JOHN COLTRANE — The Prestige Recordings (1991) 16-CD BOX-SET | FLAC (tracks+.cue), lossless

The 16 CDs in this compendium represent nearly everything that John Coltrane recorded for the Prestige label during a 32-month period between May 7, 1956, and December 26, 1958. What's missing are Coltrane's contributions to the mid-'50s Miles Davis band, which are on the equally exhaustive and highly recommended Davis Chronicle box set released in 1990. Otherwise, listeners are treated to the sessions that produced the seminal long-players Coltrane, Cattin' with Coltrane and Quinichette, Traneing In, Soultrane, Lush Life, Settin' the Pace, Standard Coltrane, Stardust, The Believer, Black Pearls, Bahia, and The Last Trane -- all of which highlight the artist as either a leader or co-leader. Not included in that list are an additional 19 albums that boast Coltrane's involvement as a support musician. The music is presented primarily in a chronological fashion -- commencing with a pair of May 1956 outings with pianist Elmo Hope and tenor saxophonist

Sonny Rollins. Wrapping things up are five tunes cut the day after Christmas of 1958 alongside trumpeter Freddie Hubbard. Coltrane's legend is ingrained in the grooves of such indispensable entries as "How Deep Is the Ocean?" flanked by tenor saxophonists Zoot Sims, Hank Mobley, and Al Cohn -- as originally heard on Tenor Conclave. There is also the Tadd Dameron-commanded "Soultrane" and the definitive "The Way You Look Tonight," during one of the many Mal Waldron confabs, plus "Undecided," sporting Red Garland at the helm. And who could forget the Great American Songbook selections "Lush Life," "Come Rain or Come Shine," "Lover," "Russian Lullaby," "Why Was I Born?," "Lover Come Back to Me," "Stardust," and "Time After Time"? Accompanying the music is a 32-page liner notes booklet. Inside are a historical essay from Doug Ramsey, a session-by-session breakdown by Carl Woideck (and the occasional notation from producer Orrin Keepnews), and several different cross-references of the contents. Overall, the audio quality is excellent throughout, especially considering that the original tapes were transferred during the infancy of digital audio technology. Since 1991, the majority of the music has been remastered and issued on the individual album titles with even more astonishing results. Lindsay Planer
All Tracks & Credits :

CURTIS FULLER — Curtis Fuller with Red Garland (1958-1992) RM | MONO | Masters Of Jazz Series – 51 | FLAC (tracks+.cue), lossless

Trombonist Curtis Fuller is featured here in a quintet with altoist Sonny Red, pianist Red Garland, bassist Paul Chambers, and drummer Louis Hayes, performing a pair of originals, two blues, and a couple of ballad features. Garland is outstanding on "Moonlight Becomes You" (one of his finest recordings), while Fuller does a fine job on "Stormy Weather." This set has a feel of a jam session; the blend between the trombone and the alto is particularly appealing. Despite the overly critical liner notes (written in 1962), this is an excellent hard bop-oriented date. Scott Yanow   Tracklist & Credits :

THE RED GARLAND QUINTET WITH JOHN COLTRANE — Dig It! (1958-2009) RM | Serie RVG Remasters | FLAC (tracks+.cue), lossless

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 mmusicians cleaner and brighter. Michael G. Nastos

Tracklist :
1 Billie's Bounce 9:24
Charlie Parker
2 Crazy Rhythm 3:26
Irving Caesar / Roger Wolfe Kahn / Joseph Meyer
3 C.T.A. 4:42
Jimmy Heath
4 Lazy Mae 16:06
Red Garland
Credits
Bass – George Joyner (tracks: 1, 4), Paul Chambers (tracks: 2, 3)
Drums – Arthur Taylor
Piano – Red Garland
Tenor Saxophone – John Coltrane (tracks: 1, 3, 4)
Trumpet – Donald Byrd (tracks: 1, 4)

THE RED GARLAND TRIO WITH PAUL CHAMBERS AND ART TAYLOR — A Garland Of Red (1956-1991) RM | FLAC (tracks+.cue), lossless

Thirty-three at the time of this, his first recording as a leader, pianist Red Garland already had his distinctive style fully formed and had been with the Miles Davis Quintet for a year. With the assistance of bassist Paul Chambers (also in Davis's group) and drummer Art Taylor, Garland is in superior form on six standards, Charlie Parker's "Constellation" (during which he shows that he could sound relaxed at the fastest tempos) and his own "Blue Red." Red Garland recorded frequently during the 1956-62 period and virtually all of his trio recordings are consistently enjoyable, this one being no exception. Scott Yanow

