Art Blakey - Kyoto (1964)

Art Blakey - Kyoto (1964)

jazz | 1cd | eac-flac-cue-log-cover | 210MB

OJC

Allmusic:
Reissued on Fantasy's OJC series, this album finds Art Blakey's Jazz Messengers paying tribute to Japan (where they had toured to great acclaim) on two selections, featuring Art Blakey's cousin as a vocalist on "Wellington's Blues" (a real rarity in The Jazz Messengers' discography) and debuting Curtis Fuller's "The High Priest." With trumpeter Freddie Hubbard, tenorman Wayne Shorter and trombonist Fuller in fine form, this is one of literally dozens of recommended Jazz Messengers recordings.

Tracks
-1. "The High Priest" - Fuller - 5:55
-2. "Never Never Land" - Comden, Green, Styne - 5:50
-3. "Wellington's Blues" - Blakey - 5:03
-4. "Nihon Bashi" - Watanabe - 8:30
-5. "Kyoto" - Hubbard - 7:03

Personnel
* Bass – Reggie Workman
* Drums – Art Blakey
* Piano – Cedar Walton
* Tenor Saxophone – Wayne Shorter
* Trombone – Curtis Fuller
* Trumpet – Freddie Hubbard
* Vocals – Wellington Blakey (tracks: 3)

sample & buy: Kyoto

Art Blakey - At The Cafe Bohemia v1-2 (1955) (RVG)

Art Blakey - At The Cafe Bohemia v1-2 (1955)

jazz | 1+1cd | eac-flac-cue-log-cover | 330+335MB

Blue Note | RVG 24-bit remaster 2001

Allmusic:
v1:
The third edition of Art Blakey's early period Jazz Messengers, after the departure of Donald Byrd and briefly Clifford Brown, welcomed trumpeter Kenny Dorham to the fray, and he was an important component matched with tenor saxophonist Hank Mobley, bassist Doug Watkins, and pianist Horace Silver. This first volume of live performance from the Cafe Bohemia in New York City circa late 1955 is a rousing set of hard bop by the masters that signified its sound, and expanded on the language of modern jazz. There are three bonus CD tracks not on the original LP that further emphasize not only the inherent power of Blakey's band and drumming, but demarcate the simplicity of melodic statements that were a springboard for the fantastic soloing by these individuals that would follow those tuneful lines. Dorham is responsible for this edict, as he contributes three of the selections, including the staccato-accented melody of "Minor's Holiday" primed by a thumping intro via Blakey, "Prince Albert" with its by now classic and clever reharmonization of "All the Things You Are," and the perennial closer of every set "The Theme," with its brief repeat melody and powerhouse triple-time bop break. Mobley wrote the scattered melody of "Deciphering the Message," heard here at length for the first time, although it was later available in its original shortened studio form on the reissued Columbia CD Art Blakey & the Jazz Messengers. The tenor man gets his feature on the quarter-speed slowed ballad version of "Alone Together," which altogether sounds pining and blue to the nth degree. Standards like Fletcher Henderson's "Soft Winds" seemed merely a simple and lengthy warmup tune, but Tadd Dameron's "Lady Bird" is an absolute workout, with variations abounding on the intro, first and second run-throughs of the melody, and some harmonic twists. Watkins is featured on the lead line of "What's New?" which again combines melancholy with that slightest spark of hope. If this is indeed in chronological order as a first set from the November 13, 1955 performances, it whets the whistle and leaves the listener wanting more, knowing the best is yet to come.
v2
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 defer to Dorham, pushing his sound forward without compromising his vision. "Sportin' Crowd" is definitely an ear opener, a straight-ahead, hard bop gem based on the changes of the Sonny Rollins' classic "Tenor Madness." A live version of "Hank's Symphony" -- recapitulated from the studio version on the original Jazz Messengers' LP for the Columbia label -- has an Asian and calypso flair with many accented notes and a secondary melody. The killer track is Mobley's "Avila & Tequila," drenched in Blakey's churning Afro-Cuban beats, filled with multiple modal devices especially from Horace Silver, and charges ahead as if there was no tomorrow -- a truly memorable and vital performance. The other tracks may seem to pale by comparison, but the easy, bluesy "Like Someone in Love," a short ballad version of "Yesterdays" finally featuring trumpeter Dorham, and Mobley's luscious tenor during the ultimate tearjerker "I Waited for You" offer stark contrast while losing no internal intensity. It is on "Just One of Those Things" where the band really straightens up and convenes in tandem, a solid cohesion where Dorham and Mobley work like an effortless, major league shortstop and second base double-play combination. "Gone with the Wind" finishes this set in soulful, legato, dispassionate refrains. This is a more consistent effort than the first volume, with a much anticipated, late-night set still on the horizon.

