Red Garland -Red in Blues-Ville on Original Prestige Records 7157 Bergenfield NJ
  $   40

 


$ 40 Sold For
May 4, 2013 Sold Date
Apr 27, 2013 Start Date
2   Number Of Bids
  USA Country Of Seller
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Description


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 Red Garland
Red in Blues-Ville
On Prestige Records 7157
Original Prestige Records w/ Bergenfield, NJ Label


Condition: Cover is VG+. Record is VG+
Zoom images for details



ABOUT:

William "Red" Garland (May 13, 1923 – April 23, 1984)[1] was an American modern jazz pianist whose block chord style, in part originated by Milt Buckner, influenced many forthcoming pianists in the jazz idiom.[2][3]

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. 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 Billy Eckstine, 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.



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