a tender touch. With the sharp fierceness of Taylor and fleshy bass lines of Jones, this is a perfect Red Garland Trio album. ~ Marc Myers  https://news.allaboutjazz.com/red-garland-halleloo-y-and-39-all.php

Personnel:  Red Garland – piano, organ;  Sam Jones – bass;  Art Taylor – drums

Halleloo-Y'-All

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Red Garland Quintet, John Coltrane - Dig It!

Bitrate: MP3@320K/s
Time: 33:35
Size: 76.9 MB
Styles: Bop, Piano jazz
Year: 1962/2012
Art: Front

[ 9:22] 1. Billie's Bounce
[ 3:25] 2. Crazy Rhythm
[ 4:40] 3. CTA
[16:05] 4. Lazy Mae

Bass – George Joyner; Drums – Arthur Taylor; Piano – Red Garland; Tenor Saxophone – John Coltrane; Trumpet – Donald Byrd. "CTA" recorded March 22, 1957; "Billie's Bounce," "Lazy Mae" recorded December 13, 1957; "Crazy Rhythm" recorded February 2, 1958.

Taken from "scraps" or "leftovers" of three different sessions, Dig It! presents distinct sides of Red Garland's straight-ahead jazz persona that manifests in trio, quartet, and quintet formats. One track was issued as led by drummer Art Taylor (Taylor's Wailers), ostensibly John Coltrane in Garland's quartet apart from their association with Miles Davis, and two separate recordings have trumpeter Donald Byrd added to comprise a five-piece combo. Memphis bassist George Joyner (aka Jamil Nasser) is on three cuts, with Taylor present throughout. Though the total time is shy of 34 minutes, this recording represents all of these musicians in transition from their sideman associations to the leadership roles they were in the process of wresting hold of. What have always been Garland's strong suits -- high-class discourse and fleet and fluid bebop -- are heartily dished out with no trace of arrogance. On the swing-era standard "Crazy Rhythm," the Garland trio with bassist Paul Chambers and Taylor plays a concise, hard-charging version with no wasted motion and the two-fisted chord progressions of the pianist. Coltrane's feature during Jimmy Heath's hard bop icon "C.T.A." is a bit tentative, as he plays only eighth notes in a reserved fashion. But the quintet take of "Billie's Bounce" has Trane rippin' it up in a fervor that doubles the note volume, animated and fast, while also expressing a soulful side. Byrd is fairly inconsequential, only soloing on this and the 16-minute vintage blues "Lazy Mae." It's Garland who takes liberties on this slow, languorous, sleepy-time jam, where he evokes the classic sounds of Teddy Wilson, Earl "Fatha" Hines, and especially the elegant Erroll Garner for a full eight minutes, also quoting the pop tune "Send for Me" and the rambling staircase triplet midsection of "After Hours" before Coltrane and Byrd settle into their own bluesy solos. Because of the lack of extra material or alternate takes, one might buy this just for the good music, but also the Rudy Van Gelder remastering factor that allows you to hear these genius musicians cleaner and brighter. ~Michael G. Nastos

Dig It! mc
Dig It! zippy

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Red Garland - High Pressure

Styles: Piano Jazz
Year: 1957
File: MP3@320K/s
Time: 44:08
Size: 101,2 MB
Art: Front

(13:49)  1. Soft Winds
( 8:35)  2. Solitude
( 6:54)  3. Undecided
( 6:00)  4. What Is There to Say?
( 8:48)  5. Two Bass Hit

The distinctive pianist Red Garland, tenor saxophonist John Coltrane (then 31 and already breaking away from the pack), and trumpeter Donald Byrd, along with the supportive bassist George Joyner and drummer Art Taylor, perform five jazz standards on this CD reissue. Highlights include "Soft Winds," "Undecided," and an explosive version of "Two Bass Hit" that foreshadowed the rendition that Trane would record with Miles Davis and Cannonball Adderley the following year. High-quality hard bop from some true "Young Lions." ~ Scott Yanow https://www.allmusic.com/album/high-pressure-mw0000653494   

Red Garland Quintet: Red Garland (piano); John Coltrane (tenor saxophone); Donald Byrd (trumpet); George Joyner (bass); Arthur Taylor (drums).

