# Grant Green

Grant Green (June 6, 1935 – January 31, 1979) was an American jazz guitarist and composer.
Green has been called one of the "most sampled guitarists."

## Biography

Grant Green was born on June 6, 1935, in St. Louis, Missouri to John and Martha Green. At various times his father was a laborer and a Saint Louis policeman. Grant began studying guitar while he was in primary school. He received early instruction in guitar playing from his father, who played blues and folk music. Grant studied for a year with Forrest Alcorn, but he was mostly self-taught, learning from listening to records.
Grant Green first performed in a professional setting at the age of 13 as a member of a gospel music ensemble. Through his 20s, he was a member of jazz and R&B bands. His influences were Charlie Christian, Charlie Parker, Lester Young, and Jimmy Raney. Green's style mimicked that of a saxophonist playing single note rather than chords. His first recordings were at the age of 24, in St. Louis with tenor saxophonist Jimmy Forrest for the United label, where Green played alongside drummer Elvin Jones. Green recorded with Jones for several albums in the mid-1960s. In 1959, Lou Donaldson discovered Green playing in a bar in St. Louis and hired him for his touring band. Green moved to New York City during 1959–60.
Donaldson introduced Green to Alfred Lion of Blue Note Records. From 1961–1965 he was Blue Note's house guitarist. Rather than using Green as a sideman, as was the Blue Note practice, Lion arranged for him to record as a group leader. However due to Green's lack of confidence, the initial recording session was only released in 2001 as First Session.
Despite his first session being shelved, Green's recording relationship with Blue Note lasted with a few exceptions, throughout the 1960s. From 1961 to 1965, Green made more appearances on Blue Note albums as leader or sideman than anyone else. His first album as a leader was Grant's First Stand followed in the same year by Green Street and Grantstand. He was named Best New Star in the Down Beat Critics' Poll, in 1962. He often provided support to others musicians on Blue Note, including saxophonists Hank Mobley, Ike Quebec, Stanley Turrentine, and organist Larry Young.
Sunday Mornin' , The Latin Bit and Feelin' the Spirit are all concept albums, each taking a musical theme or style: gospel, Latin and spirituals respectively. Grant carried off his more commercial dates with artistic success during this period: Idle Moments (1963), featuring Joe Henderson and Bobby Hutcherson and Solid(1964), are described by jazz critics as two of Green's best recordings.
Many of Green's recordings were not released during his lifetime. These include several albums with pianist Sonny Clark recorded in 1961–1962 included in The Complete Grant Green & Sonny Clark released by Mosaic in 1997, and two albums from 1964 (Matador and Solid) that featured McCoy Tyner and Elvin Jones from the John Coltrane Quartet. In 1966 Green left Blue Note and recorded for other labels including Verve. From 1967 to 1969 he was inactive due to personal problems and the effects of heroin addiction. In 1969 he returned to Blue Note but played mostly in R&B settings. His recordings from that period include the commercially successful Green Is Beautiful and the soundtrack to the film The Final Comedown.
For most of 1978 Grant was in the hospital and against the advice of doctors, went back on the road to earn money. While in New York City to play an engagement at George Benson's Breezin' Lounge, he collapsed in his car of a heart attack and died on January 31, 1979. He was buried in Greenwood Cemetery in his hometown of St. Louis and was survived by six children, including his son Grant Green Jr., who is also a guitarist.

## Artistry and equipment

Recording prolifically for Blue Note Records as both leader and sideman, Green performed in the hard bop, soul jazz, bebop, and Latin-tinged idioms throughout his career. Critic Michael Erlewine wrote, "A severely underrated player during his lifetime, Grant Green is one of the great unsung heroes of jazz guitar ... Green's playing is immediately recognizable – perhaps more than any other guitarist." Critic Dave Hunter described his sound as "lithe, loose, slightly bluesy and righteously groovy". The simplicity and immediacy of Green's playing, which tended to avoid chromaticism, derived from his early work playing rhythm and blues and, although he achieved a synthesis of this style with bop, he was a skilled blues and funk guitarist and returned to this style in his later career. According to jazz educator Marshall Wolf, "Grant Green's unique mixture of bebop, blues and fun distinguished him as one of the quintessential soul jazz/hard bop guitarists from the get-go."
He often performed in an organ trio, a small group featuring a Hammond organ and drummer. Apart from fellow guitarist Charlie Christian, Green's primary influences were saxophonists, particularly Charlie Parker, and his approach was almost exclusively linear rather than chordal. He rarely played rhythm guitar except as a sideman on albums led by other musicians.
Green used a Gibson ES-330, then a Gibson L7 with a Gibson McCarty pickguard/pickup, an Epiphone Emperor (with the same pickup), and finally had a custom-built D'Aquisto. According to his protégé and fellow guitarist Benson, Grant achieved his tone by turning off the bass and treble settings of his amplifier as well as maximizing the midrange. That way he could get his signature punchy, biting tone.