Tracks
v1
-1. Announcement by Art Blakey 1:32
-2. "Soft Winds" 12:34
-3. "The Theme" 6:11
-4. "Minor's Holiday" 9:11
-5. "Alone Together" 4:15
-6. "Prince Albert" 8:51
-7. "Lady Bird" (reissue bonus track) 7:30
-8. "What's New?" (reissue bonus track) 4:31
-9. "Deciphering the Message" (reissue bonus track) 10:13
v2
-1. Announcement by Art Blakey 0:37
-2. "Sportin' Crowd" 6:53
-3. "Like Someone in Love" 9:15
-4. "Yesterdays"  4:18
-5. "Avila and Tequila" 12:46
-6. ""I Waited for You"  9:47
-7. "Just One Of Those Things" -9:27
-8. "Hank's Symphony" 4:43
-9. "Gone with the Wind" 7:27

Personnel
* Art Blakey — drums
* Horace Silver — piano
* Kenny Dorham — trumpet
* Hank Mobley — saxophone (tenor)
* Doug Watkins — bass

sample & buy: At The Cafe Bohemia, v1

sample & buy: At The Cafe Bohemia v2

Art Blakey - Indestructible (1964) (RVG)

Art Blakey - Indestructible (1964)

jazz | 1cd | eac-flac-cue-log-cover | 330MB

Blue Note | RVG 24-bit remaster 2003

Allmusic:
Lee Morgan once again became part of the Jazz Messengers after replacing Freddie Hubbard, who left after replacing Morgan originally. The band is rounded out by pianist Cedar Walton, a steaming Wayne Shorter on tenor, Curtis Fuller on trombone, and bassist Reggie Workman with Art Blakey on the skins, of course. Indestructible is a hard-blowing blues 'n' bop date with Shorter taking his own solos to the outside a bit, and with Blakey allowing some of Fuller's longer, suite-like modal compositional work into the mix as well ("The Egyptian" and "Sortie"). There are plenty of hard swinging grooves-- an off-Latin funk à la Morgan's "Calling Miss Kadija," Shorter's killer "Mr. Jin," and Walton's ballad-cum-post-bop sprint "When Love Is New" -- and the Blakey drive is in full effect, making this album comes closest in feel to the Moanin' sessions with Bobby Timmons. Here the balance of soul groove and innovative tough bop are about equal. Morgan lends great intensity to this date by being such a perfect foil for Shorter, and their trading of fours and eights in "Sortie" is one of the disc's many high points. Morgan's bluesed-out modal frame is already in evidence here as he was beginning to stretch beyond the parameters of the 12-bar frame and into music from other spaces and times.

Tracks
-1. "The Egyptian" (Fuller) – 10:25
-2. "Sortie" (Fuller) – 8:13
-3. "Calling Miss Khadija" (Morgan) – 7:21
-4. "When Love is New" (Walton) – 6:02
-5. "Mr. Jin" (Shorter) – 7:04
-6. "It's a Long Way Down" (Shorter) – 5:26 Bonus track on CD

Personnel
* Lee Morgan — trumpet
* Curtis Fuller — trombone
* Wayne Shorter — tenor saxophone
* Cedar Walton — piano
* Reggie Workman — bass
* Art Blakey — drums

sample & buy: Indestructible

Art Blakey - Hard Drive (1956)

Art Blakey - Hard Drive (1956)
aka: For Minors Only

jazz | 1cd | eac-flac-cue-log-cover | 215MB

Betlehem

Allmusic:
The final recording by the second version of Art Blakey's Jazz Messengers features trumpeter Bill Hardman, tenor saxophonist Johnny Griffin, either Junior Mance or Sam Dockery on piano and bassist Spanky DeBrest along with leader/drummer Blakey performing four group originals, two Jimmy Heath compositions and the obscure "Late Spring." Although this was not the most famous edition of The Messengers, it set a standard that its successors would uphold to, training its members to be bandleaders in their own right. The music on this album is typical hard bop of the period, well played and full of enthusiasm and fire.

Tracks
-1. "For Minors Only" - Heath - 5:49
-2. "Right Down Front" - Griffin - 4:31
-3. "Deo-X" - Hardman - 5:50
-4. "Sweet Sakeena" - Hardman - 5:06
-5. "For Miles and Miles" - Heath - 5:24
-6. "Krafty" - Griffin - 6:35
-7. "Late Spring" - Mitchell - 5:36

Personnel
* Junior Mance - Piano
* Art Blakey - Drums
* Spanky DeBrest - Bass
* Sam Dockery - Piano
* Johnny Griffin - Sax (Tenor)
* Bill Hardman- Trumpet

sample & buy: Hard Drive

Art Blakey - Meet You at the Jazz Corner of the World (1960) (RVG)

Art Blakey - Meet You at the Jazz Corner of the World (1960)

jazz | 2cd | eac-flac-cue-log-cover | 640MB

Blue Note | RVG 24-bit remaster 2001

Allmusic:
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 the more dynamic contrasts and passages, the combo's swinging bop and sheer musicality outweigh any and all anomalies. Birdland (aka "the jazz corner of the world") produced some of Art Blakey's (drums) most revered live recordings. In addition to these volumes, enthusiasts are equally encouraged to locate the genre-defining A Night at Birdland (1954). For the Meet You at the Jazz Corner of the World sides, listeners fast-forward six years to Blakey's latest quintet, which includes the respective talents of Lee Morgan (trumpet), Wayne Shorter (tenor sax), Bobby Timmons (piano), and Jymie Merritt (bass) -- all of whom are solidly grounded to Blakey's firm yet profound backbeat.
The lyrical performance style that began to emerge from Shorter in the early to mid-'60s can be heard developing during his tenure as a Jazz Messenger. He contrasts Morgan's limber and lilting solos and improvisations, which are especially notable on "'Round About Midnight" and the spirited "The Breeze and I." The latter title also allows Timmons the opportunity to stretch out and motivate the melody. "High Modes" showcases Merritt's pulsating and hypnotic basslines as he weaves a smoky groove beneath Morgan and Shorter's scintillating leads. In addition to "High Modes," this set features two more Hank Mobley compositions. The syncopated and infectiously rhythmic "Night Watch" is highlighted by Shorter, as he begins to fully grasp his improvisational skills that seem to materialize right before the keen-eared listener. He is quickly developing into the undaunted instrumentalist who would revolutionize modern jazz with Miles Davis in the mid-'60s. The set concludes with a rousing rendition of Shorter's "The Summit," which became a comparable standard for this version of the Jazz Messengers. Once again the lines fly fast and furious between Shorter and Morgan, with Timmons securely anchoring the soloists to the equally involved rhythm section. The 2002 reissue includes a newly inked essay from jazz historian Bob Blumenthal as well as reproductions of Leonard Feather's original sleeve notes. The sheer volume of releases by Art Blakey & the Jazz Messengers arguably makes this set somewhat obscured by the plethora of similarly classic live platters. However, the 2002 complete Meet You at the Jazz Corner of the World would be a welcome addition to the library of most any jazz lover.

