"I can't add much to the stylistic notes from the always- knowledgeable Mr. Chell in his review. I will say, however, that this is an extremely good introductory album for anyone interested in great, not-watered-down (read, "contemporary" or "mellow") jazz. Coltrane and Garland mesh extremely well together, and even Donald Byrd, not my favorite trumpet player for the reasons stated by Mr. Chell, sounds strong, confident, and in synch with the other musicians. All three songs are masterpieces highlighted by immensely satisfying solos (what else would you expect from musicians of this caliber), especially the title cut and the slightly boppish take on "They Can't Take That Away From Me."
This was one of the first jazz albums I owned; I purchased a used vinyl with a notation on the cover that read something like "scratchy but excellent!" I listened to it many times, and the supremacy of the musicians rose like cream through the worn record. Fortunately, I found it again at Amazon.com in CD form, and am enjoying it just as much as when the jazz genre was so new to me. Yes, it's a personal favorite with some history behind it, but its excellence may make it one of your favorites as well.
With George Joyner on bass and Arthur Taylor on drums(who are also featured on "The Best of the Red Garland Quintets," another CD worth checking out.) Engineered by the great Rudy Van Gelder, this 1957 studio date was remastered for its 2001 re-release."
Another jam session that's not just another jam session
Samuel Chell | Kenosha,, WI United States | 09/29/2005
(5 out of 5 stars)
"How easy it is to dismiss, ignore, take for granted the brilliance of Red Garland. On the other hand, maybe Coltrane deserves the credit for bringing out the best in these "merely" frontline musicians. "All Mornin' Long" is a Bb blues running over 20 minutes. Coltrane has the first solo--probing, passionate, daring. Time for the ensuing players to run for cover or stand up like real men. Donald Byrd, always a tasteful and melodic if "safe" player, practically goes for broke for a change. He employs some half-valve effects (rare for Byrd) and aims for some upper-register notes that aren't there (no matter--it's one of the few recorded moments when Byrd really reaches). Then it's Red's turn.
Red not only holds his own but makes you forget about what's preceded--not through blazing technique or adventurous innovation but ceaseless invention and an incorporation of every possible style. He alternates "trite" rhythm and blues riffs with breathtakingly lithe, Powell-like single-note lines; he moves to his "stretched" block chord style for two, not just one, extended stretches; he makes the blocked-chord style work at a tempo that would discourage its use by any other pianist. His solo, however harmonically and melodically "conservative," is a tour de force.
Dozens of pianists have borrowed from the Garland vocabulary--Gene Harris, Wynton Kelly, Monty Alexander, Ahmad Jamal. This recording is just another reminder that there was only one pianist who mastered that language."
Great-but only part of a landmark session
sekander | 11/22/2006
(5 out of 5 stars)
"If you are reading these reviews, congratulations. You've discovered the many joys of listening to Red Garland-the anytime pianist. You are probably aware of Red's charter membership in the first great Miles Davis quintet. It's probably how you came to delve further into his oeuvre.
Maybe you are aware that the Miles Davis group went into the Prestige Studios (actually Rudy Van Gelder's living room-where so many great Prestige and Blue Note albums were recorded) on May 11, 1956 & October 26, 1956 and, in two marathon sessions, whipped out 4 albums worth of material to complete his contractual obligations to Prestige that allowed him to go over to Columbia. Those are landmark sessions in the history of Jazz and all are peppered with the work of Red Garland and John Coltrane.
What you may not know is that on November 15, 1957, Red Garland had a marathon session of his own at those same Prestige studios, culminating in 2 1/2 albums worth of insanely quality material featuring his confrere, John Coltrane, a young, inspired (who wouldn't be...in the company of these two giants) Donald Byrd on trumpet and another superb rhythm section of George Joiner and Art Taylor. This album is one. The other is Soul Junction. And the remaining tracks can be found on High Pressure. It is your duty to seek these out. You won't be disappointed."
Career-best moments from Coltrane, Garland
Matthew Watters | Vietnam | 03/11/2009
(5 out of 5 stars)
"During 1957-59, Coltrane's style was evolving so rapidly, it was almost changing by the month. So, it's always illuminating to check the recording date. Here, it was November 1957, and Trane was just coming off the creative highs of his time with the Thelonious Monk Quartet and the recording of Blue Train. And you can hear the joy in the opening notes of Trane's solo on "All Mornin' Long," which is both magisterial and yet utterly at ease. This solo is one of my favourite moments in all of Trane's discography. But the magic of this track, the length of an original LP side, doesn't end there. Red Garland also reaches into his bag and pulls out one of his greatest recorded moments, a long solo that spins infinite variations out of seemingly minimal vamps. It's breathtaking. Poor Donald Byrd. He just wasn't a natural talent in this league. He has a nice tone on the trumpet, but you can hear him straining for every effect. But, he manages an 'A' for effort. And then we get Jamil Nasser (then still known as George Joyner). He drives this whole album along with great muscularity and must have developed a callous or two for his solo here. Mingus was apparently an early mentor, and you can hear Nasser reaching for that level. So, three all-time great solos and one very good one, all in a single, surging track. Drummer Art Taylor just stays in the pocket, digging into a smokey groove like he tended to on a lot of these Prestige Records dates. So, if you want a single track to sum up some of the greatest in 1950s jazz, look no further than "All Mornin' Long". But there's still the original LP's 'B' Side to consider. For "Can't Take That Away from Me," Byrd gets his finest moment on the album, crafting a very catchy head arrangement with Taylor. We're still looking at a truly great album here. But then we hit the wall, an altogether forgettable, boppish throwback to Tadd Dameron's "Our Delight". It's a small quibble, however, an almost a necessary comedown from the album's giddy initial high."
ONE OF THE BEST LP'S RED GARLAND HAS EVER RECORDED
Ravman | 01/10/2010
(5 out of 5 stars)
"I have "All Night Long" (with Kenny Burrell not the Brubeck album), and "All Day Long" (with Donald Byrd). Every serious jazz fan needs this LP. An original in nice shape will set you back $600+ so an OJC/Fantasy reissue is not a bad choice."