Remembering Red Garland, born on this day in 1923 (193-1984)

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Red Garland: A Jazz Piano Legend

William McKinley “Red” Garland Jr. (May 13, 1923 – April 23, 1984) was an American jazz pianist whose distinctive block-chord style, lyrical touch, and blues-infused improvisations made him one of the most influential pianists of the hard bop era. Best known for his work with the Miles Davis Quintet in the 1950s, Garland’s playing combined bebop virtuosity with a deep-rooted sense of swing and melodic clarity. His contributions to classic albums like Milestones and ‘Round About Midnight cemented his place in jazz history.

This article explores Garland’s life, musical style, signature licks and harmonic approaches, influences, legacy, key recordings, film appearances, and links to documentaries and performances.

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Biography

Early Life and Musical Beginnings

Red Garland was born in Dallas, Texas, on May 13, 1923. He initially studied clarinet and alto saxophone before switching to piano in his late teens. His early influences included Nat King Cole, whose smooth phrasing and harmonic sophistication left a lasting impression.

Garland’s first professional gigs were in Texas and New York, where he played with local R&B and jazz bands. After serving in the U.S. Army during World War II, he returned to music, working with trumpeter Hot Lips Page and saxophonist Charlie Parker.

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Rise to Fame with Miles Davis

In 1955, Garland joined the Miles Davis Quintet, a group that also featured John Coltrane (tenor sax), Paul Chambers (bass), and Philly Joe Jones (drums). This band became one of the most celebrated ensembles in jazz, blending hard bop with modal experimentation.

Garland’s piano work on albums like:

• Workin’ (1956)
• Steamin’ (1956)
• Relaxin’ (1956)
• Cookin’ (1957)

showcased his ability to balance rhythmic drive with harmonic sophistication. His block-chord technique—a method of harmonizing melodies with tightly voiced chords—became a trademark.

Solo Career and Later Years

After leaving Davis’s group in 1958 due to creative differences, Garland led his own trio, often featuring bassist Paul Chambers and drummer Art Taylor. He recorded extensively for Prestige Records, delivering albums like:

• Red Garland’s Piano (1957)
• Groovy (1957)
• All Mornin’ Long (1957)
• Soul Junction (1960)

In the 1960s, Garland took a hiatus from music, partly due to frustration with the industry. He returned in the 1970s with a series of strong recordings, including Crossings (1978) with bassist Ron Carter and drummer Philly Joe Jones.

Garland passed away on April 23, 1984, from a heart attack, but his influence lived on through countless pianists who adopted his techniques.

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Musical Style

Block Chords and Voicings

Garland’s signature sound was built on block chords, a technique where the pianist plays a melody harmonized in close-position chords (often fourths or fifths). This style, influenced by George Shearing and Milt Buckner, gave his solos a rich, orchestral quality.

Example of a Garland-style block chord lick in C major:

RH: [E-G-C] → [F-A-D] → [G-B-E]  
LH: Root notes (C, D, E)  

Blues and Bebop Phrasing

Garland’s improvisations blended bebop lines with bluesy inflections. He often used:

• Triplet-based runs (inspired by Bud Powell)
• Grace notes and slides (adding a vocal-like quality)
• Quartal harmony (chords built in fourths, a modal jazz staple)

Rhythmic Approach

His left hand employed a “locked-hands” style, where chords and bass notes created a pulsating groove. This was especially effective in medium-tempo swing tunes like Billy Boy (from Milestones).

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Influences

Garland’s style was shaped by:

1. Nat King Cole – For his melodic touch and vocal-like phrasing.
2. Bud Powell – For bebop virtuosity.
3. Ahmad Jamal – For space and dynamic control.
4. Thelonious Monk – For harmonic daring.

He, in turn, influenced:

• Wynton Kelly
• McCoy Tyner (early work)
• Bill Evans (in his use of block chords)
• Oscar Peterson (in swing feel)

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Legacy

Garland’s impact on jazz piano is immense:

• His block-chord style became a standard technique.
• His trio recordings set a benchmark for rhythm sections.
• His work with Miles Davis helped define the hard bop era.

Modern pianists like Kenny Barron and Geoff Keezer cite him as an inspiration.

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Key Recordings

With Miles Davis

• ‘Round About Midnight (1957)
• Milestones (1958)
• Cookin’ / Relaxin’ / Workin’ / Steamin’ (1956-61)

As a Leader

• Red Garland’s Piano (1957)
• Groovy (1957)
• Soul Junction (1960)
• Red Garland Revisited! (1969)

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Filmography

Though Garland rarely appeared on film, he was featured in:

• The Sound of Jazz (1957, TV special) – Played with the Miles Davis Quintet.

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Discography (Selective List)

Year	Album	Label
1956	A Garland of Red	Prestige
1957	Red Garland’s Piano	Prestige
1957	Groovy	Prestige
1958	Can’t See for Lookin’	Prestige
1960	Soul Junction	Prestige
1978	Crossings	Galaxy

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Documentaries and Videos

• “Red Garland – Jazz Portrait” (YouTube documentary snippets)
• “Miles Davis: The Birth of Cool” (2019) – Features Garland’s contributions.

