Archive for the Art BLAKEY Category

Art BLAKEY and The Jazz Messengers – Munich 1972

Posted in Art BLAKEY, JAZZ on December 17, 2010 by whoisthemonk

Art BLAKEY and The Jazz Messengers – Munich 1972
Bootleg
Thx To *Dave*,*Soundboard*

Jazz

This was the Jazz Now Festival in Munich, reported in Coda 872 p. 39.
There is another private tape of this group from Chateauvallon Jazz Festival, Toulon, France on August 20, 1972. That was reported on in Jazz Forum 1272 p. 22.
Blakey’s announcement clearly states that Virginia is composed by George Cables. If there is any evidence it is by Tony Williams, please supply.
The GEMA database shows Swamp Carol as composed by Jeremy Steig and Jan Hammer. It is on Steig’s Groove Merchant album Fusion.
Track 5 is Cubano Chant (Ray Bryant).
**
Jeremy Steig- Flute
George Cables- Piano,Electric Piano
Stanley Clarke- Bass
Art Blakey- Drums,Vocal
Tony Williams- Drums
Ray Mantilla- Tibals,Percusion,Bango
Buck Clarke- Percusion,Congo,Bells
**
01 Announcement AB 2:32
02 Swam Carol (JS,comp)  Announcement AB 13:54
03 Rita (GC,comp)  Announcement AB 10:01
04 Virginia (TW,comp)  Announcement AB 13:24
05 Title 23:20
06 Title (fade-out) 9:20
**

Continue reading

Art BLAKEY – Live! At Slug's N.Y.C. 1968

Posted in Art BLAKEY, JAZZ on November 29, 2010 by whoisthemonk

Art BLAKEY – Live! At Slug’s N.Y.C. 1968
Recorded live at Slug’s Saloon, New York City, August 1968
2006 Issue.

Jazz

The 1968 version of Art Blakey’s Jazz Messengers did not record any studio albums and was only captured on two club sessions. The most notable soloist in the group at the time was tenor saxophonist Billy Harper, whose passionate and often-intense solos stretched Blakey’s hard bop music to the breaking point, showing off the influence of the avant-garde while still remaining connected to chordal improvisation. Trumpeter Bill Hardman was more in the Lee Morgan/Freddie Hubbard tradition while trombonist Julian Priester and pianist Ronnie Matthews were forward-thinking hard boppers and the obscure bassist Larry Evans drove the group well. This CD, a straight reissue (with new liner notes) of an Everest LP, showcases Harper on “Angel Eyes,” includes two lengthy renditions of Slide Hampton pieces (including “New World,” which is based on “Impressions”) and finishes with a relatively concise version of “The Theme” that has an explosive drum solo and some free-form playing by the horns that seems to leave the audience speechless. The recording quality is decent and the fire of this little-known version of the Jazz Messengers certainly communicates decades later.
By Scott Yanow, All Music Guide.
**
A fantastic live set from 1968 – recorded after Blakey’s classic Blue Note years, with a unique lineup that includes a young Billy Harper on tenor, Ronnie Matthews on piano, and Julian Priester on trombone! Harper alone is worth the price of the LP – as his firey solos are great, really stretching out here with a bold vision that would explore more prominently a few years later – and which is heard here at an extremely early date. Tracks are all long and very live – the Jazz Messengers vibe, but with some of the freedoms of the Coltrane era, especially on Harper’s solos. The set features a number of nice long tracks – like Slide Hampton’s “New World” and “Slide No 2”, and a great reading of “Angel Eyes”, done by Harper in real Coltrane Ballad mode! CD features the best-ever issue of the material – with great notes and remastering!
From Dusty Groove.
**
Although this budget-priced in-concert recording of Art Blakey & the Jazz Messengers features minimal information, the music here speaks for itself. On LIVE, the legendary drummer/bandleader steers his ensemble through a potent set of tunes including his own frenetic “New World” and Slide Hampton’s slinky “Slide #2.” While longtime Blakey fans will likely opt for performances released on bigger labels, jazz neophytes may enjoy this disc.
**
Bill Hardman- (Trumpet #1, 3, 4)
Julian Priester- (Trombone #1, 3, 4)
Billy Harper- (Tenor Sax)
Ronnie Matthews- (Piano)
Lawrence Larry Evans- (Bass)
Art Blakey- (Drums)
**
01. New World (S. Hampton) (12:53)
02. Angel Eyes (M. Dennis – E. Brent) (8:16)
03. Slide No. 2 (S. Hampton) (12:56)
04. Theme (T. Monk) (6:05)
**

Continue reading

Bluesiana Triangle – Bluesiana Triangle (With Art BLAKEY) 1990

Posted in Art BLAKEY, BLUES, Bluesiana Triangle, David "Fathead" NEWMAN, Dr. JOHN on November 23, 2010 by whoisthemonk