Tracklist :
1    A Foggy Day 4:48
Written-By – Gershwin-Gershwin
2    My Romance 6:50
Written-By – Rodgers-Hart
3    What Is This Thing Called Love 4:50
Written-By – Cole Porter
4    Makin' Whoopee 4:12
Written-By – Kahn, Donaldson
5    September In The Rain 4:46
Written-By – Dubin, Warren
6    Little Girl Blue 5:04
Written-By – Rodgers-Hart
7    Constellation 3:50
Written-By – Charlie Parker
8    Blue Red 7:40
Written-By – Red Garland
Credits :
Bass – Paul Chambers
Drums – Arthur Taylor
Piano – Red Garland

RED GARLAND TRIO — Groovy (1957-1999) RM | Serie Prestige 50th Anniversary Special Commemorative Edition | FLAC (tracks+.cue), lossless

Red Garland's third recording as a leader has him playing very well, somewhat energetic and more inclusive in his direction to span the mainstream jazz palate beyond the cool exterior he emanates. The title might be a bit deceptive, for this is not a project where soul-jazz or early boogaloo influences turned jazzmen into groovemeisters -- it's a swinging groove. With bassist Paul Chambers and drummer Art Taylor, Garland has all the support he needs to wing it in a variety of directions. Recorded in that most legendary year of jazz, 1957, Garland is coming into his own in a more confident way, buoyed by his association at the time with Miles Davis. Chambers is flawless in his support role, and on this recording deserves a close listen, especially for students of the acoustic upright. They immediately dig in on the opener "C Jam Blues," with Garland at his heartiest during his bridge solo, they agree in the affirmative during the entirety of the hard bop take of "Will You Still Be Mine?," and repeat but modify the melody à la "Cool Blues" in an adept display of artistry for "Hey Now." Of course Garland has to play a ballad or two, as on "Willow Weep for Me," luscious with chord sequences, and really reflects the influence of Erroll Garner in that chiming, two-handed sustenato style for Garner's "Gone Again." It is said that by the third recording, most musicians should have their style down pat and begin attempting to take the music to a higher level. You really hear that in this recording, which was a springboard to making Red Garland one of the most revered and respected jazz pianists of the modern era. Michael G. Nastos  
Tracklist :
1 C-Jam Blues 8:21
Barney Bigard / Duke Ellington
2 Gone Again 6:46
Curley Hamner / Lionel Hampton / Curtis Lewis
3 Will You Still Be Mine? 4:43
Tom Adair / Matt Dennis
4 Willow Weep for Me 9:35
Ann Ronell
5 What Can I Say (After I Say I'm Sorry?) 7:14
Walter Donaldson / Abe Lyman
6 Hey Now 3:41
Red Garland / Sonny Gordon
Credits :
Bass – Paul Chambers
Drums – Art Taylor
Piano – Red Garland

THE RED GARLAND QUINTET — All Mornin' Long (1958-2001) RM | Serie Prestige 50th Anniversary Special Commemorative Edition | FLAC (tracks+.cue), lossless

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. Scott Yanow    Tracklist & Credits :

RED GARLAND — Red Garland Revisited! (1963-1996) RM | FLAC (image+.cue), lossless

For pianist Red Garland's fourth recording as a leader, he's teamed up with bassist Paul Chambers, drummer Art Taylor, and (on "Four" and "Walkin'") guest guitarist Kenny Burrell. Garland plays in his distinctive style consistently throughout Red Garland Revisited!. Highlights include "Billy Boy" (which was adapted from Ahmad Jamal's rendition), "I'm Afraid the Masquerade Is Over," "It Could Happen to You," and two Burrell tracks. Predictably excellent music; Garland recorded more than 20 additional albums within the next five years. Scott Yanow    Tracklist & Credits :

RED GARLAND — Can't See for Lookin' (1963-1996) RM | FLAC (tracks+.cue), lossless

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    Tracklist & Credits :

RED GARLAND WITH PAUL CHAMBERS AND ART TAYLOR — Red Garland's Piano (1957-2006) RM | Serie RVG Remasters | FLAC (tracks+.cue), lossless

Red Garland's third session as a leader finds the distinctive pianist investigating eight standards (including "Please Send Me Someone to Love," "Stompin' at the Savoy," "If I Were a Bell," and "Almost Like Being in Love") with his distinctive chord voicings, melodic but creative ideas, and solid sense of swing. Joined by bassist Paul Chambers and drummer Art Taylor, Garland plays up to his usual consistent level, making this an easily recommended disc for straight-ahead fans. Scott Yanow    Tracklist & Credits :

RED GARLAND — The P.C. Blues (1957-1996) RM | MONO | FLAC (tracks+.cue), lossless