High Pressure

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Red Garland - Alone With The Blues

Styles: Piano Jazz 
Year: 1960
File: MP3@320K/s
Time: 45:26
Size: 104,8 MB
Art: Front

(5:27)  1. In The Evening
(4:24)  2. Blues In The Closet
(6:03)  3. Chains Of Love
(6:39)  4. Tired
(5:08)  5. Sent For You Yesterday (And Here You Come Today)
(5:51)  6. Trane's Blues
(6:59)  7. Wee Baby Blues
(4:52)  8. Cloudy

?Red Garland mixed together the usual influences of his generation (Nat Cole, Bud Powell, and Ahmad Jamal) into his own distinctive approach; Garland's block chords themselves became influential on the players of the 1960s. He started out playing clarinet and alto, switching to piano when he was 18. During 1946-1955, he worked steadily in New York and Philadelphia, backing such major players as Charlie Parker, Coleman Hawkins, Lester Young, and Roy Eldridge, but still remaining fairly obscure. That changed when he became a member of the classic Miles Davis Quintet (1955-1958), heading a rhythm section that also included Paul Chambers and Philly Joe Jones. After leaving Miles, Garland had his own popular trio and recorded very frequently for Prestige, Jazzland, and Moodsville during 1956-1962 (the majority of which are available in the Original Jazz Classics series). The pianist eventually returned to Texas and was in semi-retirement, but came back gradually in the 1970s, recording for MPS (1971) and Galaxy (1977-1979) before retiring again. ~ Scott Yanow https://www.allmusic.com/artist/red-garland-mn0000882950/biography

Personnel:  Red Garland (piano).

Alone With The Blues

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Red Garland, Ron Carter, Philly Joe Jones - Crossings

Styles: Piano Jazz
Year: 1977
File: MP3@320K/s
Time: 39:38
Size: 91,0 MB
Art: Front

( 5:10)  1. Solar
( 5:23)  2. Railroad Crossing
( 5:18)  3. Never Let Me Go
( 5:17)  4. Oleo
( 7:02)  5. But Not for Me
(11:26)  6. Love for Sale

Amazingly enough, this set (reissued on CD) was the first time that pianist Red Garland and drummer Philly Joe Jones recorded together in a trio setting, even though they had both been a part of Miles Davis' first classic quintet. With bassist Ron Carter completing the group, they perform five standards and the bassist's "Railoroad Crossing." This is one of Garland's best later dates (Philly Joe often pushes him), and the highlights include "Solar," "Oleo" and "Love for Sale." ~ Scott Yanow https://www.allmusic.com/album/crossings-mw0000309769

Personnel: Red Garland (piano); Philly Joe Jones (drums);  Ron Carter (bass).

Crossings

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Red Garland - Equinox

Styles: Piano Jazz
Year: 1978
File: MP3@320K/s
Time: 40:43
Size: 93,5 MB
Art: Front

(7:37)  1. It's All Right With Me
(5:24)  2. Hobo Joe
(7:07)  3. Equinox
(3:59)  4. Cute
(3:10)  5. Nature Boy
(6:28)  6. On A Clear Day (You Can See Fo
(6:56)  7. You Are Too Beautiful

William “Red” Garland (pianist) was born on May 13, 1923 in Dallas, Texas and passed away on April 23, 1984 in Dallas, Texas at the age of 60. Garland’s family was not particularly musical, and his father worked as an elevator technician. Garland’s first instruments were the clarinet and the alto saxophone. He studied with saxophonist Buster “Prof” Smith, who had been an early mentor of alto saxophonist Charlie Parker in Kansas City. He joined the United States Army in 1941 and began to learn the piano while stationed in Fort Huachuca, Arizona. At this time, he was also an amateur boxer. He fought the legendary Sugar Ray Robinson, but he lost the bout.

After being discharged from the military in 1944, Garland played locally around Texas until 1946 when he was chosen to join trumpeter Oran “Hot Lips” Page’s band. Garland toured with Page that same year, ending the tour with the band in New York. Garland decided to stay in New York and soon found work there and also in Philadelphia. While in New York, Garland was recommended to singer Billy Eckstine, who hired him for several weeks. In 1947, Garland began a long stint as the house pianist at the Down Beat club in Philadelphia, where he backed Charlie Parker and Fats Navarro among others, and played with drummer Charlie Rice in the house band. Garland also recorded that year with Eddie “Lockjaw” Davis, appearing on the song Ravin’ At The Heaven. By the early 1950s Garland’s stature as a pianist grew to the point that he found regular work with saxophonists Coleman Hawkins and Lester Young, and led his own trio. Garland was still playing with Young when Miles Davis approached him to record for his Prestige album, The Musings of Miles, on June 7, 1955 at Rudy Van Gelder’s studio. More...http://redgarland.jazzgiants.net/biography/

