What Record Are You Listening To Today?

Red Garland - Your Red Wagon

Here’s a lively and bouncy 12 bar blues from Red Garland:

Such a great use of his distinctive block chord voicings.

does anybody have an idea where the piano solo starts i can’t really hear it…
I can hear when the piano is “answering”, counterpointing the solo of the bass but not the solo piano.

Good question Guillaume.

2:01 is where the piano solo starts, and 2:03 is the top of the form (C-7) - we can hear Bill’s melody outlines a rootless C-9 arpeggio shape which is a good indicator of the underlying harmony.

Also listen to the drummer at 2:03 - that accent/drum roll is another cue that they are back at the top of the form.

Try to hear the ‘quality’ of the chords and improvised melody:

  • 2:03 - 2:06 sounds ‘uplifting’ and ‘happy’ which indicates major harmony (C-7 / F7 / Bbmaj7 / Ebmaj7)

  • and then 2:07 to 2:11 sounds a little ‘darker’ and more dissonant which indicates minor harmony (A-7b5 / D7alt / G-7 )

These 251 progressions in Bb Major and G Minor repeat throughout the form which makes Autumn Leaves a relatively simple tune to memorise.

Timestamps for the piano solo:

Bill improvises through the form 5 times and then brings in the head at 5:08

Here’s some approx. time stamps for when the form repeats:

~2:03 - piano solo at top of form

~2:40 - form starts again

~3:18 - form starts again

~3:52 - form starts again

~4:32 - form starts again

~5:08 - head and out

It can be a nice exercise to play along with left hand voicings underneath the recording.

Some Additional Notes…

Bill Evans’ recordings of this tune are interesting because his bass players take the first solo. ‘Portrait In Jazz’ was recorded with Scott LaFaro on bass. Also see the performance video below with Eddie Gomez on bass and again we see that the bass takes the first solo.

It’s also worth noting that Bill Evans brought a new approach to the jazz trio. He gave each member of his trio the creative freedom to express improvised ideas whenever they desired, at any point in the performance.

This was a contrast to the earlier bebop era where each musician ‘took turns’ to solo over the form. As an example, for Bill’s last solo through the form at 4:32, Scott LaFaro also expresses some improvised ideas and takes another short solo before the final head at 5:08.

In this sense, Bill Evans’ approach to the jazz trio was more of a ‘dance’ or ‘fluid conversation’ between the musicians as oppose to a ‘regimented order’ in which they take a solo. This is something to be aware of when listening to his trio performances.

Here’s the other recording with Eddie Gomez on bass:

Hope this helps!

Thank you very much Hayden for this awesome answer, this helps me a lot. In this recording my first feeling was that they were improvising whenever they wanted to, so i felt a bit lost, also i have tons of work to do with hearing the harmony underneath the melody.
Again thank you !

Hi guys,

@Hayden’s answer says it all.

Just wanted to add these here, as @Hayden mentioned how the Bill Evans Trio modernized jazz piano trio, I want to share my other 2 favorites from that specific Bill Evans Trio, with Scott LaFaro (bass) and Paul Motian (drums):

Explorations (which was Bill’s personal favorite form this era)

Waltz For Debby (Live At The Village Vanguard)



This album is soo beautiful and Waltz for Debby is one of my favorite standards ! :slight_smile:

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Such a beautiful touch

An amazing solo by Cory Henry, indeed! I also liked the tenor sax/wah-wah trumpet exchange at about three minutes. Very Brecker Brothers.

Here’s a cool duet/jam with Cory Henry & Nick Semrad at NAMM:

@scott1 - some nice organ work there by Cory Henry :star_struck:

This is great! Those runs are SO smooth. Thanks for sharing this.

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Here are a couple of videos of Connie Han. I came across her by chance and came up with a very fine player. She’s 22 or 23 on these videos. Music critic Bill Milkowski ranks Han among the twelve jazz musicians to “keep an eye on in 2019”.[1]. However she’s rated, she’s good and worth a listen.


Im currently listening a lot of this charlie parker’s master piece, i want to transcribe it and im trying to play the blues progression with it but im struggling knowing if i am at the right tempo or not, i think its 160bpm, do you have any tips that can help guys ?
Thank you

Hi @Guillaume,

The record is pretty close to 160pbm, but can you explain why you need to know the actual tempo?

Are you practicing with the record, or without?

In general, practicing slowly is always good first, so you have more control on what you want to do.

Keep up the good work, and let me know if I can help,


Hey @Tuomo , i just wanted to practice with left hand voicings along the record, like that when i pick up some ideas from 25-251 or other chords i know what hes doing with the melody


That’s great, are you familiar with The Charlie Parker Omnibook? It has transcriptions of Charlie Parker solos, and the basic changes, maybe that will help


ill definitely check this out thank you ! :smiley:

I’m back to regale (or bore) you once again with another video from Larry Goldings. Here he’s taking part in a series of standards by Ben Wendel, a fine sax player. You can’t get much more standard than “Tea for Two.” But with Goldings’ voicings, I think it takes on a new life. At any rate, it’s worth a listen. :headphones:


https://www.youtube.com/watch?v=WmdDnGo_U5g just wow

https://www.youtube.com/watch?v=xQkhQjxFU2I - Great tune

A New Orleans take on “Waltz for Debby.” Love it, particularly how Toussaint lets the melody “lag” behind the beat.

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