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
Tracklist :
1 Ahmad's Blues 7:29
Ahmad Jamal
2 Lost April 6:26
Emil Newman / Hubert Spencer
3 Why Was I Born 5:49
Oscar Hammerstein II / Jerome Kern
4 Tweedle Dee Dee 13:18
Winfield Scott
5 The P.C. Blues 9:53
Red Garland
Credits :
Bass – Paul Chambers
Drums – "Philly" Joe Jones (tracks: 1), Art Taylor (tracks: 2 to 4)
Piano – Red Garland

THE RED GARLAND TRIO — It's a Blue World (1958-1999) RM | FLAC (tracks+.cue), lossless

Of the miles of Red Garland sessions recorded in the late '50s, some of the tapes didn't see the light of day until many years later. This session, except for "Crazy Rhythm," first appeared in the early '70s, and is typical of Garland's trio work of the '50s, evoking a mid-century nightclub atmosphere from Rudy Van Gelder's studio with the perfectly gauged help of bassist Paul Chambers and drummer Art Taylor. "Since I Fell for You" and "Teach Me Tonight" are taken at relaxed tempos, and after Garland's trademark block chords in the left hand and octaves in the right hand take care of the themes, they ride easily and winningly. "Crazy Rhythm" zips along at the usual steeplechase pace, with a fluid bebop solo from Garland and some agile bowing from Chambers (Chambers also gets an unusually lengthy bowed solo on "This Can't Be Love"), and the title track closes the CD reissue on a jaunty note. Garland fans -- and for that matter, fans of Vince Guaraldi, whose chord voicings very much resemble those of Garland -- need not hesitate. Richard S. Ginell    Tracklist & Credits :

THE RED GARLAND TRIO PLUS RAY BARRETTO — Manteca (1958-1990) RM | FLAC (image+.cue), lossless

This is a solid LP that differs from most sets by pianist Red Garland in that, in addition to bassist Paul Chambers and drummer Art Taylor, he employs Ray Barretto on conga. The Latin flavor does not affect the music much (other than on the title cut), but Barretto does light a fire under the other musicians. A nice, swinging session. Scott Yanow
Tracklist :
1 Manteca 8:06
Written-By – Gillespie, Fuller
2 S'Wonderful 6:41
Written-By – Gershwin-Gershwin
3 Lady Be Good 5:50
Written-By – Gershwin-Gershwin
4 Exactly Like You 7:09
Written-By – Fields, McHugh 
5 Mort's Report 12:11
Written-By – Red Garland
6 Portrait Of Jenny 7:18
Written-By – Burdge, Robinson
Credits :
Bass – Paul Chambers
Congas – Ray Barretto
Drums – Art Taylor
Piano – Red Garland

THE RED GARLAND TRIO PLUS RAY BARRETTO — Rojo (1961-2014) RM | Prestige Masters Collection 1000 | FLAC (tracks+.cue), lossless

Pianist Red Garland recorded frequently with trios for Prestige during the second half of the 1950s. For this set (reissued on CD), Garland, bassist George Joyner and drummer Charlie Persip are joined by Ray Barretto on congas and the emphasis is on forceful swinging. Garland takes such ballads as "We Kiss in a Shadow" and "You Better Go Now" at faster-than-expected tempos. "Ralph J. Gleason Blues" and the Latin feel of "Rojo" are among the highlights of this enjoyable disc. Scott Yanow
Tracklist & Credits :

RED GARLAND TRIO — All Kinds of Weather (1958-1990) RM | FLAC (tracks+.cue), lossless

Red Garland was always a consistent pianist and all of his mid-to-late-'50s Prestige dates are worth acquiring. This CD reissue has six titles having to do with seasons and the weather (such as "Rain," "Summertime" and "Winter Wonderland"). The gimmick served as a good excuse for Garland, bassist Paul Chambers and drummer Art Taylor to explore six superior songs and their interpretations always swing and uplift the melodies. Scott Yanow    Tracklist & Credits :

THE RED GARLAND TRIO + EDDIE "LOCKJAW" DAVIS — The Moodsville, Vol. 1 (1960-1989) RM | FLAC (tracks+.cue), lossless

In the late 1950s, Prestige started a new subsidiary (Moodsville) that was designed to provide mood music for courting couples. The emphasis on this release, The Moodsville, Vol. 1, is on ballads, matching pianist Red Garland, bassist Sam Jones, and drummer Art Taylor with guest tenor Eddie "Lockjaw" Davis on three of the eight tunes. Due to the overly relaxed nature of much of this music and the lack of variety, this is not one of the more essential Red Garland sets, but it is still generally enjoyable. Highlights include "We'll Be Together Again," "When Your Lover Has Gone," and "Blue Room." Scott Yanow   Tracklist & Credits :

