November 2009

Sidemen sing the blues and Red Garland is one of them. Performing alongside some of the most important innovators in jazz history afforded the pianist the ability to hear and witness some of the most important musical shifts in the history of American music, but it still didn’t make him a star. Surely, he got to lead a number of dates – and even incorporated some of those better known associates into the proceedings – but he never become supremely famous. And by the time that the mid ‘60s rolled around, Garland headed back to his native Texas for a few years in semi-retirement. That life obviously didn’t suite him and as the ‘70s dawned he headed back into the studio.

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In commenting on the career of trumpeter Eddie Gale it’s pretty much always noted that his first two dates as a group leader – 1968’s Ghetto Music and 1969’s Black Rhythm Happening – were personally financed by the man behind Blue Note Records, Francis Wolff. That’s a vote of confidence if there ever has been one. But there’re very specific reasons as to why Wolff would throw down his own cash to back a pair of discs that would soon be relegated to thrift shops and resale stores.

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Why J.J. Johnson worked for a few years during the ‘50s as a blueprint inspector is so far beyond my realm of understanding as to not comment upon it. The fact was just too good to not include somehow and this seemed the best why by which to do it.

Regardless of his brief break from playing music, Johnson is today considered the foremost proponent of bop on the trombone. Surely, the work that he did with Kai Winding is notable, but Johnson’s career out stripes all but the very top tier jazzbos of the era, little loan Winding (no offense, but it’s undeniably true).

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