Art Blakey

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In the '60s, when John Coltrane and Ornette Coleman were defining the concept of a jazz avant-garde, few knowledgeable observers would have guessed that in another 30 years the music's mainstream would virtually bypass their innovations, in favor of the hard bop style that free jazz had apparently supplanted. As it turned out, many listeners who had come to love jazz as a sophisticated manifestation of popular music were unable to accept the extreme esotericism of the avant-garde; their tastes were rooted in the core elements of "swing" and "blues," ...[more]

 

 

Art Blakey's classic Blue Note album, Moanin', has seen more than its share of reissuing and modified packaging since its initial release in 1958. This SACD edition (which has no reference to the title on the front booklet cover, yet retains the original artwork and music) features an alternate take of the title track, and a small vocal clip of Lee Morgan and Rudy Van Gelder conversing. Other than that, its an enhanced audio version of some of the greatest music Blakey produced in the stud   [ read more ]

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VINYL FORMAT. Exact repro reissue, featuring Art Blakey (drums), Wayne Shorter (tenor saxophone), Lee Morgan (trumpet), Walter Davis (piano) and Jymie Merritt (bass). "The sessions for Africaine - recorded in 1959 but not released until 1979 - saw innovative young tenorist Shorter linked with the equally forward-looking trumpet of Lee Morgan for the first time on record, set against the efforts of producer Alfred Lion to shape another commercial hit to match Blakey's breakthrough with Moanin'. What h   [ read more ]

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The best format to get this essential title is the 1999 Rhino Records CD reissue from their Atlantic Jazz Gallery series. Not only have the half-dozen sides from the original 1958 release been thoroughly remastered, but the amended and enhanced running order also contains a trio of otherwise unavailable alternate takes of Monk standards "Evidence," "Blue Monk," and "I Mean You." Otherwise, Art Blakey's Jazz Messengers With Thelonious Monk (1958) is a timeless meeting of the masters.    [ read more ]

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In the mid-'50s, before critics deemed him a jazz institution, Art Blakey was busy making great music. Along with his Jazz Messengers, he delivered hard bop and gave dozens of players a chance to learn the business. This two-disc collection represents two solid sets, Play Lerner and Loewe from 1957 and A Night in Tunisia (not to be confused with two later Blakey albums of the same name) from 1958. The personnel are similar for both dates, with tenor Johnny Griffin, trumpeter {$Bill H   [ read more ]

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Volume deux of the 1955 Cafe Bohemia sessions from Art Blakey's second edition Jazz Messengers is better than the first. The music is more energetic, cohesive, and pushes the hard bop farther. Where the first volume featured compositions of newly recruited trumpeter Kenny Dorham, it is tenor saxophonist Hank Mobley asserting himself on the bandstand with his set pieces that formed the foundation of the first studio edition of the quintet that included Donald Byrd. Here, Mobley does not def   [ read more ]

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Art Blakey's Like Someone in Love is a product of the fertile group that included saxophonist Wayne Shorter, trumpeter Lee Morgan, pianist Bobby Timmons, and bassist Jymie Merritt. While it is not usually considered an essential Blakey album, it is easily one of the best. This is due not only to the impressive Jazz Messenger musicianship, but more significantly to the stellar original compositions by Shorter, who was coming into his own not only as an improviser, but perhaps more    [ read more ]

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Art Blakey & the Jazz Messengers rode through the rough waters of significant record label, personnel, and sound changes in 1962. A young Freddie Hubbard took the trumpet chair, trombonist Curtis Fuller was added, and a pre-Miles Davis Wayne Shorter played tenor sax. The richness of these three golden greats of modern jazz made for an intriguing sound, but it was short-lived, as all three left the group for bigger and better things. Where the anchoring piano player, composer, and music direct   [ read more ]

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Originally recorded in 1961, Art Blakey & the Jazz Messengers' Roots & Herbs was first released in 1970 and then reissued on CD in 1999. Like many titles in the Blue Note catalog, this fine Blakey outing was initially shelved by Alfred Lion for unknown reasons; thankfully, considering Blakey's large array of available Blue Note albums, this wasn't necessarily a crisis. But now that it's out once again with a 24-bit digital makeover, Roots & Herbs is definitely a welcome addition to t   [ read more ]

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This set collects both installments of Art Blakey & the Jazz Messengers' Meet You at the Jazz Corner of the World (1961) in a comprehensive two-CD compendium, sporting thoroughly remastered sound by legendary jazz producer/engineer Rudy Van Gelder. Audio-conscious consumers should be aware of the distortion that somewhat marred the original vinyl, as well as all subsequent pressings. Unfortunately, it seems to have been inherent in the master tapes. While it occasionally reveals itself during th   [ read more ]

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On this follow-up volume of recordings done live at Birdland from the second-edition "Jazz Messengers" (officially the Art Blakey Quintet), there are extraordinary high points, along with low points that either result from tiredness or a lack or preparation. With trumpeter Clifford Brown taking over briefly for Donald Byrd, and alto saxophonist Lou Donaldson in the fray post-Hank Mobley, the band has a very different sound, though pianist Horace Silver, Blakey, and bassist {$Curly   [ read more ]

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The focus of this compilation, which reissues music from the second and third editions of the Jazz Messengers, is on the horn players, but the high-energy leadership of drummer Art Blakey is its heart. Recorded in 1956, Hard Bop actually has a distinct bop feel. Bill Hardman's fine showing on the date will surprise listeners who associate the trumpeter with a relatively limited bag of tricks. His off-kilter, rubbery, burping sound and ready supply of ideas is a major asset here. The great alt   [ read more ]

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Art Blakey was always fond of drum ensembles, and was allowed an opportunity to present this aspect of his full-force concept on occasion. With supplemental fellow drum masters Philly Joe Jones and Roy Haynes, a sole front line melodist in trumpeter Lee Morgan, bassist Jymie Merritt, pianist Bobby Timmons, and fourth percussionist Ray Barretto on congas, this group features more than drum solo, duo, and trio segments. The tune structure is emphasized instead of simple workouts, and when   [ read more ]

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