This Prestige date recorded in January 1957, finds guitarist Kenny Burrell with Donald Byrd, Frank Foster, Tommy Flanagan, Doug Watkins, and Arthur Taylor in a excellent jam session setting.
I was the engineer on the recording sessions and I also made the masters for the original LP issues of these albums. Since the advent of the CD, other people have been making the masters. Mastering is the final step in the process of creating the sound of the finished product. Now, thanks to the folks at the Concord Music Group who have given me the opportunity to remaster these albums, I can present my versions of the music on CD using modern technology. I remember the sessions well, I remember how the musicians wanted to sound, and I remember their reactions to the playbacks. Today, I feel strongly that I am their messenger.
Productivity can be measured in terms of quantity and quality. On both counts, the Red Garland session of November 15, 1957, produced volumes; two volumes, in fact, and part of another (High Pressure/OJCCD-349-2). Soul Junction and its companion, All Mornin' Long (OJCCD-293-2), found Garland and John Coltrane attuned to one another and in superb form as a result of their intensive work in the Miles Davis Quintet.
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.
Red Garland's Piano (1957) showcases what made the pianist a man worthy of admiration: a firm left hand provided a punchy rhythm while the right hand manufactured bold block chords or glassy arpeggios.
Recorded in one day (August 23, 1957) at Rudy Van Gelder’s studio in Hackensack, NJ. This date of ballads and burners features the young tenor saxophonist John Coltrane leading a quartet comprised of pianist Red Garland, bassist Paul Chambers and drummer Arthur Taylor. Liner notewriter (original and reissue) Ira Gitler remarks, “In the ‘50s I was called upon to name many of the untitled songs at Prestige. Traneing In came to me because of the way [Coltrane] homed in after Garland’s opening solo [on the song].” This album is significant in that it took place halfway through Coltrane’s break with Miles Davis’ classic quintet of the ‘50s and it was the same year that the tenor saxophonist hooked up with Thelonious Monk to record the recently discovered live Carnegie Hall masterpiece.