Tracks
cd1
-1. "Announcement By Pee Wee Marquette - 1:06
-2. "The Opener" - Mobley, Shrdlu - 8:29
-3. "What Know" - Morgan - 10:26
-4. "The Theme" - Blakey, Dorham, Traditional - 1:37
-5. "Announcement By Art Blakey" - Blakey - 0:21
-6. "'Round About Midnight" - Hanighen, Monk, Williams - 9:44
-7. "The Breeze and I" - Lecuona, Stillman" - 10:38
cd2
-1. "Announcement By Pee Wee Marquette & Art Blakey - 1:01
-2. "High Modes" - Mobley - 13:09
-3. "Night Watch" - Mobley - 8:34
-4. "The Things I Love" - Barlow, Harris - 8:26
-5. "The Summit" - Shorter - 9:26
-6. "The Theme" - Blakey, Dorham, Traditional - 1:35

Personnel
*Art Blakey - Drums
*Lee Morgan - Trumpet
*Jymie Merritt - Bass
*Bobby Timmons - Piano
*Wayne Shorter - Tenor Sax

sample & Buy: Meet You at the Jazz
Corner of the World

Art Blakey - Live At Montreux and Northsea (1980)

Art Blakey - Live At Montreux and Northsea (1980)

jazz | 1cd | eac-flac-cue-log-cover | 290MB

Timeless

Allmusic:
Art Blakey, leader of the highly influential hard-bop group The Jazz Messengers (which was usually a quintet or a sextet), made a rare tour with an 11-piece little big band in mid-1980. Included among the personnel were such unknown youngsters as trumpeter Wynton Marsalis (then age 18), Branford Marsalis on baritone and alto, trombonist Robin Eubanks and guitarist Kevin Eubanks. The remarkable group also included the regular members of The Jazz Messengers (trumpeter Valeri Ponomarev, altoist Bobby Watson, tenor saxophonist Billy Pierce and pianist James Williams) and even a second drummer, John Ramsey. The music (three Bobby Watson compositions, the standard "Stairway to the Stars" and Williams's blues "Minor Thesis") is consistently excellent and all of the musicians get their chance to solo. A historically significant and rather enjoyable release.

Tracks
-1. "Minor Thesis" - 13:17
-2. "Wheel Within a Wheel" - 7:02
-3. "Bit a Bittadose" - 6:41
-4. "Stairway to the Stars" - 8:34
-5. "Linwood" - 7:31

Performer
Art Blakey and The Jazz Messengers Big Band

sample & buy: Live at Montreux & Northsea

Art Blakey - The Big Beat (1960) (RVG) (eac-log-cover)

Art Blakey - The Big Beat (1960)

jazz | 1cd | eac-flac-cue-log-cover | 310MB

Blue Note | RVG remaster 2005

Allmusic:
Perhaps the best known and most loved of Art Blakey's works, The Big Beat is a testament to the creative progress of one of the best jazz drummers of all time. Now over 40 years old, The Big Beat is as thunderous as ever. Here, Blakey combines his rhythm with tenor saxophonist Wayne Shorter's brilliant composing to make what could only be termed a "structurally raw" album. Each track rips through bebop as quickly as Blakey ripped through drum heads. "Dat Dere" and "Lester Left Town" stand out as part of the true canons for hot jazz. Two alternate versions of "It's Only a Paper Moon" round out the album, both brimming with the fluid integrity of the song and the drive only Blakey could provide. As one of the few drummers to step out and lead, not just play backup, Blakey created a true jazz treasure in The Big Beat.

Tracks
1. "The Chess Players" (Shorter) - 9:39
2. "Sakeena's Vision" (Shorter) - 6:06
3. "Politely" (Hardman) - 6:04
4. "Dat Dere" (Timmons) - 8:48
5. "Lester Left Town" (Shorter) - 6:26
6. "It's Only a Paper Moon" (Arlen, Harburg, Rose) - 6:41
7. "It's Only a Paper Moon [alternate take] (Arlen, Harburg, Rose) - 6:22
Recorded at Rudy Van Gelder Studio, Englewood Cliffs, NJ, March 6, 1960

Personnel
*Wayne Shorter — tenor saxophone
*Lee Morgan — trumpet, flugelhorn
*Bobby Timmons — piano
*Jymie Merritt — bass
*Art Blakey — drums

sample & buy: Big Beat

Art Blakey - Free For All (RVG) (1964)

Art Blakey - Free For All (1964)

jazz | 1cd | eac-flac-cue-log-cover | 310MB

Blue Note | RVG 24-bit remaster 2004

Allmusic:
Free for All is a high point in drummer Art Blakey's enormous catalog. This edition of the Jazz Messengers had been together since 1961 with a lineup that would be hard to beat: Freddie Hubbard on trumpet (his last session with the Messengers), Wayne Shorter on tenor sax, Curtis Fuller on trombone, Cedar Walton on piano, and Reggie Workman on bass. Shorter's title track is one of the finest moments in the Jazz Messengers' history. In the eight minutes of "Free for All," an emotional apex is reached that skirts the edge of free bop without losing Blakey's rhythmic glue. Another Shorter composition, "Hammer Head," is a mid-tempo soul-blues groove, with Shorter, Hubbard, and Fuller taking exceptional solos while Blakey keeps the mid-tempo vigorously swinging. Hubbard's "The Core," dedicated to the Congress of Racial Equality, comes close to capturing the heat of the title cut, as it contains similar fiery interplay. The session's closer, Clare Fischer's "Pensativa" (brought to the Messengers songbook by Hubbard), would remain a favorite with Blakey for years. A passionate Jazz Messengers workout that proves essential.

Tracks
-1. "Free For All" (Shorter) - 11:04
-2. "Hammer Head" (Shorter) - 7:47
-3. "The Core" (Hubbard) - 9:24
-4. "Pensativa" (Fischer) - 8:19

Personnel
* Art Blakey, drums
* Wayne Shorter, tenor saxophone
* Freddie Hubbard, trumpet
* Curtis Fuller, trombone
* Cedar Walton, piano
* Reggie Workman, bass

sample & buy: Free for All (RVG)

Art Blakey - Live In Stockholm (1959) (eac-log-cover)

Art Blakey - Live In Stockholm (1959)

jazz | 1cd | eac-flac-cue-log-cover | 270MB

Dragon 1990

Jazzloft:
Fabulous, radio tape quality live recordings of Blakey & The Jazz Messengers on their first Scandinavian tour. A young Wayne Shorter had recently joined the band, which already contained a slightly younger Lee Morgan, plus Jymie Merritt (bass) and Walter Davis Jnr who had recently replaced Bobby Timmons on piano. They stretch out and swing through 5 extended pieces including "Lester Left Town", "Night In Tunisia", and a masterly version of "Like Someone In Love"

Tracks
-01 - Close Your Eyes (Petkere) 13:08
-02 - Like Someone in Love (Van Heusen, Burke) 13:44
-03 - Lester Left Town (Shorter) 9:25
-04 - The Midget (Morgan) 12:44
-05 - A Night in Tunisia (Gillespie, Paparelli) 9:40

Personnel
*Lee Morgan (trumpet)
*Wayne Shorter (tenor saxophone)
*Walter Davis jr. (piano)
*Jymie Merritt (bass)
*Art Blakey (drums)

sample & buy: Live in Stockholm

Art Blakey - Like Someone In Love (1960) (RVG) (eac-log-cover)

Art Blakey - Like Someone In Love (1960)
jazz | 1cd | eac-flac-cue-log-cover | 320MB

Blue Note | RVG 24-bit remaster 2004

Allmusic:
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 significantly as an adept and forward-thinking songwriter. Tracks such as the brisk "Noise in the Attic" and the swinging "Giantis" foreshadow the iconic mid- and late-'60s modal work the tenor saxophonist would accomplish on such albums as Night Dreamer and JuJu. Notably, "Sleeping Dancer Sleep On," while a rather obscure Shorter waltz-ballad, reveals a mellow, searching quality that would soon come to define the more reflective side of '60s hard bop. Similarly, Morgan's one addition, the danceably funky "Johnny's Blue," seems to prefigure his own classic Sidewinder to be released three years later. Interestingly, although they are not packaged together, Like Someone in Love and A Night in Tunisia both come from the same recording session. [The Rudy Van Gelder Edition of Like Someone in Love features remastered sound by original producer Van Gelder, which does significantly improve the overall sound quality over the original release.]

Tracks:
-1. "Like Someone in Love" (Burke, Van Heusen) - 8:04
-2. "Johnny's Blue" (Morgan) 9:12
-3. "Noise in the Attic" (Shorter) - 7:54
-4. "Sleeping Dancer Sleep On" (Shorter) - 8:06
-5. "Giantis" (Shorter) - 5:35
-6. "Sleeping Dancer Sleep On" [alternate take] (Shorter) - 8:05
* Recorded at Rudy Van Gelder Studio, Englewood Cliffs, New Jersey, August 7 and 14, 1960

Personnel:
* Wayne Shorter – tenor saxophone
* Lee Morgan – trumpet, flugelhorn
* Bobby Timmons – piano
* Jymie Merritt – bass
* Art Blakey – drums

sample & buy: Like Someone in Love RVG

Art Blakey & JM - A Night In Tunisia (MFSL & RVG) (eac-flac-cover)

Art Blakey & JM - A Night In Tunisia (MFSL & RVG version)

jazz | 1+1cd | eac-flac-cue-log-cover | 370+360MB

MFSL UDCD601 + BN RVG2004 24-bit remaster

AMG:
The lengthy title track on this CD easily overshadows the rest of the program for it is one of the most exciting versions ever recorded of Dizzy Gillespie's "A Night in Tunisia." Trumpeter Lee Morgan (then only in his early 20s), tenor saxophonist Wayne Shorter, pianist Bobby Timmons and bassist Jymie Merritt formed one of the strongest of the many versions of Art Blakey & the Jazz Messengers and are actually in fine form during the remainder of the satisfying (if anticlimactic) set.

