Joyously easy, starting (in the order on the released album) with "This Can't Be Love," the Rodgers and Hart standard. There was always an ironic underpinning to Lorenz Hart's work. When he says "This can't be love, because I feel so well," he kinda means it. Love does really awful things to you, and since those things haven't happened--yet--
this probably isn't it. But this version is so joyous and upbeat that it could be a Rodgers and Hammerstein song. It also a lyrical, swinging, three minute bowed bass solo by Paul Chambers that'll lift your mood if it's not there already.
"Since I Fell For You" was written as a rhythm and blues number by bandleader Buddy Johnson for his sister Ella, and it's since become a beloved standard of R&B, pop and jazz, or, if you're Dinah Washington, all three. Garland and company give it a jazz treatment here, soulful and lovely.
"Crazy Rhythm" was written by Irving Caesar, Joseph Meyer and Roger Wolfe Kahn, who didn't generally write together, but if you take all the work they did with other collaborators, and lump it
Garland always had the most eclectic tastes, and the ability to pull a great session together from disparate sources. "Teach Me Tonight" is a popular song from the 50s, that era on which the book of Great American Songs was supposed to have closed. But this is another that's received quite a bit of attention cross-genre (including, again, Dinah Washington, who crossed nearly every genre). In jazz, piano players have liked it -- Garland, Erroll Garner, Oscar Peterson.
"It's a Blue World" was written by Bob Wright and George Forrest, best known (basically only known) for the Broadway show Kismet. If Red Garland is an eclectic song-picker, "It's a Blue World" is an eclectic song, with versions by a wide range of jazz performers, including Glenn Miller, Billy Bauer, Eddie "Lockjaw" Davis and Coleman Hawkins. It's been a favorite of jazz singers, too, including, most recently, Amy Winehouse.
I love Red Garland's trio work, always, but Coltrane is Coltrane.
If Garland, Chambers and Taylor were having a busy day, Garland, Chambers and Coltrane were having a busy week. Don't forget that while they had stayed behind at Prestige, they had also migrated to Columbia with Miles Davis, and three days before turning up on Rudy Van Gelder's doorstep, they had been in a Columbia studio recording one of Miles's classic albums, Milestones, the one that welcomed Cannonball Adderley to the group.
Trane was now pushing forward with more urgency, and starting to separate himself from the pack even more than he had done previously. This session is credited as his first exploration of the technique that came to be called "sheets of sound." I am not musicologist enough to understand its nuances, let alone explain them. Here's fromthejazzpianosite:
As we covered in a previous lesson, to improvise vertically means to think in terms of chords and chord progressions – so your solo traces out each individual chord in the progression. While to improvise horizontally means to think in terms of scales, modes and keys – so your solo isn’t tracing out each individual chord, but rather you are just playing a particular scale over the entire progression. The end result can be very similar. A vertical solo can sound exactly the same as a horizontal solo – it’s just a different way of thinking about improvisation.And so the Sheets of Sound technique is a vertical improvisation technique; that is, it uses arpeggios, patterns, licks and scales that trace out each chord in a progression.
The writer goes on to explain that there are a plethora of scales and arpeggios "that you could plausibly use to improvise over this chord," and lists a number of them, but points out that
The same website quotes Coltrane:If you play all of these scales/arpeggios in their entirety over [your basic chord], you are playing Sheets of Sound. Now, obviously, this is impossible so you just try squeeze in as much as you can.Coltrane tried to squeeze every possible harmonic implication into his solo – play every possible chord and every possible scale for each chord.
He does play melodically on this session, especially on Tadd Dameron's beautiful "Good Bait." Dameron was what might be called a musician's musician -- revered by the jazz community, not well known outside of it, so his compositions were special, not only because of how good they were, but also because jazz owed him a special debt.About this time, I was trying for a sweeping sound. I started experimenting because I was striving for more individual development. I even tried long, rapid lines that Ira Gitler termed “sheets of sound” at that time. But actually, I was beginning to apply the three-on-one chord approach, and at that time the tendency was to play the entire scale of each chord. Therefore, they were usually played fast and sometimes sounded like glisses.I found there were a certain number of chord progressions to play in a given time, and sometimes what I played didn’t work out in eighth notes, 16th notes, or triplets. I had to put the notes in uneven groups like fives and sevens in order to get them all in.I could stack up chords, say on a C7, I sometimes superimposed an Eb7 up to an F#7, down to an F. That way I could play three chords on one. But on the other hand, if I wanted to, I could play melodically…
And he plays out there, especially on an Irving Berlin standard. As Bob Weinstock recalled it,
We were doing a session and we were hung for a tune and I said, "Trane, why don't you think up some old standard?" He said, "OK I got it.["]...and they played "Russian Lullaby" at a real fast tempo. At the end I asked, "Trane, what was the name of that tune?" And he said, "Rushin' Lullaby". I cracked up.The Trio session sat on the shelf for a long time, finally released in 1970 as It's a Blue World. "Crazy Rhythm" rushed the tempo on that, appearing on Garland's 1962 release, Dig It! as well as the later album.
The Coltrane session came out in 1958 as Soultrane, although it does not include the Tadd Dameron composition of the same name that was written for Coltrane. "Good Bait" and "I Want to Talk About You" were released on separate 45s, each divided into Parts 1 and 2.
Listening to Prestige Vol. 2, 1954-1956 is very close to release. Order your advance copy from firstname.lastname@example.org