Personnel:  Red Garland  piano;  Richard Davis  bass;  Roy Haynes drums

Equinox

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Red Garland - The P.C. Blues

Styles: Piano Jazz
Year: 1957
File: MP3@320K/s
Time: 42:57
Size: 98,5 MB
Art: Front

( 7:29)  1. Ahmad's Blues
( 6:26)  2. Lost April
( 5:49)  3. Why Was I Born?
(13:18)  4. Tweedle Dee Dee
( 9:53)  5. The P.C. Blues

P.C. Blues is 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 https://www.allmusic.com/album/pc-blues-mw0000075514

Personnel: Red Garland (piano); Paul Chambers (bass); Art Taylor, Philly Joe Jones (drums).

The P.C. Blues

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Red Garland - Satin Doll

Styles: Piano Jazz
Year: 1959
File: MP3@320K/s
Time: 39:50
Size: 91,3 MB
Art: Front

( 9:47)  1. Satin Doll
(10:44)  2. The Man I Love
( 5:38)  3. A Little Bit of Basie
( 7:10)  4. It's a Blue World
( 6:30)  5. M-Squad Theme

This out-of-print LP released for the first time five unknown selections featuring pianist Red Garland in a trio with drummer Specs Wright and either Doug Watkins or Jimmy Rowser on bass. 

"Satin Doll" has since been added as a bonus cut on another CD, but the other four numbers ("The Man I Love," "A Little Bit of Basie," "It's a Blue World" and "M-Squad Theme") have not yet resurfaced, making this an album of interest to Red Garland completists. ~ Scott Yanow https://www.allmusic.com/album/satin-doll-mw0000911709 

Personnel:  Red Garland - piano;  Jimmy Rowser - (tracks 4 & 5), Doug Watkins (tracks 1-3) - bass;  Charles "Specs" Wright - drums

Satin Doll

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Red Garland - Lil' Darlin'

Styles: Piano Jazz
Year: 1959
File: MP3@320K/s
Time: 30:41
Size: 70,4 MB
Art: Front

(10:09)  1. Lil' Darlin
( 5:48)  2. We Kiss in a Shadow
( 4:30)  3. Blues in the Closet
(10:13)  4. Like Someone in Love

On October 2, 1959, Red Garland performed at a New York club called the Prelude, which was located at 129th Street and Broadway in the western part of the city's Harlem section (near Columbia University). The Prelude had a reputation for being a piano room in other words, a place where people went to hear acoustic pianists. Garland performed more than one set that night, and thankfully, all of them were recorded by jazz's most famous engineer: Rudy Van Gelder. Although Van Gelder did most of his work in his New Jersey studio, Prestige hired him to do some live taping for a change. So Prestige had a lot of material to work with. Garland's Prelude gig resulted in various live LPs, one of which was Lil' Darlin'. Forming an acoustic piano trio with bassist Jimmy Rowser and drummer Specs Wright, Garland excels on four selections: Neal Hefti's "Lil' Darlin'," Oscar Pettiford's "Blues in the Closet," Rodgers & Hammerstein's "We Kiss in a Shadow," and the Burke/Van Heusen standard "Like Someone in Love." Throughout the LP, Garland's pianism is immediately recognizable. The improviser had his influences who ranged from Nat King Cole and Erroll Garner to Bud Powell but he was quite distinctive himself. And when the hard-swinging yet lyrical Garland plays block chords, one can hear how he influenced McCoy Tyner (who was paying close attention to Garland in 1959). Like the other LPs that resulted from Garland's Prelude appearance, Lil' Darlin' demonstrates that the pianist was in excellent form on that night in October 1959. ~ Alex Henderson https://www.allmusic.com/album/lil-darlin-mw0000909300 

Personnel:  Red Garland - piano;  Jimmy Rowser - bass;  Charles "Specs" Wright - drums

Lil' Darlin'

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Hank Mobley, Al Cohn, John Coltrane, Zoot Sims - Tenor Conclave

