Find a The Red Garland Trio - Billy Boy / Hey Now first pressing or reissue. Complete your The Red Garland Trio collection. Shop Vinyl and CDs. Watch the video for Billy Boy from Red Garland's Red Garland Revisited! for free, and see the artwork, lyrics and similar artists. Red Garland Revisited! is an album by pianist Red Garland featuring tracks recorded in "Billy Boy" (Traditional) - ; "Everybody's Somebody's Fool" (Ace Adams, Lionel Hampton) - ; "Four" (Miles Davis) - ; "You Keep Coming.


Author: Arnulfo Hahn
Country: Cabo Verde
Language: English
Genre: Education
Published: 22 June 2015
Pages: 115
PDF File Size: 27.1 Mb
ePub File Size: 33.49 Mb
ISBN: 193-3-48436-740-2
Downloads: 14087
Price: Free
Uploader: Arnulfo Hahn


Familiar examples are in Bach cantatas and Mozart operas. Beginning with the Romantics, bell textures became a resource at the piano.

Debussy was deeply inspired by the gamelan, red garland billy boy Eastern orchestra comprised of tuned bells. Rachmaninoff loved his liturgical bells, for example in the climax of this Op.

Good public bells are specially tuned to bring out the sweet spots of their natural harmonic resonance.

As Rachmaninoff makes clear, high register fourths and fifths at the piano are a natural approximation of bells. He uses the same structure when comping as well. His high register bells simply thicken the sonority with agreeable dissonance.

There are small bells in African drum choirs: Rhythm is in charge. With his bells in his right hand, Red intentionally sacrifices some harmony to the god of rhythm.

Those vagrant bell overtones are a respectful gesture to percussive roots. Indeed, red garland billy boy the major-minor tonal system full authority is a subtle act of rebellion, which probably is part of why bells appealed to Alkan, Liszt, Debussy, and Rachmaninoff.

Red’s Bells

red garland billy boy Red also exhibits a locked hands chord style which he stumbled on one day while trying to phrase a certain idea. Becoming frustrated, he dropped his hands on the keyboard in despair and they fell into place to produce a sound he instantly liked.

Always ringing the changes and always playing the blues. Bebop had been less about a dancing beat, so in a way the new group harked back to the swing era.

Perhaps for the first time in small group jazz, Miles had a quintet that swung as hard as red garland billy boy big band.

The recorded sound is better than the Prestige dates, and every note played by every musician has weight. Interestingly, while Miles never had Red solo on everything in a set, there usually red garland billy boy trio feature: Musings is solid but not quite there yet: Paul Chambers was required and Red was still absorbing lessons from the leader.

Red himself said that he learned a tremendous amount from Miles.

Red’s Bells | DO THE [email protected]

Unquestionably they worked closely together when crafting the band sound. Miles taught two academies in red garland billy boy For Jamal, space was key: Emphasizing the song, not the bebop. Coolness and fire together, a meeting of the the best from both traditions.

Red appreciated the school of Miles Davis. The most obvious are the major seventh on the dominant and the natural fifth on the diminished.

Those cross-relationships red garland billy boy perfect for soloists who liked access to the whole complement red garland billy boy all twelve pitches: Miles through patient improvised melodic discovery, Coltrane through speed and chord substitution.

While comping, Red refuses to lock anything down, offering half-diminished, minor seventh, and dominant sonorities in simultaneous fashion.

Whatever happens is fine, as long as it is swinging. Paul Chambers is free to make up his own patterns, follow independent motives and give any inversion of the spontaneous harmony.


Related Posts: