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Kérjen
árajánlatot! |
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| 1. | Evidence
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| 2. | In Walked Bud
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| 3. | Blue Monk
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| 4. | I Mean You
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| 5. | Rhythm-A-Ning
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| 6. | Purple Shades
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| 7. | Evidence
previously unissued alternate take
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| 8. | Blue Monk
previously unissued alternate take
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| 9. | I Mean You
previously unissued alternate take
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Jazz
Art Blakey - Drums
Bill Hardman - Trumpet
Johnny Griffin - Sax (Alto)
Spanky DeBrest - Bass
Thelonious Monk - Piano
* Cathi Unsworth - Project Assistant
* Dan Hersch - Remastering
* Earle Brown - Engineer
* Florence Halfon - Reissue Supervisor
* Lee Friedlander - Cover Photo
* Marvin Israel - Cover Design
* Nat Hentoff - Liner Notes
* Nesuhi Ertegun - Original Engineering, Supervisor
Art Blakey's Jazz Messengers With Thelonious Monk (1958) was one of a number of landmark projects that Monk (piano) would record during the remarkably prolific spring and summer of 1957. In addition to this confab, he also documented the solo platter Thelonious Himself (1957), as well as Monk's Music's (1957) with a septet, and even going toe to toe with another respective pair of his formidable contemporaries on Thelonious Monk With John Coltrane (1957) and Mulligan Meets Monk (1957). However in this classic confrontation, Art Blakey (drums) and his concurrent Jazz Messengers -- featuring the talents of Johnny Griffin (tenor sax), Bill Hardman (trumpet), and Spanky Debrest (bass) -- play host to the pianist on his only sides for the venerable Atlantic record label. As one might anticipate with an artist whose catalog almost single-handedly defines bebop, the vast majority of the cleverly chosen material consists of Monk standards. While both co-leads rise to the occasion with thoroughly expressive performances throughout, this incarnation of the Jazz Messengers reveals a particularly potent support. During "Evidence," Hardman unleashes a powerful lead into an equally inspired keyboard run of enthusiastic chord progressions and advanced phrasings from Monk. Griffin's interminable bop mentality effortlessly punctuates "In Walked Bud" as he almost immediately pounces into the free swinging melody with a verve that refuses to subside. From Blakey's boisterous opening to "Blue Monk" right through to the single-note crescendo during the finale, the Jazz Messengers provide a lethargic propulsion that showcases the tune's bluesy origins. This directly contrasts the up-tempo charge of "Rhythm-a-Ning." The quirky-yet-catchy chorus bounces from the dual-lead horn section with the entire arrangement tautly bound by the understated Debrest and Blakey. Griffin's "Purple Shades" is a smartly syncopated blues that is more of a musical platform for the Jazz Messengers than for Monk. That said, his opening solo alternately shimmers and shudders with Debrest as well as the two-piece brass section demonstrating its own pronounced capabilities over Monk's counterpoint. This European release contains an additional three full-length "alternate takes" of "Evidence," "Blue Monk" -- which in some ways bests the released version -- and "I Mean You." These are the same supplementary sides that are included on the Rhino Records 1999 North American domestic CD reissue of this same title.
--- Lindsay Planer, All Music Guide
Art Blakey
Active Decades: '40s, '50s, '60s, '70s, '80s and '90s
Born: Oct 11, 1919 in Pittsburgh, PA
Died: Oct 16, 1990 in New York, NY
Genre: Jazz
Styles: Bop, Hard Bop
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," characteristics found in abundance in the music of the Jazz Messengers, the quintessential hard bop ensemble led by drummer Art Blakey. In the '60s, '70s, and '80s, when artists on the cutting edge were attempting to transform the music, Blakey continued to play in more or less the same bag he had since the '40s, when his cohorts included the likes of Charlie Parker, Miles Davis, and Fats Navarro. By the '80s, the evolving mainstream consensus had reached a point of overwhelming approval in regard to hard bop: this is what jazz is, and Art Blakey -- as its longest-lived and most eloquent exponent -- was its master.
The Jazz Messengers had always been an incubator for young talent. A list of the band's alumni is a who's who of straight-ahead jazz from the '50s on -- Lee Morgan, Wayne Shorter, Freddie Hubbard, Johnny Griffin, Jackie McLean, Donald Byrd, Bobby Timmons, Cedar Walton, Benny Golson, Joanne Brackeen, Billy Harper, Valery Ponomarev, Bill Pierce, Branford Marsalis, James Williams, Keith Jarrett, and Chuck Mangione, to name several of the most well-known. In the '80s, precocious graduates of Blakey's School for Swing would continue to number among jazz's movers and shakers, foremost among them being trumpeter Wynton Marsalis. Marsalis became the most visible symbol of the '80s jazz mainstream; through him, Blakey's conservative ideals came to dominate the public's perception of the music. At the time of his death in 1990, the Messenger aesthetic dominated jazz, and Blakey himself had arguably become the most influential jazz musician of the past 20 years.
Blakey's first musical education came in the form of piano lessons; he was playing professionally as a seventh grader, leading his own commercial band. He switched to drums shortly thereafter, learning to play in the hard-swinging style of Chick Webb and Sid Catlett. In 1942, he played with pianist Mary Lou Williams in New York. He toured the South with Fletcher Henderson's band in 1943-1944. From there, he briefly led a Boston-based big band before joining Billy Eckstine's new group, with which he would remain from 1944-1947. Eckstine's big band was the famous "cradle of modern jazz," and included (at different times) such major figures of the forthcoming bebop revolution as Dizzy Gillespie, Miles Davis, and Charlie Parker. When Eckstine's group disbanded, Blakey started a rehearsal ensemble called the Seventeen Messengers. He also recorded with an octet, the first of his bands to be called the Jazz Messengers. In the early '50s, Blakey began an association with Horace Silver, a particularly likeminded pianist with whom he recorded several times. In 1955, they formed a group with Hank Mobley and Kenny Dorham, calling themselves "Horace Silver and the Jazz Messengers." The Messengers typified the growing hard bop movement -- hard, funky, and bluesy, the band emphasized the music's primal rhythmic and harmonic essence. A year later, Silver left the band, and Blakey became its leader. From that point, the Messengers were Blakey's primary vehicle, though he would continue to freelance in various contexts. Notable was a 1963 Impulse record date with McCoy Tyner, Sonny Stitt, and Art Davis; a 1971-1972 world tour with "the Giants of Jazz," an all-star venture with Thelonious Monk, Dizzy Gillespie, Sonny Stitt, and Al McKibbon; and an epochal drum battle with Max Roach, Elvin Jones, and Buddy Rich at the 1964 Newport Jazz Festival. Blakey also frequently recorded as a sideman under the leadership of ex-Messengers.
Blakey's influence as a bandleader could not have been nearly so great had he not been such a skilled instrumentalist. No drummer ever drove a band harder; none could generate more sheer momentum in the course of a tune; and probably no drummer had a lower boiling point -- Blakey started every performance full-bore and went from there. His accompaniment style was relentless, and woe to the young saxophonist who couldn't keep up, for Blakey would run him over like a fullback. Blakey differed from other bop drummers in that his style was almost wholly about the music's physical attributes. Where his contemporary Max Roach dealt extensively with the drummer's relationship to melody and timbre, for example, Blakey showed little interest in such matters. To him, jazz percussion wasn't about tone color; it was about rhythm -- first, last, and in between. Blakey's drum set was the engine that propelled the music. To the extent that he exhibited little conceptual development over the course of his long career, either as a player or as a bandleader, Blakey was limited. He was no visionary by any means. But Blakey did one thing exceedingly well, and he did it with genius, spirit, and generosity until the very end of his life.
---Chris Kelsey, All Music Guide |
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