Bitrate: MP3@320K/s
Time: 43:51
Size: 100.4 MB
Styles: Bop, Saxophone jazz
Year: 1956/1990
Art: Front

[11:02] 1. Tenor Conclave
[ 9:26] 2. Just You, Just Me
[ 8:17] 3. Bob's Boys
[15:04] 4. How Deep Is The Ocean

These four sides should not be hard to locate, as the primary participants in this November 30, 1956, session have all issued them within their individual catalogs. However Tenor Conclave was first released as credited to the "leaderless" Prestige All-Stars -- consisting of tenor saxophonists John Coltrane, Hank Mobley, Al Cohn, and Zoot Sims. Providing support are pianist Red Garland, bassist Paul Chambers, and drummer Art Taylor. The Mobley-penned title track commences the effort with the quartet of tenors showing off their stuff in high-flying style. It takes a couple of passes and somewhat of a trained ear to be able to link the players with their contributions, but as is often the case, the whole tends to be greater than the sum of the parts. After a brief introduction with all four rapidly reeling off short riffs, Mobley charges ahead into truly inspired territory. The midtempo take of "Just You, Just Me" keeps things lively with a light swinging pace that is custom-made for bringing the combo's jocular side to the surface, particularly toward the end as they "trade fours," with each tenor blowing four bars before passing the melody on. The other Mobley composition is "Bob's Boys," and by all accounts it is the most compelling piece on the outing. The blues-based tune rollicks as Coltrane, Mobley, Cohn, and Sims find themselves configured in a seeming myriad of sonic face-offs. Wrapping up Tenor Conclave is an ultra-cool and sophisticated "How Deep Is the Ocean?" Cohn commences the long and luscious reading with a subtle strength, suggesting the powerful undercurrent flowing throughout the number. Also, listeners are treated to what is possibly Garland's finest interaction, leading right into Sims, Chambers, and finally a sublime Coltrane caboose. ~Lindsay Planer

Tenor Conclave zippy

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Miles Davis And John Coltrane - Play Richard Rodgers

Styles: Trumpet And Saxophone Jazz
Year: 1968
File: MP3@256K/s
Time: 35:39
Size: 66,9 MB
Art: Front

(5:21)  1. It Never Entered My Mind
(6:57)  2. Spring Is Here
(6:02)  3. My Funny Valentine
(9:02)  4. Surrey with The Fringe On Top
(3:05)  5. Blue Room
(5:09)  6. I Could Write a Book

Grammy Award winner Miles Davis was a major force in the jazz world, as both a trumpet player and a bandleader. Instrumental in the development of jazz, Miles Davis is considered one of the top musicians of his era. Born in Illinois in 1926, he traveled at age 18 to New York City to pursue music. Throughout his life, he was at the helm of a changing concept of jazz. Winner of eight Grammy awards, Miles Davis died on September 28, 1991 from respiratory distress in Santa Monica, California.  The son of a prosperous dental surgeon and a music teacher, Miles Davis was born Miles Dewey Davis III on May 26, 1926, in Alton, Illinois. Davis grew up in a supportive middle-class household, where he was introduced by his father to the trumpet at age 13. Davis quickly developed a talent for playing the trumpet under the private tutelage of Elwood Buchanan, a friend of his father who directed a music school. Buchanan emphasized playing the trumpet without vibrato, which was contrary to the common style used by trumpeters such as Louis Armstrong, and which would come to influence and help develop the Miles Davis style. Davis played professionally while in high school. When he was 17 years old, Davis was invited by Dizzy Gillespie and Charlie Parker to join them onstage when the famed musicians realized they needed a trumpet player to replace a sick bandmate. Soon after, in 1944, Davis left Illinois for New York, where he would soon enroll at the Juilliard School (known at the time as the Institute of Musical Art). While taking courses at Juilliard, Davis sought out Charlie Parker and, after Parker joined him, began to play at Harlem nightclubs. During the gigs, he met several musicians whom he would eventually play with and form the basis for bebop, a fast, improvisational style of jazz instrumental that defined the modern jazz era. More...https://www.biography.com/people/miles-davis-9267992

Personnel:  Bass – Paul Chambers, Percy Heath;  Drums – "Philly" Joe Jones, Jimmy Cobb, Roy Haynes;  Piano – John Lewis, Red Garland;  Tenor Saxophone – John Coltrane;  Trumpet – Miles Davis, Wilbur Hardin

Play Richard Rodgers

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