RED GARLAND TRIO — Red Garland Trio At The Prelude (1959-2006) 2CD | FLAC (tracks+.cue), lossless

Finally. Red Garland at the Prelude appears as it was recorded in 1959 at a bar in Harlem. Originally, the three sets of material from this date -- the very first live club date Prestige ever issued -- were released on four different LPs: Red Garland at the Prelude, Lil' Darlin', Live!, and Satin Doll. There was a CD issue of volume one which included At the Prelude and Live! on one disc, but outside of Japan, the sets had never been assembled together for release on CD. So for American fans unwilling to shell out the big dollars for Japanese imports, this is an historic occasion. In his liner notes, Joe Goldberg makes a case for how misunderstood and under-appreciated Garland was by jazz critics and fans in general. One need only to look at the record to find out what his label, Prestige, thought of him and the many musicians he worked with: Red Garland recorded 19 dates for them. The band here -- with bassist Jimmy Rowser and drummer Charles "Specs" Wright -- was not a working trio and was assembled for the purpose of this recording. As such, Garland kept his program close to the standards and hothouse, barroom jams of the era. And there are some real doozies here, such as Count Basie's "M-Squad Theme" that opens the first set on disc one -- as well as a number of other Basie tunes, including "One O'Clock Jump" and "Let Me See." There is also a lovely reading of "Bye Bye Blackbird" that resembles closely the Miles Davis Quintet version -- of which Garland was a part. There's a great version of "Satin Doll" that has been previously unissued until now, as well as a false start on "Lil' Darlin." "Perdido" kicks off the second set, and the first disc ends at the halfway point of the second set with "Like Someone in Love." The trio clicked from the start here. The tunes were familiar enough to anybody playing in New York at the time that finding a groove was easy, and Garland's wondrously idiosyncratic right-hand moves put an individual spin on them. The second disc offers a gorgeous reading of Irving Berlin's "Marie," and Garland's own smoking "Bohemian Blues." Set three gives us Gershwin's "It's a Foggy Day," another read of "Satin Doll," (the officially issued one), the Ellington nugget "Just Squeeze Me (But Don't Tease Me)," and a Garland improv called "Prelude Blues." The program ends with two more unissued tunes, a stomping "Cherokee" and another "One O'Clock Jump," making three in total for the night. This is a must for mainstream jazz fans interested in the piano room music of New York at the end of the 1950s, and swinging hard bop in general. For Garland fans it's a treasure trove.
-> This comment is posted on Allmusic by Thom Jurek, follower of our blog 'O Púbis da Rosa' <-
Tracklist & Credits :

RED GARLAND — Blues in the Night (1960-1997) RM | FLAC (tracks+.cue), lossless

The emphasis is on the blues (although not exclusively) on Blues in the Night. The original eight-song program was played by the trio of pianist Red Garland, bassist Sam Jones, and drummer Art Taylor, from an earlier date. Most unusual about the set is that Garland makes a rare (and effective) appearance on organ during "Halleloo-Y'All." Otherwise, this is a conventional but enjoyable set of bluesy bop, highlighted by "Revelation Blues," "Everytime I Feel the Spirit," and "Rocks in My Bed." Scott Yanow   Tracklist & Credits :

RED GARLAND — Red Alone (1960-2004) RM | Serie Original Jazz Classics | FLAC (tracks+.cue), lossless

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   Tracklist & Credits :

THE RED GARLAND TRIO — Bright and Breezy (1961-1995) RM | FLAC (tracks+.cue), lossless

During 1961-1962, following a long series of recordings for Prestige, pianist Red Garland recorded four LPs for the Jazzland label. His style was unchanged from a few years earlier, and this trio set with bassist Sam Jones and drummer Charlie Persip (reissued on CD on the Original Jazz Classics label) is very much up to par. Highlights include Garland's interpretations of "I Ain't Got Nobody," "Blues in the Closet," and "Lil' Darlin'." An enjoyable straight-ahead session. Scott Yanow   Tracklist & Credits :

RED GARLAND — The Nearness of You (1962-1999) RM | FLAC (tracks+.cue), lossless

Unlike his slightly earlier recordings for Moodsville (which feature Red Garland on unaccompanied piano solos), this strictly ballad date has Garland joined (on all but the solo "Lush Life") by bassist Larry Ridley and drummer Frank Gant. Since all eight of the standards are taken at the same medium/slow tempo, there is not much variety here, keeping the CD from being essential. But Garland's attractive and distinctive chord voicings, plus his ability to uplift melodies while swinging at a slow speed, make this project a success. Highlights include "The Nearness of You," "Where or When," and Irving Berlin's "All Alone." Particularly effective when used as background music. Scott Yanow   Tracklist & Credits :