Recommended Performances

1. Billy Boy (1958) – A masterclass in block chords.
2. A Foggy Day (1957) – Beautiful ballad interpretation.
3. Soul Junction (1960) – Bluesy hard bop at its finest.

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Red Garland’s piano playing was a perfect blend of swing, blues, and bebop sophistication. His work with Miles Davis and his own trio recordings remain essential listening for jazz musicians. Though he never achieved the fame of some contemporaries, his harmonic innovations and rhythmic drive left an indelible mark on jazz piano.

For aspiring pianists, studying Garland’s block chords, phrasing, and bluesy sensibility offers a deep well of inspiration. His music continues to resonate, proving that true artistry never fades.

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Miles Davis – Bye Bye Blackbird (Audio) ft. John Coltrane, Red Garland

Red Garland’s “Bye Bye Blackbird”: Analysis, Transcription, and Musical Insights

One of Red Garland’s most famous performances is his rendition of “Bye Bye Blackbird” with the Miles Davis Quintet, featured on the 1956 album ‘Round About Midnight. This track showcases Garland’s signature block-chord style, bluesy phrasing, and impeccable swing feel. Below, we’ll break down his approach, provide transcriptions of key licks, and analyze his harmonic choices.

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Background on the Tune

• Composer: Ray Henderson (1926)
• Form: AABA (32-bar standard)
• Key: Originally in Eb major (Miles Davis’s version is in F major)
• Style: Medium-tempo swing with a bluesy interpretation

Garland’s version with Miles Davis is a masterclass in lyrical piano accompaniment and soloing. His intro and comping behind Miles’s trumpet lines are just as influential as his solo.

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Red Garland’s Signature Techniques in “Bye Bye Blackbird”

1. Block-Chord Intro (0:00 – 0:15)

Garland opens with a four-bar intro using his trademark locked-hands block chords, giving the tune a lush, harmonized melody.

Transcription (simplified in F major):

| F6   (F-A-D-F) | Bb7 (Bb-D-F-A) |  
| F6   (F-A-D-F) | C7#9 (C-E-Bb-D#) |  

• He voice-leads the top note (D → C → D → D#) for smooth motion.
• The C7#9 adds a bluesy tension before resolving to F.

2. Comping Behind Miles (0:15 – 1:30)

Garland’s left hand plays rootless voicings while his right hand adds fills and countermelodies.

Example voicings (F major):

• F6: (A-D-G) – omitting the root for a lighter sound.
• Bb7: (Ab-D-F) – using the tritone substitution flavor.
• C7alt: (E-Bb-D#) – a #9 sound for blues tension.

3. Piano Solo (2:45 – 4:00)

Garland’s solo is a mix of:

• Bebop lines (chromatic passing tones)
• Blues licks (minor pentatonic over major chords)
• Block-chord statements (for emphasis)

Notable Licks:

Lick 1 (Bluesy Bebop Line, F major):

| F7   | Bb7  | F7   | C7   |  
| A (8th) - G (8th) - F (8th) - Eb (8th) | D (8th) - C (8th) - Bb (8th) - A (8th) |  

• Uses chromatic approach notes (Eb → D) for bebop flavor.

Lick 2 (Block-Chord Statement, F major):

| F6   | Bb7  |  
| [F-A-D] → [G-Bb-Eb] | [Bb-D-F] → [A-C-E] |  

• Voice-leading the top note (D → Eb → F → E) for smoothness.

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Transcription Excerpt: Garland’s Solo (First Chorus)

Here’s a simplified transcription of Garland’s first 8 bars (F major):

Bars 1-4:

| F6     | Bb7    | F6     | C7     |  
| A-G-F  | Eb-D-C | Bb-A-G | F-E-D  |  

Bars 5-8:

| F6     | Bb7    | F6     | C7     |  
| [F-A-D] [G-Bb-Eb] | [Bb-D-F] [A-C-E] |  

(Full transcriptions are available in “The Red Garland Piano Solos” book or via jazz education sites.)

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Harmonic & Rhythmic Innovations

1. Quartal Voicings – Garland often used 4th-based chords (e.g., F-Bb-Eb instead of F triad).
2. Delayed Resolutions – He would anticipate or delay chord changes for tension.
3. Double-Time Feel – Occasionally, he’d shift into double-time swing mid-solo.

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Recommended Recordings & Videos

1. Miles Davis – ‘Round About Midnight (1956) – The definitive version.
2. Red Garland Trio – “Bye Bye Blackbird” (1957) – A trio take with Paul Chambers & Art Taylor.
3. Live at the Prelude (1959) – A rare live recording.

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Legacy & Influence

• Wynton Kelly borrowed Garland’s bluesy block chords.
• McCoy Tyner expanded on his quartal harmony approach.
• Bill Evans cited Garland’s voice-leading as an influence.

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Final Thoughts

Red Garland’s “Bye Bye Blackbird” remains a gold standard for jazz piano accompaniment and soloing. His block chords, bebop phrasing, and blues sensibility make this a must-study for jazz pianists.