Bluesiana Triangle – Bluesiana Triangle (With Art BLAKEY) 1990

Blues

Keep it simple, that’s the secret behind this unadorned frolic. The music is basic: a chain-gang song with numerous verses (”Shoo Fly Don’t Bother Me”), a spiritual (Dr. John’s attractive minor-key variation on ”The Saints,” with a wailing Fathead alto sax solo), and three 12-bar blues. Doc does most of the singing and slips and slides over the piano keys; Fathead, who was Ray Charles’ most celebrated bandmate, switches between alto and tenor saxes and flute. The unexpected payoff comes when Blakey, the master drummer, sits down at the piano and sings the pop classic ”For All We Know.” His voice is a croak, his vibrato wobbles shamelessly, and his last note never quite finds its mark, but he sustains a lazily swinging backbeat groove that’s hard to resist.
By Gary Giddins.
**
Dr. John- Organ, Performer, Vocals, Organ (Hammond), Guitar, Piano
Art Blakey- Drums, Performer, Vocals
David “Fathead” Newman- Flute, Arranger, Saxophone, Performer, Vocals (Background)
Essiet Essiet- Okon Essiet; Bass, Vocals (Background)
Okon Essiet- Bass, Vocals (Background)
Joe Bonadio- Percussion, Drums
**
01. Heads Up 5.43
02. Life’s A One Way Ticket 5.31
03. Shoo Fly Don’t Bother Me 10.06
04. Need To Be Loved 3.42
05. Next Time You See Me 4.49
06. When The Saints Go Marchin’ In 6.16
07. For All We Know 6.33
**

Continue reading

Art BLAKEY – Out Of Nowhere (Quadromania 1947-1980) 2005

Posted in Art BLAKEY, JAZZ on November 23, 2010 by whoisthemonk

Art BLAKEY – Out Of Nowhere (Quadromania 1947-1980) 2005

Jazz

“Quadromania” is a series of no-frills imports that provide 4 CDs worth of music for the price of a single CD. The case (including the teeth holding in the CDs) is rather fragile, but the packaging is especially attractive for a budget compilation of this sort.

I can’t attest to the sound quality of the series, but I took a chance on this Blakey compilation and I was delighted with both the performances and the sound. I already owned the music on one of the four CD’s, but I still can’t believe what a bargain I got. So that you don’t have to gamble the way I did, here’s what the package contains:

CD 1 compiles various sessions from 1947-1949.
* The first four tracks (plus an alternate) are dated 27 Dec 1947 in the support material but apparently they come from the 22 Dec 1947 inaugural session of the “Art Blakey Messengers” as available, for example, on the album “New Sounds.”
* Then there are a pair of 1948 sessions held by “James Moody and his Bop Men,” with Gil Fuller writing/arranging much of the music.
* Finally, there are a pair of 1949 recording sessions from Europe, one in Lausanne and one in Stockholm.

CD 2 features a concert from Birdland recorded on 21 Feb 1954. It’s available elsewhere as a performance of the “Art Blakey Quintet Live at Birdland Volume 2.” The “new trumpet sensation” Clifford Brown sat in, so the concert has been released under his name as well (i.e., as CD #4 in the Complete Clifford Brown on Blue Note/Pacific Jazz boxed set).

CD 3-4 provide a lengthy 11 Oct 1980 performance at Bubba’s Restaurant in Ft. Lauderdale, FL. Just about all of these songs appeared on a pair of CD’s released by the Break Time label. Wynton Marsalis is featured on trumpet. Really exciting performance … Makes me wonder why Art Blakey doesn’t get more credit for the 1980s revival of acoustic jazz. This concert is much more fun than what the Miles Davis alumni recorded around the same time period; Blakey’s group sounds like people playing passionate music rather than people conducting a nostalgia tour.
By  Dennis G. Voss Jr.
**
This rare 4 cd set includes 42 different tracks recorded from 1947 to 1980 featuring Blakey with a wide range of musicians going from the early Kenny Dorham of the 40’s, to the great Horace Silver, Lou Donaldson & Clifford Brown to end with contemporary musicians like Winton Marsalis or Jimmy Williams. An excellent sound document to observe the evolution of an artist that left a personal heritage in modern jazz over the years. Highly recommended. ”
**
CD 1
New York, December 27, 1947
01. The Thin´Man (2:59)
02. Bob Alley (3:10)
03. Bob Alley (alternate take) (3:06)
04. Groove Street (2:29)
05. Musa’s Vision (3:07)

Art Blakey- Drums
Sahib Shibab- Alto Sax
Musa Kaleem- Tenor Sax
Ernie Thomson- Baritone Sax
Kenny Dorham- Trumpet
Howard Bowe- Trombone
Walter Bishop- Piano
Laverne Barker- Bass

