“Red’s Good Groove” is an enjoyable album in a sort of unconventional manner. I personally feel this way about of this 1962 recording because of the absence of a tenor or alto sax. I’m not saying it a rare occurrence but unusual for that era and where the availability of so many legendary tenor and alto saxophone players existed. In that respect it was kind of unusual but not at all when picking the Blue Mitchell-Pepper Adams duo on horns, this made it very workable. Not only workable but very logical by all means, because there was a similarity with Blue Mitchell and Donald Byrd’s sound. Donald Byrd was much more experienced in working with Pepper Adams in 7 separate recordings, they compromised themselves perfectly. The Donald Byrd-Pepper Adams was the best trumpet-baritone sax combination ever in the history of jazz but Blue Mitchell filled in perfectly! This is just another excellent example of how talented jazz musicians are and how important it is to have the freedom to improvise whenever you like. As for Pepper Adams, his greatness was in how he managed to tame the rugged sound of the baritone sax. Although he always maintained the loudness level rather high, he had the gift of placing strong emphasis on the emotional feeling it took to make a balled honestly heartfelt and the great coolness it took to make a groove tune truly “groove.” Let’s not forget the rest of the band with of course, Red Garland on the piano and another great Bass-Drums combination, Sam Jones and Philly Jo Jones. This album should have the word great in its title, instead of good, enjoy!
About the album:
Although this is a one time studio blowing session, things obviously gelled quickly for everyone as they got underway on this 1962 recording by Red Garland, which features both Blue Mitchell and Pepper Adams in prominent supporting roles. The pianist gets things off on the right foot with his relaxed blues “Red’s Good Groove,” while Mitchell, who had already recorded a number of dates as a leader himself, delivers a confident yet understated trumpet solo. Baritone saxophonist Pepper Adams contributed the oddly named “Excerent!” (a title which somewhat puzzled the original liner note writer Peter Drew but likely refers to the tendency of some Orientals to substitute the letter “r” for “l,” long before such humor would be considered politically incorrect and unlikely to appear on a CD jacket), it’s a hard bop tune that isn’t the least bit reminiscent of the Far East. The core of the date consists of several….Read More