Tracks MFSL
-1. "A Night in Tunisia" (D. Gillespie–F. Paparelli) –11:11
-2. "Sincerely Diana" (Wayne Shorter) –6:47
-3. "Sincerely Diana" (alternative take) (Wayne Shorter) –6:51
-4. "So Tired" (Bobby Timmons) –6:36
-5. "Yama" (Lee Morgan) –6:20
-6. "Kozo's Waltz" (Lee Morgan) –6:45
-7. "When Your Lover Has Gone" (E.A. Swan) –6:43

Tracks RVG
-1. "A Night in Tunisia" (D. Gillespie–F. Paparelli) –11:13
-2. "Sincerely Diana" (Wayne Shorter) –6:48
-3. "So Tired" (Bobby Timmons) –6:36
-4. "Yama" (Lee Morgan) –6:22
-5. "Kozo's Waltz" (Lee Morgan) –6:46
-6. "When Your Lover Has Gone" (E.A. Swan) –6:44
-3. "Sincerely Diana" (alternative take) (Wayne Shorter) –6:58

Personnel
* Lee Morgan — trumpet
* Wayne Shorter — tenor saxophone
* Bobby Timmons — piano
* Jymie Merritt — bass
* Art Blakey — drums

sample & buy "A Night in Tunisia" rvg

sample & buy "A Night in Tunisia" mfsl

rc

Art Blakey & JM 1961 - Impulse! (20-bit SBM) (eac-log-cover)

Art Blakey & JM 1961 - Impulse! (20-bit SBM)

jazz | 1cd | eac-flac-cue-log-cover | 280MB

Impulse! | rar +5% recovery

Amazon:
The Jazz Messengers only recording for Impulse Records is a sextet affair featuring Lee Morgan,Wayne Shorter and Curtis Fuller. Standard tunes are played at various tempos with Lee displaying his prowess on mute as well as open horn. The highlight of the date for me though is the Curtis Fuller original - A La Mode- a real smoker. This front line appears again 3 years later on Art Blakey's final Blue Note session INDESTRUCTIBLE recorded in 1964. In 1962 & 63 it was Freddie Hubbard on trumpet in the classic sextet recording numerous sessions for Blue Note and Riverside records. The Riverside sessions CARAVAN and UGETSU may be a bit easier on the head for some.

Tracks:
1. "À la Mode" (Fuller) — 6:40
2. "Invitation" (Kaper, Webster) — 7:25
3. "Circus" (Alter, Russell) — 5:12
4. "You Don't Know What Love Is" (DePaul, Raye) — 6:55
5. "I Hear a Rhapsody" (Baker, Fragos, Gasparre) — 6:30
6. "Gee Baby, Ain't I Good to You" (Razaf, Redman) — 5:00

Personnel:
* Art Blakey — drums
* Wayne Shorter — tenor saxophone
* Lee Morgan — trumpet
* Curtis Fuller — trombone
* Bobby Timmons — piano
* Jymie Merritt — bass

sample & buy

rc

Art Blakey - Moanin' (RVG) (1958) (eac-log-cover)

Art Blakey - Moanin' (1958)

jazz | 1cd | eac-flac-cue-log-cover | 370MB

BN | RVG 24-bit remaster | rar +5% recovery

AMG:
Moanin' includes some of the greatest music Blakey produced in the studio with arguably his very best band. There are three tracks that are immortal and will always stand the test of time. The title selection is a pure tuneful melody stewed in a bluesy shuffle penned by pianist Bobby Timmons, while tenor saxophonist Benny Golson's classy, slowed "Along Came Betty" and the static, militaristic "Blues March" will always have a home in the repertoire of every student or professional jazz band. "Are You Real?" has the most subtle of melody lines, and "Drum Thunder Suite" has Blakey's quick blasting tom-tom-based rudiments reigning on high as the horns sigh, leading to hard bop. "Come Rain or Come Shine" is the piece that commands the most attention, a highly modified, lilting arrangement where the accompanying staggered, staccato rhythms contrast the light-hearted refrains. Certainly a complete and wholly satisfying album, Moanin' ranks with the very best of Blakey and what modern jazz offered in the late '50s and beyond.

Tracks:
1. Warm-up and dialogue between Lee Morgan and Rudy van Gelder – 0:35
2. "Moanin'" – 9:30
3. "Are You Real?" – 4:47
4. "Along Came Betty" – 6:08
5. "The Drum Thunder (Miniature) Suite" – 7:30
6. "Blues March" – 6:13
7. "Come Rain or Come Shine" – 5:45
8. "Moanin'" (alternative take) – 9:19

Personnel:
* Lee Morgan — trumpet
* Benny Golson — tenor saxophone
* Bobby Timmons — piano
* Jymie Merritt — bass
* Art Blakey — drums

sample & buy

rc

Art Blakey - Theory of Art (1957) (eac-log-cover)

Art Blakey - Theory of Art (1957)

jazz | 1cd | eac-flac-cue-log-cover | 285MB

RCA |  rar +5% recovery

AMG:
This CD contains two unique sessions in the history of Art Blakey's Jazz Messengers. Five numbers feature a sextet that includes both altoist Jackie McLean, who had recently left the band, and his replacement, tenor saxophonist Johnny Griffin along with trumpeter Bill Hardman; "A Night in Tunisia" best shows off this short-lived group. The remaining two numbers were unissued until this CD came out and feature Blakey heading a nonet that included future Messenger Lee Morgan, trombonist Melba Liston and Griffin. The music is consistently excellent and also succeeds as a historical curiosity that should greatly interest Blakey collectors.

