Freddie Redd With Due Respect

Redd's Blues didn't make it to LP until 1988 and CD until 2002 and that's a tip-off. It's a generic Blue Note disc, journeyman in the sense of not offering any great revelation, no undiscovered "shoulda-been-a-standard" composition, nothing to supplant The Connection as the first Freddie Redd disc to look for or add any greater luster to his welterweight reputation. The sextet lineup reads better than it plays - it's perfectly adequate, but no one sounds inspired except for trumpeter Benny Bailey, who was back in the U.S. for a handful of recording dates. Jackie McLean's tart tone is immediately recognizable on the up-tempo opener "Now," with a solid groove from Paul Chambers and drummer Sir John Godfrey, the latter fond of Art Blakey bombs that aren't obtrusive…

Freddie Redd - Freddie Redd In Sweden (1956) {Lone Hill Jazz LHJ10299 rel 2007}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 342 Mb | MP3 @320 -> 162 Mb
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© 1956, 2007 Lone Hill Jazz | LHJ10299
Jazz / Hard Bop / Piano

These excellent, rare 1956 Stockholm studio sessions feature pianist Freddie Redd in a trio setting with bassist Tommy Potter and Joe Harris, drums. They had been chosen by Swedish trumpeter Rolf Ericson, who was commissioned to find US jazz musicians for a tour. This release includes the complete LP Freddie Redd in Sweden plus, as bonus tracks, the pianists first US trio session in 1955 with John Ore and Ron Jefferson; and the only two recorded live tracks from this Swedish tour.

Freddie Redd - San Francisco Suite (1957) {Riverside OJCCD-1748-2 rel 1990}
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© 1957, 1990 Riverside Records | OJCCD-1748-2
Jazz / Hard Bop / Piano

This early recording by pianist Freddie Redd (a straight CD reissue of the original Riverside LP) features Redd's trio of the time, with bassist George Tucker and drummer All Dreares. The CD reissue is highlighted by the 13½-minute title piece, a suite that in its five melodies depicts the jazz life in San Francisco during the era. Redd shows potential both in his writing and his boppish playing. The remainder of the fine set has the group's interpretations of three other Redd originals and a trio of standards. An excellent effort.

In an all too small discography, Freddie Redd's Shades of Redd is without a doubt his crowning achievement. Completed after a successful stint composing music for the stage play The Connection, Redd wrote music specifically geared for his two formidable front line saxophonists - emerging alto giant Jackie McLean and the unsung hero of the tenor, Tina Brooks. Redd, bassist Paul Chambers, and drummer Louis Hayes, fresh out of the Detroit scene, took New York City by storm playing clubs and working with Redd when he was not doing production music. All of these tracks, originals by Redd, are brimming with the hope, optimism, and fresh ideas of the early '60s, music perfectly rendered and representative of the time period…

Freddie Redd - Everybody Loves A Winner (1991) {Milestone MCD-9187-2 rec 1990}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 348 Mb | MP3 @320 -> 145 Mb
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© 1990 Milestone / Fantasy | MCD-9187-2
Jazz / Hard Bop / Piano

Pianist Freddie Redd has not recorded all that much during his 45-year career, but most of his records have been special events. This particular set has eight of Redd's tightly arranged compositions being performed by a fine sextet that also features tenor-saxophonist Teddy Edwards, altoist Curtis Peagler and trombonist Phil Ranelin.

Often described as a more radio-friendly version of Lynyrd Skynyrd or the Allman Brothers, the Atlanta Rhythm Section was one of many Southern rock bands to hit the upper reaches of the charts during the late '70s. Hailing from the small town of Doraville, Georgia, the beginning of the Atlanta Rhythm Section can be traced back to 1970. It was then that a local recording studio was opened, Studio One, and the remnants of two groups (the Candymen and the Classics Four), became the studio's house band. One of the facility's head figures, Buddy Buie, soon began assembling the session band – singer Rodney Justo, guitarist Barry Bailey, bassist Paul Goddard, keyboardist Dean Daughtry, and drummer Robert Nix. After playing on several artists' recordings, it was decided to take the band a step further and make the group of players a real band, leading to the formation of the Atlanta Rhythm Section.