Garland's trademark block chord technique, a commonly borrowed maneuver in jazz piano today, was unique and differed from the methods of earlier block chord pioneers such as George Shearing and Milt Buckner. Garland's block chords were constructed of three notes in the right hand and four notes in the left hand, with the right hand one octave above the left. The right hand played the melody in octaves with a perfect 5th placed in the middle of the octave (a 5th above the lowest note of the octave) even when it seemed to not suit the harmony. The 5th played in the middle of the octave becomes virtually inaudible when the chord in the left hand is played simultaneously, but the added 5th gives the voicings a particularly rich, distinctive and slightly out-of-tune character.
Garland's left hand played four note chords that simultaneously beat out the same exact rhythm as the right hand melody played. But, unlike George Shearing's block chord method, Garland's left hand chords did not change positions or inversions until the next chord change occurred. It's also worth noting that Garland's four note left hand chord voicings occasionally left out the roots of the chords, which later became a chord style associated with pianist Bill Evans. Garland's block chord method had a brighter quality, slightly more dissonance, and a fullness in the upper register compared to the mellower Shearing block chord sound. Garland's solo lines also had a glassy, shimmering tone that matched the quality of his chords.
After the Second World War, Garland performed with Roy Eldridge, Coleman Hawkins, Charlie Parker, and Lester Young. He found steady work in the cities of Boston, New York and Philadelphia. In the late 1940s he toured with Eddie Vinson at the same time that John Coltrane was in Vinson's band. His creativity and playing ability continued to improve, though he was still somewhat obscure. By the time he became a pianist for Miles Davis he was influenced by Ahmad Jamal and Charlie Parker's pianist Walter Bishop.
Garland became famous in 1955 when he joined the Miles Davis Quintet featuring John Coltrane, Philly Joe Jones and Paul Chambers. Davis was a big fan of boxing and was impressed that Garland had boxed earlier in his life. Together the group recorded their famous Prestige albums, Workin, Steamin', Cookin', and Relaxin'. Garland's style is prominent in these seminal recordings—evident in his distinctive chord voicings, his sophisticated accompaniment and his musical references to Ahmad Jamal's style.[citation needed] One critic incorrectly labeled Garland as a cocktail pianist, a negative connotation that implies a style isn't original. (Ahmad Jamal likewise was mislabeled a cocktail pianist at one point in his career, but misguided critics were later corrected by the jazz musicians who worked with him.) The quintet's recordings would arguably influence the Free jazz movement more than some of the more jazz avant-garde records of the time.
Garland played on the first of Davis's many Columbia recordings, 'Round About Midnight. Though he would continue playing with Miles, their relationship was beginning to deteriorate. By 1958, Garland and Jones had started to become more erratic in turning up for recordings and gigs. He was eventually fired by Miles, but later returned to play on another jazz classic, Milestones. Davis was displeased when Garland quoted Davis's much earlier and by then famous solo from "Now's The Time" in block chords during the slower take of "Straight, No Chaser." Garland walked out of one of the sessions for Milestones, so that on the track "Sid's Ahead" Davis comped behind the saxophone solos.
In 1958 Garland formed his own trio. Among the musicians the trio recorded with are Pepper Adams, Nat Adderley (Cannonball Adderley's brother), Ray Barretto, Kenny Burrell, Eddie "Lockjaw" Davis, Jimmy Heath, Harold Land, Philly Joe Jones, Blue Mitchell, Ira Sullivan, and Leroy Vinnegar. The trio also recorded as a quintet with John Coltrane and Donald Byrd.
Altogether Garland led 19 recording sessions while at Prestige Records and was involved in 25 sessions for Fantasy Records. He stopped playing professionally for a number of years in the 1960s when the popularity of rock and roll music coincided with a substantial drop in the popularity of jazz.
Garland eventually returned to his native Texas in the 1970s. His mother was in need of closer supervision in her declining years. He led a recording in 1977 named Crossings which reunited him with Philly Joe Jones, and he teamed up with world-class bassist Ron Carter. His later work tended to sound more modern and less polished than his better known recordings. He continued recording until his death from a heart attack in 1984, aged 60.
