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| 5.385 Ft
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| 1. | Oh By The Way
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| 2. | Duck Soup
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| 3. | Cheryl
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| 4. | MS B.C.
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| 5. | In Case You Missed It
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| 6. | Little Man
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| 7. | Witch Hunt
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| 8. | Soulful Mister Timmons
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Jazz
Recorded and Mixed at Davout Studios, Paris, France, April 12,1981
Art Blakey-drums
Wynton Marsalis - trumpet
James Williams - piano
Robert Watson - alto sax
Donald Harrison - alto sax
Bill Pierce-tenor sax
Charles Fambrough - bass
Terence Blanchard - trumpet
Johnny O'Neal - piano
Titel 1 + 2 Produced by Wim Wigt/ John Ramsay
Recording Engineer: Jan Kranendonk
Recorded and Mixed at Fendal Sound Studios, May 20, 1982 - London a/d Vecht, Holland
Titel 3 - 8 Produced by Wim Wigt
Recording Engineer: Phillippe Omnes
Assistant Engineer: Daniel Abraham
Production Associate: John Ramsay
Recorded and Mixed at Davout Studios, Paris, France, April 12,1981
Frontcoverphoto/Coverdesign/HPCbv, Arnheim, Holland
Liner Notes by: Ted Panken
Art Blakey, whose career has spanned close to 50 years of black music history, exemplifies the timeless role of the drum in jazz. He mentions Chick Webb and Sid Catlett, the master drummer-orchestrators of the black dance bands of the 1930s, as primary influences of his youth: Webb for bringing the drums to the forefront of the ensemble as an instrument of equal value within the ensemble; Catlett for his use of dynamics, and for his finesse and technique. Blakey has been a working musician since his early teens. In the 1940s, he was employed in the hard-swinging dance bands of Lucky Millinder, Andy Kirk, Jimmy Lunceford, Earl Hines and Billy Eckstine, and backed Charlie Parker and Thelonious Monk, among others, in smaller units.
Blakey's fame stems from the various groups he has led since 1947 under the Jazz Messengers name. Those buying this album know the range and quality of personnel he has used, and are familiar with the amalgam of back-beats, shuffle rythms, press rolls, hi-hat touch and individual tuning that have made his sound immediately identifiable, synomous with the sound of his bands.
This edition of the Jazz Messengers reminds me Blakey's virtuoso units of the early 1960s. Trumpeter Wynton Marsalis, barely 20 years old, evokes the role played by Lee Morgan and Freddie Hubbard. His substantial, clean sound adds brilliance to ensemble passages and (as evidenced in the powerhouse "In Case You Missed It"), he has the technical facility to gobble up the changes at any tempo Blakey can muster. His concise solo on Charlie Parker's "Cheryl" shows a keen awareness of form. structure and dynamics.
Saxophonists Robert Watson and Bill Pierce fit hand in glove with the demands of Blakey sound. We hear the Southwest lope in Kansas
City-born altoman Watson's phrasing, and he projects the hard-edged tone we identify with Charlie Parker and his stylistic ancestor, Professor Buster Smith. Pierce, schooled at Berklee School of Music and a teacher in Boston, has impeccable chops, and has absorbed Û from the evidence on this album Û tenor saxophone approaches from Dexter Gordon to Wayne Shorter to Coltrane, while never sounding derivative of his sources.The rhythm section gives the front line strong and subtle support. They are never caught unawares by Blakey's sudden shifts of tempo and dynamic nuance; the time is always right on; the solos appropriate. Pianist Williams, Memphis-born, is steeped in the music of the black church and knows his blues, as we see on his original "Soulful Mister Timmons". Bassist Fambrough, fresh from several years wit McCoy Tyner, is a rhythmic rock, fat-toned, technically facile, as shown in the four-bar exchanges at the end of "Cheryl" and the solo passages on his original "Little Man", a sprightly rumba-type theme that resolves to a 4/4 blues beat during the solos.
Blakey again has found superior young talent, and refined and polished their skills by providing constant work in a variety of situations. It is appropriate that the album's second tune, "Ms. B.C. (by Watson's wife Pamela), is a dedication to jazz singer Betty Carter, who has also taken upon herself the mission of passing down values and musical knowledge to her young collaborators.
The road is indeed the true finishing school for the jazz musician, and this album is the culmination of nine months of steady work on one-nighters and week-long stands, primarily on European tours for Timeless' producer Wim Wigt. The fruits of Blakey's work are apparent on this album: it is truly an ALBUM OF THE YEAR.
Art Blakey
The fall 1986 tour of Germany and Europe by the 'Wild' Bill Davidson All Stars stood under the sign of good companionship right from the start. From the moment I picked up the musicians at Bremen airport, the group was in excellent spirits that could not even dampened by a delay of several days in the arrival of Tommy Saunders' luggage. The two Europeans, Isla Eckinger and Danny Moss, were warmly welcomed in the band. The genial atmosphere, and the fact that 'Wild' Bill Davidson's manner of leading the band was that of a Primus inter pares, a father rather than an aloof star, were the main factors that made a wonderful band out of this group. It does not take much to assemble a formation of All Stars for a tour, except, of course, money. This, however, was not just a group, but a unit. One that presented excellent collective interplay in addition to shining solos, though there had been only two hours of rehearsal time for head arrangements. This rehearsal in my living room, incidentally, resembled a coffee klatch more than anything else, But then again, it did demonstrate the manner in which true professionals go about their business.
'Wild' Bill Davidson is a phenomenon. At 80 he is full of vitality, his sparkling wit intact, and his music as exciting as ever. Inevitably, he is a little shorter on breath, but, as one observer aptly stated: "At 80, I'll count myself lucky if I can tie my shoelaces whereas Bill is still blowing such wonderful trumpet." As a relief man "the wild one" had brought along Tommy Saunders of Detroit, another cornetist, who normally heads his own band. Saunders did full justice to his supporting role, holding back whenever it was appropriate to let "his father" shine, yet never hiding his own considerable talent. The two-cornet interplay stirred thoughts of the King Oliver band. Danny Moss with his tenor sax proved to e another valuable addition. Earlier apprehensions that the two cornets, trombone, clarinet, and tenor might trample on each other, were quickly dispelled. The Englishman is a great artist and his playing added in distinct flavor to this band. In its collective work, the front line never sounded mushy or woolly, all its lines were so clear and lucid as to satisfy even the strictest purist. Bill Allred, leader of a bans of his own in Orlando, Florida, was outstanding not just as a soloist but in the ensembles as well. For Chuck Hedges, the man from Milwaukee, on wishes the jazz world would finally recognize that the counts among the best clarinetists around.
The rhythm section was a hornman's dream. Johnny Varro, who has made in Los Angeles his home, is not just a virtuoso accompanist an soloist, but an unbelievably hard swinger ass well. Isla Eckinger provided the backbone to the rhythm team. There was hardly a solo necessary to demonstrate why he was in such high demand as a bassist in Europe. Yes, was, because shortly after his tour the man from Switzerland left us to settle in Los Angeles. Europe's loss is America's gain. What to write about Butch Miles? It takes just one look at the endless list of name musicians he worked with to realize that this is a drummer whose services are in constant demand. During this tour he demonstrated aptly the virtues of an outstanding drummer, i.e. to play in support o his colleagues.
Last but not least, there was Banu Gibson from New Orleans, who came along as the band's vocalist. This bundle of energy and joy has a good name in the U.S. In Europe, however, she had the audience on their feet. |
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