Tracks:
1. "A Night in Tunisia" (Gillespie, Paparelli) — 12:50
2. "Off the Wall" (Griffin) — 7:11
3. "Couldn't It Be You?" (Blakey, McLean) — 8:06
4. "Theory of Art" (Hardman) — 9:40
5. "Evans" (Rollins) — 5:46
6. "A Night at Tony's" (Gryce) — 4:19
7. "Social Call" (Gryce, Hendricks) — 5:16

Personnel:
* Art Blakey — drums
* Johnnie Griffin — tenor saxophone
* Jackie McLean — alto saxophone
* Bill Hardman — trumpet, piano
* Spanky DeBrest — bass
* Sam Dockery — piano
* Lee Morgan — trumpet
* Melba Liston — trombone
* Cecil Payne — baritone saxophone
* Sahib Shihab — alto saxophone

sample & buy

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Art Blakey - Orgy In Rhythm v1-2 (1957) (BN Connoisseur) (eac-log-cover)

Art Blakey - Orgy In Rhythm v1-2 (1957)

jazz | 1cd | eac-flac-cue-log-cover | 420MB

BN Connoisseur limited edition | 20-bit SBM |  rar +5% recovery

AMG:
This CD reissues one of the first percussion-oriented jazz records, although it was preceded two weeks earlier by Art Blakey's obscure Columbia set Drum Suite. For the Blue Note date, which was originally released as two LPs and is now available as a single CD, Blakey enlisted quite a lineup -- the leader, Art Taylor, Jo Jones, and Specs Wright on drums (with the latter two doubling on timpani); five percussionists; flutist Herbie Mann; pianist Ray Bryant; and bassist Wendell Marshall. Mann plays a variety of African wood flutes, except on the final number, a conventional blues featuring his regular flute. With percussionist Sabu leading the chanting and taking three vocals (Blakey himself sings a little on "Toffi"), the music is quite African-oriented and generally holds one's interest, preceding Max Roach's M'Boom by over 20 years. Mostly for specialized tastes, this is a set that drummers should consider essential.

Tracks:
1. "Buhaina Chant" – 10:30
2. "Ya Ya" – 7:06
3. "Toffi" – 12:20
4. "Split Skins" – 8:58
5. "Amuck" – 6:49
6. "Elephant Walk" – 6:56
7. "Come Out and Meet Me Tonight" – 5:43
8. "Abdallah's Delight" – 9:46
All compositions by Art Blakey
* Recorded at Manhattan Towers, NYC, March 7, 1957

Personnel:
* Art Blakey – drums
* Ray Bryant – piano
* Jo Jones – drums, tympani
* Herbie Mann – flute
* Wendell Marshall – bass
* Sabu Martinez – percussion
* Ubaldo Nieto – percussion, timbales
* Evilio Quintero – percussion, maracas, cencerro
* Arthur Taylor – drums
* Carlos "Patato" Valdes – percussion
* Specs Wright – drums, tympani

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Art Blakey - Holiday For Skins (v1-2) (1958) (BN Connoisseur) (eac-log-cover)

Art Blakey - Holiday For Skins (v1-2) (1958) (BN Connoisseur)

jazz | 1cd | eac-flac-cue-log-cover | 350MB

BN-EMI | Connoisseur series 24-b remaster | rar +5% recovery

AMG:
Art Blakey, who visited Africa several times, has been cited as saying jazz couldn't have happened there, that it could only have happened in America when and where it did, but Blakey was also fully aware of where those polyphonic rhythms and call-and-response patterns that underscore all of jazz came from. In the mid-'50s he began experimenting with large drum ensembles that slid African and Latin rhythms beneath hard bop horn and piano structures, resulting in a kind of worldbeat jazz hybrid years before the idea of worldbeat became codified as a musical concept. Holiday for Skins has an even larger drum ensemble than the one that Blakey used for 1956's similar Drum Suite, consisting this time around of three jazz drummers (Philly Joe Jones, Art Taylor, and Blakey himself) and a host of Latin and African percussionists, including Ray Barretto and Sabú Martínez, as well as Donald Byrd on trumpet and Ray Bryant on piano. With the exception of Bryant's two compositions, "Swingin' Kilts" and "Reflection," all the tracks were worked out during one long studio session which ran from 11 p.m. until 5 a.m. the next morning. The end result sounds very joyous, tribal, and ceremonial, helped along in that regard by interspersed vocal chants, yelps, howls, and whistles with occasional bursts of straight jazz texture from Byrd or Bryant. The lengthy session was originally released by Blue Note as two separate LPs labeled Volume 1 and Volume 2, and this CD reissue combines both into one seamless sequence running a little over an hour in length. As one might suspect, there isn't a whole lot of melody or harmony being worked on here, but the rhythms are extraordinarily interesting, with the various bongos, congas, and trap kit formations constantly responding to each other in ever expanding and overlapping circles. It may not be everyone's idea of jazz, but jazz it most certainly is, and many of the rhythm experiments Blakey was trying out at the time in albums like this one, Drum Suite, and 1962's African Beat are now standard approaches in contemporary jazz and pop, which is why all three of these drum-centric releases sound so eerily current years later.

Tracks:
1. The Feast 8:52
2. Aghano 6:03
3. Lamento Africano 8:21
4. Mirage 10:26
5. O' Tinde 6:13
6. Swingin' Kilts 8:48
7. Dinga 8:56
8. Reflection 9:06

Personnel:
Art Blakey: drums; Philly Joe Jones: drums, tympani; Art Taylor: drums, gong; Sabu Martinez: bongos, congas; Ray Barretto, Chonguito Vicente: congas; Victor Gonzalez: bongos; Andy Delannoy: maracas, cencerro; Julio Martinez: congas, tree log; Fred Pagan Jr: timbales; Donald Byrd: trumpet; Ray Bryant: piano; Wendell Marshall: bass; Blakey, Jones, Martinez, Austin Cromer, Hal Rasheed: chants.

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Art Blakey - A Night at Birdland v1-2 (1954) (RVG) (eac-flac-cover)

Art Blakey - A Night at Birdland v1-2 (1954) (RVG)

jazz | 2cd | eac-flac-cue-log-cover | 575MB

BN RVG | rar +5% recovery

AMG:
When Art Blakey founded the Jazz Messengers, his initial goal was to not only make his mark on the hard bop scene, but to always bring younger players into the fold, nurture them, and send them out as leaders in their own right. Pianist Horace Silver, trumpeter Clifford Brown, and saxophonist Lou Donaldson were somewhat established, but skyrocketed into stardom after this band switched personnel. Perhaps the most acclaimed combo of Blakey's next to the latter-period bands with Lee Morgan and Wayne Shorter, the pre-Messengers quintet heard on this first volume of live club dates at Birdland in New York City provides solid evidence to the assertion that this ensemble was a one of a kind group the likes of which was not heard until the mid-'60s Miles Davis Quintet. Three of Silver's greatest contributions to jazz before he turned to original soul and funkier sounds are here. "Split Kick" (introduced by the erudite Pee Wee Marquette) is a definitive hard bop vehicle, as Brown and Donaldson dig into their melody and solo lines with deep affection and joy for this music. "Quicksilver" is more of the same as the horns play in unison and pull the famous lyrical quote from "Hey, You Beautiful Doll." "Mayreh" is a happy reharmonized version of "All God's Children Got Rhythm," hard bop at its best, with Brown on fire. Of course, Donaldson's forte is soul, as emphasized during the slow "Blues," assimilating Charlie Parker's cooled tones nicely. A near ten-minute "A Night in Tunisia" establishes the loose-tight concept Blakey patented as he dominates the bandstand in loudness. J.J. Johnson's "Wee-Dot" is as definitive a bop flagwaver as there is, with a short head and plenty of solo space. Where Brown was always masterful in a ballad, "Once in a While" showcases his beautifully executed legato sound, but not at the expense of his innate ability to both invent and extrapolate without losing touch of this special melancholy song. This recording, as well as subsequent editions of these performances, launches an initial breakthrough for Blakey and modern jazz in general, and defines the way jazz music could be heard for decades thereafter. Everybody must own copies of all volumes of A Night at Birdland.

Tracks:
v1
1. "Announcement by Pee Wee Marquette" – 0:58
2. "Split Kick" (Silver) – 8:44
3. "Once in a While" (Edwards, Green) – 5:18
4. "Quicksilver" (Silver) – 6:58
5. "A Night in Tunisia" (Gillespie, Paparelli) – 9:20
6. "Mayreh" (Silver) – 6:19
7. "Wee-Dot (alternate take)" (2001 bonus track) (Johnson, Parker) – 6:53
8. "Blues (Improvisation)" (2001 bonus track) (traditional) – 8:37
v2
1. "Wee Dot" (Johnson, Parker) - 7:16
2. "If I Had You" (Campbell, Connelly, Shapiro) - 3:31
3. "Quicksilver [alternate master]" (Silver) - 8:46
4. "Now's the Time" (2001 bonus track) (Parker) - 9:02
5. "Confirmation" (2001 bonus track) (Parker) - 9:12
6. "The Way You Look Tonight" (Fields, Kern) - 9:59
7. "Lou's Blues" (Donaldson) - 3:58

Personnel:
* Art Blakey - drums
* Clifford Brown - trumpet
* Lou Donaldson - saxophone (alto)
* Curley Russell - bass
* Horace Silver - piano

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Art Blakey - Keystone 3 (1982) (eac-flac-cover)