C Jam Blues
Red Garland Trio Lyrics
Jump to: Line by Line Meaning ↴
Pernah bawa dan beri bahagia
Hingga saat ini
Masih kuabadikan di dalam hatiku
Dengan satu rasa dalam satu cinta
Sewaktu kita bersama dulu
Hanya kita yang tahu
Kita memutik
Walau akhir ini seakan terpisah
Oleh masa dan suasana tak dipinta
Namun percayalah tidak sedikit pun
Kasihku kepadamu surut dan berubah
Pasti suatu masa 'kan bersama lagi
Engkau dan aku pasti jua nikmati
Cinta yang istimewa
Walau 'ku tak pasti bilakah masanya
Kau dan aku akan bertemu
Untuk kita kembalikan
Keindahan dulu
Walau akhir ini seakan terpisah
Oleh masa dan suasana tak dipinta
Namun percayalah tidak sedikit pun
Kasihku kepadamu surut dan berubah
Pasti suatu masa 'kan bersama lagi
Engkau dan aku pasti jua nikmati
Satu cinta yang indah
Walau 'ku tak pasti bilakah masanya
Kau dan aku akan bertemu
Untuk kita kembalikan
Keindahan dulu
Dengan satu rasa dalam satu cinta
Sewaktu kita bersama dulu
Kusemat di dalam hati
Hingga kita 'kan bertemu
Kemudian hari
Ada satu nama suatu masa dulu
In the past, there was a person who brought happiness into my life and their name is still cherished in my heart to this day.
Pernah bawa dan beri bahagia
They were able to bring joy and happiness into my life.
Hingga saat ini
Their impact on my life still remains.
Masih kuabadikan di dalam hatiku
Their memory is still preserved in a special place within my heart.
Dengan satu rasa dalam satu cinta
When we were together, we shared a certain feeling and a deep love for each other.
Sewaktu kita bersama dulu
During the time that we spent together.
Hanya kita yang tahu
Only the two of us knew about this deep feeling of love.
Dalam mana telah cinta
It was within this relationship that we fell in love with each other.
Kita memutik
We nurtured and cultivated our love for each other.
Walau akhir ini seakan terpisah
Despite the fact that we are currently separated from each other.
Oleh masa dan suasana tak dipinta
Due to circumstances beyond our control and the passage of time.
Namun percayalah tidak sedikit pun
However, please know that my love for you has not diminished.
Kasihku kepadamu surut dan berubah
My affection for you may have ebbed and flowed, but it is still present.
Pasti suatu masa 'kan bersama lagi
I am confident that we will be together again in the future.
Engkau dan aku pasti jua nikmati
We will surely enjoy our time together once again.
Cinta yang istimewa
Our love is special and unique.
Walau 'ku tak pasti bilakah masanya
Although I am unsure of when the time will come.
Kau dan aku akan bertemu
I believe that we will eventually reunite.
Untuk kita kembalikan
So that we can restore.
Keindahan dulu
The beauty of our past experiences.
Kusemat di dalam hati
I keep their memory close to my heart.
Hingga kita 'kan bertemu
Until the day we meet again.
Kemudian hari
In the future.
Writer(s): Duke Ellington
Contributed by Tyler M. Suggest a correction in the comments below.
@BillyDScott-lp4sw
Unlike many contemporary jazz pianists, Red Garland prioritizes musicality over technicality. Every note counts. Every note swings. No unnecessary improvisational runs. Also, kudos to Mr. P.C. and the great Art Taylor.
@TALearner-xi6cg
Love, love this, Red Garland with Paul Chambers and Art Taylor will live on forever ❤
@geraldogomy9381
General C Jam Blue is played by combos and big bands. This presentation with a trio is marvelous!!!
@user-gj2jj9bt1t
半世紀以前の愛聴盤で今ではCDでカーステレオ
にて聞いてます。
シンプル・イズ・ベストの典型、雑味の無い
スイング感、いつしか、リズムを刻んでいる
自分、幸せでございます。
@glenrose7925
Love that steady left hand comp coming into, pushing each and every first and third beat. A great example for all of jazz players
@BillyDScott-lp4sw
I agree with you on Red's left hand (a modified Charleston, I believe). Too many young pianists are trying to immediately play like Chick Corea, Keith Jarrett, Herbie Hancock etc. (Whom I all respect and listen to on a regular basis), and do not have a foundation for swinging, the blues, or bebop. Red has all of these elements in his playing.
@glenrose7925
@@BillyDScott-lp4sw I concur. Also too much emphasis on scale playing and improvising with modes before they learn the basics the standards teach us.
@BillyDScott-lp4sw
@@glenrose7925 I agree on that 100% as well. Have a great day, Glen.
@richdocherty4519
Doesn't get any better than this folks. I defy you NOT to tap your toe when listening!
@mikeyamato9864
マッコイも好きだけどガーランドは気持ちがリラックスして癒やされる。
ずっと聞いていたい！