Interesting facts about Grant Green's life
The early years (1935 to 1960)
| Grant was born on June 6, 1935 in St Louis, Missouri (although all the records released during his lifetime state his birth date as June 6, 1931). See The Official Grant Green Website for a preview of Grant's biography to be published in January 1999 (see the bottom of this page for more). | He started playing professionally at the age of 13. His early influences were Charlie Christian and Charlie Parker and he first played boogie woogie before moving on to rock'n'roll. | ||
| His first recordings in St Louis were with tenor saxophonist Jimmy Forrest. The drummer in the band was Elvin Jones, later the powerhouse behind John Coltrane. Grant recorded with Elvin again in the early sixties. | Lou Donaldson discovered Grant playing in a bar in St. Louis. After touring together, Grant arrived in New York around 1959-60. |
On Blue Note in New York (1960 to 1965)
| Lou Donaldson introduced Grant to Alfred Lion of Blue Note record. This recording relationship that was to last, with a few exceptions, throughout the sixties. | From 1961 to 1965 Grant made more Blue Note LPs as leader and sideman than anyone else. Grant obviously made a a big impression in New York. | ||
| Grant recorded an unissued date with the Miles Davis quintet in 1961, according to some sources. See the article in Music Boulevard: Contemporary Musicians. | Grant's first recorded album as a leader was Grant's First Stand. This was followed in the same year by Green Street and Grantstand. | ||
| He often provided support to many of other great musicians on Blue Note. These included saxophonists Hank Mobley, Ike Quebec, Stanley Turrentine and Harold Vick, as well as organist Larry Young. | Grant was named best new star in the Down Beat critics' poll, 1962. As a result, his influence spread wider than New York. | ||
| Sunday Mornin', The Latin Bit and Feelin' the Spirit all take a the musical theme - Gospel, Latin and spirituals respectively. Grant always carried off his more commercial dates with artistic success during this period. | Idle Moments (1963) and Solid (1964) are acclaimed as two of Grant's best recordings. Idle Moments Joe Henderson and Bobby Hutcherson and Solid that features Joe Henderson and the Coltrane Rhythm section. | ||
| Many of Grant's recordings were note released during his lifetime. These include Matador, in which Grant is once again in the heavyweight company of the Coltrane rhythm section, and a series of sessions with pianist Sonny Clark. |
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Grant's lost weekend(1966 to 1969)
| In 1966 Grant left Blue Note and recorded for several other labels, including Verve and Muse. | From 1967 to 1969 Grant was inactive due to personal problems and the effects of drug addiction. | ||
| Wes Montgomery enjoyed huge success during this period and George Benson was a rising star. Meanwhile Grant must have been listening to the popular sound of James Brown and Motown. |
On Blue Note in Detroit (1969 to 1974)
| In 1969 Grant returned with a new funk-influenced band. His recordings from this period include the commercially successful Green is Beautiful and the soundtrack to the film The Final Comedown. |
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The final years (1975 to 1979)
| Grant left Blue Note in 1974 and the subsequent recordings he made with other labels are usually described as "commercial", which probably means that much of Grant's unique sound and musicianship is lost in the glossy production. | Grant spent much of 1978 in hospital and, against the advice of doctors, went back on the road to earn some money | ||
| While in New York to play an engagement at George Benson's Breezin' Lounge, on January 31, 1979 Grant collapsed in his car of a heart attack. Survived by six children, he was buried in his hometown of St. Louis, Missouri. |
You can buy the Grant Green biography by Sharony Andrews Green from Amazon.co.uk and Amazon.com. Just click the picture below to place an order.