New York, October 19, 1948
06. The Fuller Bop Man (2:58)
07. Workshop (3:17)
08. Oh Henry (2:31)
09. Moodamorphosis (3:01)

Art Blakey- Drums
James Moody- Tenor Sax
Ernie Henry- Alto Sax
Cecil Payne- Baritone Sax
Dave Burns & Elmon Wright- Trumpet
James Forman- Piano
Nelson Boyd- Pass

October 25, 1948
10. Moody’s All Frantic (2:34)
11. Tropicana (3:02)
12. Cu-Ba (2:34)
13. Tin Tin Deo (2:46)

Art Blakey- Drums
James Moody- Tenor Sax
Ernie Henry- Alto Sax
Cecil Payne- Baritone Sax
Dave Burns & Elmon Wright- Trumpet
James Forman- piano
Nelson Boyd- Bass
Chano Pozo- Bongos & Vocals

Lausanne, April 30, 1949
14. Stardust (3:12)
15. Just Moody (2:59)
16. Curly Top Blues (3:23)
17. Moody And Soul (3:10)

Art Blakey- Drums
James Moody- Tenor Sax
Art Simmons- Piano
Alvin Banks- Bass

Stockholm, October 7, 1949
18. Out Of Nowhere (2:54)
19. These Follish Things (3:07)

Art Blakey- Drums
Leppe Sundwall- Trumpet
Arne Dommerus- Alto Sax
James Moody- Tenor Sax
Per Arne Croonabar & Gösta Theselius- Piano
Ingve Akerberg- Bass

CD 2
New York City, February 21, 1954
01. Wee Dot (7:05)
02. If I Had You (3:42)
03. Quicksilver (8:48)
04. The Way You Look Tonight (9:58)
05. Lou’s Blues (3:57)
06. Now’s The Time (8:21)
07. Confirmation (9:53)

Art Blakey- Drums
Clifford Brown- Trumpet
Lou Donaldson- Alto Sax
Horace Silver-Piano
Curly Russel- Bass

CD 3
Bubba’s Restaurant, Fort Lauderdale, Florida,October 11, 1980
01. Moanin’ (10:20)
02. My Funny Valentine (9:11)
03. Soulful Mr. Timmons (10:16)
04. My Ideal (6:13)
05. Free For All (7:00)
06. Gipsy (6:18)
07. Blakey’s Theme (2:49)

Art Blakey- Drums
Billy Pierce- Tenor Sax
Bobby Watson- Alto Sax
Wynton Marsalis- Trumpet
Jimmy Willimas- Piano
Charles Frabrough- Bass

CD 4
Bubba’s Restaurant, Fort Lauderdale, Florida,October 11, 1980
01. One By One (5:29)
02. My Funny Valentine (9:09)
03. Round ‘Bout Midnight (6:58)
04. ET (6:02)

Art Blakey- Drums
Billy Pierce- Tenor Sax
Bobby Watson- alto Sax
Wynton Marsalis- Trumpet
Jimmy Willimas- Piano
Charles Frabrough- Bass

Bubba’s Restaurant, Fort Lauderdale, Florida,October 11, 1980
05. Time Will Tell (12:17)
06. Angel Eyes (9:11)
07. Bitter Dose (10:42)
08. Jodi (6:21)
09. Wheel Within A Wheel (6:29)

Art Blakey- Drums
Billy Pierce- Tenor Sax
Bobby Watson- Alto Sax
Wynton Marsalis- Trumpet
Ellis Marsalis- Piano
Charles Frabrough- Bass
**

Continue reading

Art BLAKEY & The Jazz Messengers – The Witch Doctor 1961

Posted in Art BLAKEY, JAZZ on November 19, 2010 by whoisthemonk

Art BLAKEY & The Jazz Messengers – The Witch Doctor 1961
Recorded on March 14th 1961.
1999 Issue.