Art Blakey - Keystone 3 (1982)

jazz | 1cd | eac-flac-cue-log-cover | 325MB

Concord | SACD | rar +5% recovery

AMG:
This third live recording at San Francisco's Keystone Korner in the late '70s and early '80s of drummer Art Blakey's Jazz Messengers is significant for many reasons. It marks the final ushering out of the famous band that was fronted at times by David Schnitter, Curtis Fuller, Bobby Watson, and Valery Ponomarev, with Bill Pierce then the lone holdout. It is the first recording to include alto saxophonist Branford Marsalis (who specialized on tenor and soprano sax,) and teams him with brother Wynton Marsalis and Pierce on a formidable, compact front line. Memphis continues to be represented as Donald Brown takes over for James Williams, and New Orleans bass wizard Charles Fambrough remains. The result is an ultra-melodic band of Messengers who instrumentally sing together, swing hard, and are completely commanded by an energetic and powerful rhythm machine in Blakey, at the time in his early sixties. The show starts with a rousing version of "In Walked Bud," with the front line instrumentally singing this famous melody, Wynton growling on his solo, and Branford lyrically sounding like Charlie Parker. "In a Sentimental Mood" is a feature for Pierce without the brothers, as Brown's chiming comping piano buoys the measured tenor sax. The next three pieces are remainders of the previous bands. "Fuller Love," the Bobby Watson tribute to Curtis Fuller, is a 6/8 modal line full of energy, as biting and precise harmonic bass and horns stab with Blakey's driving rhythms all signify the best hard bop offers in modern times. "Waterfall" is the magnum opus of the set, as the horns ascend and descend dynamically in perfect in and out changes, Wynton's solo double-timed to bop pace the highlight. "A La Mode" is the famous composition of Fuller's played to exacting specs in hushed tones with Brown perfectly shadowing the horns, while Blakey dominates and commands the troops in building tension, then halting them at will. Of the many live recordings with different Jazz Messengers lineups, this ranks among their best, and is a springboard for what the Marsalis brothers would offer as artists in their own right. With Blakey, this combination was special.

Tracks:
01 - In walked bud
02 - In a sentimental mood
03 - Fuller love
04 - Waterfalls
05 - A la mode

Personnel:
Bass - Charles Fambrough
Drums - Art Blakey
Piano - Donald Brown
Saxophone [Alto] - Branford Marsalis
Saxophone [Tenor] - Bill Pierce
Trumpet - Wynton Marsalis
thx to sokostark

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Cannonball Adderley - Somethin' Else (1958) (MFSL) (eac-log-cover)

Cannonball Adderley - Somethin' Else (1958) (MFSL)

jazz | 1cd | eac-ape-cue-log-cover | 310MB

MFSL UDCD | rar +5% recovery

AMG:
It isn't too difficult to understand why MFSL considered this album to be a worthy candidate for an Ultradisc reissue — aside from Cannonball Adderley, you have a lineup that includes Miles Davis, Hank Jones, Sam Jones, and Art Blakey. This is a group that could take on a Barry Manilow number and turn it into a jazz masterpiece. MFSL have done the purchaser a favor, too, by including an additional track that was left off the original album. This sixth track, ""Alison's Uncle,"" closes out Somethin' Else on a high note, changing the flow of energy in an interesting way (purists can still finish up on a quieter note, as with the original, by programming ""Dancing in the Dark"" as the final track). In many ways it's a surprise that this track was left off originally — it's an excellent piece, with Adderley and Davis trading licks and solos while Jones and Blakey keep pace. Blakey also takes some terrific solos. The remastering job is the usual superb MFSL effort, producing clear sound with almost no background noise. Due to the original recording (made in 1958), Davis' trumpet sometimes seems a little shrill and metallic, but it's not an overwhelming problem — certainly not when you consider Davis' style. Altogether, an excellent addition to any jazz collection.

Tracks:
01. Autumn Leaves - 10:59
02. Love for Sale - 7:04
03. Somethin' Else - 8:14
04. One for Daddy-O - 8:25
05. Dancing in the Dark - 4:07
06. Alison's Uncle [bonus] - 5:03

Personnel:
Art Blakey (Drums)
Cannonball Adderley (Sax)
Hank Jones (Piano)
Miles Davis (Trumpet)
Sam Jones (Bass)

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---> Somethin' Else RVG version here <---

Art Blakey - Roots & Herbs (24b SBM) (eac-flac-cover)

Art Blakey - Roots & Herbs (24b SBM)

jazz | 1cd | eac-flac-cue-log-cover | 470MB

BN | 24-bit SBM | rar +5% recovery

AMG:
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 the drum master's CD catalog. Having already been a magnet for such talented hard bop players and writers as Hank Mobley, Benny Golson, Clifford Brown, Horace Silver (who helped form the original group), and Kenny Dorham, the Messengers' lineup of 1961 featured one of Blakey's best rosters: In addition to trumpeter Lee Morgan, who would alternate in the early '60s with Freddie Hubbard, the band featured tenor saxophonist Wayne Shorter, pianists Walter Davis, Jr. and Bobby Timmons, and bassist Jymie Merritt. Feeding off six early compositions by Shorter (the CD also includes three alternate takes), all the players reel off topnotch solos atop Blakey's fluidly galvanizing swing beat. Highlights include "Ping Pong," "Look at Birdie," and "Master Mind," compositions that, in their fetchingly askew way, nicely foreshadow the wealth of ideas to come from Shorter's pen throughout the '60s.

Tracks:
1. Ping Pong – 7:06
2. Roots and Herbs – 6:03
3. The Back Sliders – 7:49
4. United – 7:27
5. Look at the Birdie – 6:43
6. Master Mind – 6:52
7. The Back Sliders (alternate) - 7:12
8. Ping Pong (alternate) – 5:58
9. United (alternate) – 6:48

Personnel:
* Art Blakey — drums
* Walter Davis, Jr. — piano
* Jymie Merritt — double bass
* Lee Morgan — trumpet
* Wayne Shorter — tenor saxophone
* Bobby Timmons — piano

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