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American jazz guitarist and composer (1935–1979)

Grant Green (June 6, 1935 – January 31, 1979) was an American jazz guitarist and composer. 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". 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. 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.

Grant Green was born on June 6, 1935, in St. Louis, Missouri to John and Martha Green. His father was at various times a laborer and a Saint Louis policeman. Green 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. He studied for a year with Forrest Alcorn, but he was mostly self taught, learning from listening to records. He first performed in a professional setting at the age of 13 as a member of a gospel music ensemble. Despite the shelving of his first session, Green's recording relationship with Blue Note was to last, 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. This was followed in the same year by Green Street and Grantstand. Grant 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 this period include the commercially successful Green Is Beautiful and the soundtrack to the film The Final Comedown. Green spent much of 1978 in the hospital and, against the advice of doctors, went back on the road to earn money. While in New York 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, Missouri, and was survived by six children, including his son Grant Green Jr., who is also a guitarist.

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 George Benson, Grant achieved his tone by turning off the bass and treble settings of his amplifier, and maximizing the midrange. This way he could get his signature punchy, biting tone.