Jazz

Into the third year of utilizing late-’20s superstars trumpeter Lee Morgan and tenor saxophonist Wayne Shorter on the front line, Art Blakey’s Jazz Messengers were showing a progressive compositional stance, mostly due to the emerging creativity of Shorter’s sharply off-minor ideas. Pianist Bobby Timmons, a peer of the front liners, is swimming somewhere in the middle of this stylistic lake, exhibiting soulful backstrokes, straight-ahead sprinting, and the angular chordal complexities or sudden changes any potpourri of modernities might offer. Faithful bassist Jymie Merritt, no young pup at the time (seven years Blakey’s junior) is solid, unspectacular, and right where this band of stars needed him to be. Writing chores continue to be split evenly between the horn players, but Shorter’s pieces are distinct with a difference. “Those Who Sit and Wait” is a classic hard bop line with opposing non-sequitur melody/harmony cross sections, while “Joelle” sports two piano chords from Timmons leading to unusual phrasings, but still in a hard bop stance. Morgan contributes the title track and an alternate take with its typical and reliable hard bop shuffle buoying quirky horn and piano exchanges, and the spectacular “Afrique” with a 6/8 modal, choppy clave Latin beat merging to easy swing from the heavy tenor of Shorter — the best of three worlds. Timmons contributes “A Little Busy” which is not far removed from the soul-jazz he is known for, a fun and funky groove biscuit where the pianist is truly in his element. “Lost & Found,” penned by Clifford Jordan, showcases the straight-ahead signature sound the Jazz Messengers mined for decades — upbeat, happy and tight. Whether this was or was not the pinnacle for this great band is still up for debate, but it assuredly ranks with Blakey’s personal best aside from the popular album Moanin’ of the same time frame.
By Michael G. Nastos, All Music Guide.
**
With Wayne Shorter and Lee Morgan in the front line, this was one of Art Blakey’s best Jazz Messenger units. Bobby Timmons, of course, could swing the section from start to finish. Shorter, Morgan, and Timmons were with the Jazz Messengers together through most of 1960 and 1961.
The Witch Doctor was recorded March 14, 1961. Blue Note has included an alternate take of “The Witch Doctor” with a slightly brighter tempo. While Shorter’s solo is more intense, Morgan’s isn’t as inspired as the original take. In all, however, the two takes of “The Witch Doctor” make excellent bookends for this reissue. Both “The Witch Doctor” and “Afrique” are Lee Morgan’s compositions. Art Blakey encouraged all of his Jazz Messengers to write, and the years (Blakey passed away in 1990) brought quite a few significant jazz composers into direct contact with his tutelage. Two tracks on this album are from Shorter and one is by Timmons. “A Little Busy” swings like his more-famous “Moanin’,” “This Here” and “Dat Dere.” On this one Blakey is a little busy with consistent press rolls and such while the pianist swings heartily. Blakey takes an extended drum solo on “Afrique” that demonstrates his power and melodic sense. Fours between leader and band take place several times on different tracks, and a drum “storm” arrives for “Those Who Sit and Wait.” The session swings from start to finish with moderate tempos, a walking bass, and a drummer-led snare drum pattern that combines Blakey’s constant ride cymbal behind his more powerful drum attack.
By Jim Santella.
**
Lee Morgan, Wayne Shorter, Bobby Timmons, Jymie Merritt & Art Blakey! What’s left to say? Maybe the greatest incarnation of the jazz messengers, this line-up recorded about 9 albums for Blue Note, all of which are tried and true classics. No jazz group in history could touch the fury and ferocity of this sound. The players are all in top form here and the solos are mostly all quit memorable. If, like me, you have been waiting for this album to be released on cd so that you can finally hear it, you won’t be disappointed. in my oppinion this group could do no wrong. well worth the wait.
By Brandon De Cordova.
**
This 1961 session is less well known than many of the other Jazz Messengers’ Blue Note dates from the same period. THE WICTH DOCTOR is, however, a strong outing by the legendary group in its most prolific period. Featuring the classic lineup of Lee Morgan, Wayne Shorter, Bobby Timmons, and Jymie Merritt, Blakey and his Messengers groove hard on cuts like Morgan’s title track and the rhythmic “Afrique.” Shorter and Morgan make a grand team as always on tasty arrangements like Shorter’s “Those Who Sit and Wait,” working together on the melody and then blowing tremendously powerful solos. Blakey is in his prime, spurring on his younger charges with burning grooves and rhythmic waves that would crush weaker men. His intricate patterns on the aptly titled “A Little Busy” provide only a small clue of his overall drumming brilliance. Other worthwhile cuts include Shorter’s pulsating “Joelle” and the blistering screamer “Lost and Found.”
**
All of the players in this album are at top form. For some reason this album is often overlooked, though I enjoy it just as much, or even more than “A Night In Tunisia.” Even though all of the compositions are intruiging, “Afrique” in particular interests me. It opens with Blakey playing african rhythms, followed by Shorter and Morgan playing counter-melodies. In Morgan’s solo he reaches a climax in which he wrenches the most twisting, tart, almost painful sounds out of his horn. The Messengers all do quite a job, but in my opinion Morgan is the star of this album. This should not be your first Jazz Messengers cd, but if you are gaining an interest in them, then it is a must have.
**
Wayne Shorter- (Tenor Sax);
Lee Morgan- (Trumpet);
Bobby Timmons- (Piano);
Jymie Merritt- (Bass);
Art Blakey- (Drums).
**
01. The Witch Doctor 5:32
02. Afrique 6:57
03. Those Who Sit And Wait 5:54
04. A Little Busy 6:17
05. Joelle 5:13
06. Lost And Found 5:06
07. The Witch Doctor (Alternate Take) 5:33
**

Continue reading