Matt Granted as one gets older, hence the more music one has heard, especially if like myself you just love to hear some great music every day, it does become harder to find quality reissued albums that one has not heard at some time or another but early this year Jazz Wax records released “Red Garland At The Prelude” and what an absolute joy to hear some beautiful Bop from a trio that sounds as fresh “as a loaf of bread straight out the oven”. Why this Red album, did he not do those ones with Coltrane and other luminaries including Coleman Hawkins for Prestige? Not to mention that Quintet that Miles Davis lead. For myself perhaps it was Red was just in absolute sparkling form on the night with this album’s numbers being the jewels picked from the entire evenings recordings, or was it Rudy Van Gelder doing the actual recording? Another factor could be we do not have the usual Rhythm Section of Paul Chambers and Art Taylor or Philly Jo Jones who appeared on many of his studio Trio Recordings which seems to give this a slight different feel. The added addition of the album being, it is a beautiful Live Recording for that period in time (1959, first for this type of venue) by Rudy Van Gelder.

The Trio or Band comprise Red Garland on piano, who needs no introduction but it is the Rhythm section that is not as well known as Red’s usual above three that was mentioned, being Jimmy Rowser on bass and Specs Wright playing drums. Jimmy Rowser had originally been the house bassist at Philly’s Blue Note from 1954 to 56 and then did an approximate two year stint with Dinah Washington and then another two years with Maynard Ferguson which brings us to this point in time with Red’s trio. Specs Wright on drums had “been around the block” musically to say the least by working with so many other great musicians including Dizzy Gillespie, Jimmy Heath, Howard McGhee, Earl Bostic, Cannonball Adderley and also being a member In Carmen McRae’s trio. Both musicians are a joy to hear with their input throughout the recording.

The sparkle and stride seem to be coming out of Red’s piano and band as soon as the needle hits with the first composition “Let Me See” coming in with a beautiful bounce applied to this Basie, Edison, Hendricks tune. The Rhythm section feature prominently with Red’s piano hitting that stride and with the call and response used by the band throughout the composition’s input even the drum solo keeps us right on bouncing along with this wonderful opening number. “Prelude blues” follows which is one of Red’s own compositions and sure he hits hard with that percussive technique that he played with but this lovely slow Blues is full of a glorious piano technique and if one wants to hear ivories tickled this is right up your alley. One of the two Ellington compositions within the album “Just Squeeze Me” is up next and that sparkling Red piano sound is all around on this mid tempo number. “Cherokee” comes next and it is a bonus track for this reissue followed by Basie’s “One O’Clock Jump” with another bonus take of this thrown in to finish the album on the B Side. “Satin Doll” the other Ellington composition is first up on the record’s flip with “Perdido” following with more of that Ellington presence felt and both are played beautifully by the trio. The album’s ballad “There’ll Never Be Another You” is played in a mid tempo range with more of that great timing coming from the Rhythm section with Red’s piano seeming to dance right across them and is just another highlight as the rest of the numbers seem to be contained within this lovely trio recording. “Bye Bye Blackbird” is the original album closer and it sounds wonderful here from the trio with that necessary jaunt within the songs chorus and it is for me a nice stripped take of that version he did with Miles Davis from his “Round Midnight” album.

Red Garland unfortunately has been labelled a cocktail bar pianist but to us fans we know that is from people who have not bothered to take the time and concentration to listen to his many Trio recordings because sure Red had a wonderful hard hitting technique with also having that knack to always keep a string on the tune right throughout, including solos. No wonder Miles wanted him. Very Highly recommended from this old boy. Sure it ain’t Bill Evans but that is what is so nice about the difference.