Back in March 1961, saxophonist Oliver Nelson [pictured above] teamed with pianist Red Garland for the first time. Five tracks were recorded with Richard Williams on trumpet, Peck Morrison on bass and Charlie Persip on drums. The session would be the only time Nelson and Garland recorded together—an odd and unfortunate circumstance.
What's even stranger is that the five tracks were never issued on a single album. Instead, two of the recordings came out years later on Soul Burnin', which gathered orphaned Garland tracks recorded in 1960 and '61, while the other three songs didn't surface until Prestige released Rediscovered Masters Vol. 2 in the '70s.
The songs recorded by this unusual quintet offer a smart spread: On Green Dolphin Street, If You Could See Me Now, Soft Winds, Avalon and Skinny's Blues. The first two wound up on Soul Burnin' while the others became part of the vault dive for Rediscovered Masters Vol. 2.
Given the spirited quality of Garland's [pictured above] swinging attack and Nelson's Coltrane-like heat on alto and tenor sax, one can only speculate why a proper Red Meets Oliver" album was never issued. The cumulative length of the tracks totals just over 37 minutes—hardly in excess of the standard jazz album at the time. Perhaps they planned to return to the studio to record additional tracks or takes but couldn't fulfill the obligation due to any number of reasons.
On paper, reuniting wouldn't seem to have been a problem. Both Nelson and Garland [pictured above] had extended gaps between their discographies—with Nelson not recording until Duke Ellington's Paris Blues in May and Garland's hiatus lasting until Bright and Breezy in July. But both musicians likely had tour obligations, or one or more of the date's sidemen may not have been available for additional session work.
If the problem was audio issues, certainly tape edits could have resolved them. By 1961, tape editing with a razor blade, steady hand and careful ear was common practice in studios. Or perhaps the fact that the horns solo for brief spells while the trio dominates on either end and in the middle of songs was viewed as uneven in review.
Or maybe too much Garland was already in the can and slated for release. Or given that the location of the date says New York" instead of Englewood Cliffs, N.J.," perhaps the city engineer wasn't as skilled as Rudy Van Gelder to make the cuts or wasn't trusted to do so expertly. Rudy did tell me, however, that most of the Prestige dates that say New York" were actually cut at his place. [Pictured above: Oliver Nelson]
In the end, we may never know why a Garland and Nelson album wasn't released with this material or why they never again recorded together. What is evident is the sumptuous quality of the music preserved here and how provocative the two sounded squaring off.
JazzWax tracks: You can find Red Garland's Slow Burnin' here and Rediscovered Masters Vol. 2 here. Both are frightfully expensive and may be available online at eBay or at download sites for less.
JazzWax clip: To give you a taste, here's If You Could See Me Now with Oliver Nelson on alto sax and Richard Williams on trumpet, from March 1961...
I was first exposed to jazz thanks to my Mother (stage name Tobey Castle) who was a professional singer with the Tommy Dorsey band back in the day. Mom sang to me all the time as a little girl, but it never occurred to me to pursue it professionally until I met my husband David
I was first exposed to jazz thanks to my Mother (stage name Tobey Castle) who was a professional singer with the Tommy Dorsey band back in the day. Mom sang to me all the time as a little girl, but it never occurred to me to pursue it professionally until I met my husband David. He encouraged me to become a songwriter and together as co-writers we have written material for two albums and an EP.
As The Brehms, we try to bring a beautiful ambience to any event, and we feel just as comfortable in situations where we are
background ambience, or pushing the energy in a large scale concert, and everything in between.