Art Blakey And The Jazz Messengers Paris 1959

Art Blakey & Les Jazz-Messengers - Au Club Saint-Germain Vol.3 (1959) {2014 Japan Jazz Collection 1000 Columbia-RCA Series SICP 3968}
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© 1959, 2014 RCA / Sony Music Japan | SICP 3968
Jazz / Hard Bop

Reissue with the latest remastering. Comes with liner notes. Grand Prix Du Disque De L'académie Charles Cros 1959. Recorded at the celebrated Club Saint Germain, the formation presented here marks the third incarnation of Art Blakey’s Jazz Messengers, with trumpeter Lee Morgan (then only 20 years old), tenor saxophonist Benny Golson, pianist Bobby Timmons and bassist Jymie Merrit. For the last two tunes, bop drum pioneer Kenny Clarke (who was living in Paris) substitutes Blakey. Besides the individual gifts of each member, the group forms a compact unit with a cohesive sound. “We play modern jazz”, explained Blakey during a 1958 interview, “and to understand it you mus listen. We study, we rehearse. The Jazz Messengers are very serious about getting the music across to you. If you don’t want to listen, maybe the person sitting next to you does.”

This 10 CD set offers an exciting overview of some of the most important recordings made by American jazz stars in Paris in the Fifties. They are milestones of Modern Jazz, Bebop and Hard Bop recorded by some of the most important players of the time, including Dizzy Gillespie, Art Blakey & The Jazz Messengers, Lionel Hampton, Chet Baker, Sarah Vaughan, Mary Lou Williams, Lester Young and Donald Byrd. Treated like second class citizens at home, many American jazz stars not only got more recognition and respect in the French capital, but found much better playing conditions as well. From concert-halls like "L'Olympia" to the clubs of the "Latin Quarter" they were appreciated and celebrated, and their music met with a glowing enthusiasm.

The 1958 version of the Jazz Messengers were widely recorded during their stay in Paris, but this LP does not duplicate any of the other recordings previously released. This band (with trumpeter Lee Morgan, Benny Golson on tenor, and pianist Bobby Timmons) was particularly strong, and it is quite enjoyable to hear them stretch out on such songs as "I Remember Clifford," "Moanin'," "Blues March," and "Whisper Not." Hard bop at its best, all of it propelled by the powerful drumming of Art Blakey.

Various Artists - From Hard Bop To Cool (1955-1957) - La Grande Histoire Du Jazz Vol. 3 (2010) {Box 25CD - 75 of 100}
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© 1955-57, 2010 Le Chant du Monde | 574 1950.74
Jazz / Classic Jazz / Bop / Hard Bob / Cool

An epic 100 CD chronological documentation of the history of jazz music from 1898 to 1959, housed in four boxed sets. Each box contains 25 slipcase CDs, a booklet (up to 186 pages) and an index. The booklets contain extensive notes (Eng/Fr) with recording dates and line-ups. 31 hours of music in each box, totalling 1677 tracks Each track has been restored and mastered from original sources.

Art Blakey - Paris Jam Session (1959) {Gitanes Jazz Productions 832 692-2 rel 2000}
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© 1959, 2000 EmArcy / Gitanes Jazz Productions / Univeral Music France | 832 692-2
Jazz / Hard Bop / Drums

This 1959 concert in Paris by Art Blakey's Jazz Messengers has been sporadically available on various labels, but this reissue in Verve's Jazz in Paris series is the best sounding and best packaged of the lot. Blakey's group of this period (Lee Morgan, Wayne Shorter, Jymie Merritt, and Walter Davis, Jr.) is in great form during an extended workout of Morgan's intense blues "The Midget," and Dizzy Gillespie's timeless "A Night in Tunisia" is kicked off by Blakey's an electrifying solo.

Astell&Kern, the leading hi res portable music player that boasts studio sound quality, has announced a special package partnership with Blue Note Records to commemorate the record company's 75th anniversary in the world of Jazz and Blues. 75 legendary Blue Note jazz albums that have been remastered in the Hi-Res digital format. Especially, five Blue Note albums make their exclusive hi-res audio debuts with this release: Art Blakey & The Jazz Messengers' Mosaic, Tina Brooks' True Blue, Don Cherry's Complete Communion, Andrew Hill's Point Of Departure, and Bobby Hutcherson's Components.

This 1959 concert in Paris by Art Blakey's Jazz Messengers has been sporadically available on various labels, but this reissue in Verve's Jazz in Paris series is the best sounding and best packaged of the lot. Blakey's group of this period (Lee Morgan, Wayne Shorter, Jymie Merritt, and Walter Davis, Jr.) is in great form during an extended workout of Morgan's intense blues "The Midget," and Dizzy Gillespie's timeless "A Night in Tunisia" is kicked off by Blakey's an electrifying solo. But it is the addition of some special guests for the first two numbers that proves to be extra special. Bud Powell, sitting in for Davis, and French saxophonist Barney Wilen, on alto rather than his normal tenor sax, are both added to the band for inspired versions of Powell's "Dance of the Infidels" and "Bouncing with Bud." Morgan's trumpet playing is outstanding throughout the concert. This is one of the essential live dates in Art Blakey's rather extensive discography.

This 1959 concert in Paris by Art Blakey's Jazz Messengers has been sporadically available on various labels, but this reissue in Verve's Jazz in Paris series is the best sounding and best packaged of the lot. Blakey's group of this period (Lee Morgan, Wayne Shorter, Jymie Merritt, and Walter Davis, Jr.) is in great form during an extended workout of Morgan's intense blues "The Midget," and Dizzy Gillespie's timeless "A Night in Tunisia" is kicked off by Blakey's an electrifying solo. But it is the addition of some special guests for the first two numbers that proves to be extra special. Bud Powell, sitting in for Davis, and French saxophonist Barney Wilen, on alto rather than his normal tenor sax, are both added to the band for inspired versions of Powell's "Dance of the Infidels" and "Bouncing with Bud." Morgan's trumpet playing is outstanding throughout the concert. This is one of the essential live dates in Art Blakey's rather extensive discography.

Resonance Records is proud to announce the first official release of Wes Montgomery – In Paris: The Definitive ORTF Recording which captures the jazz guitar legend in concert during his only tour of Europe on the night of March 27, 1965 at the Théâtre des Champs-Élysées in Paris, France. Considered perhaps the greatest live Wes Montgomery performance ever, In Paris is being released in partnership with the Institut national de l’audiovisuel (INA) with remastered high-resolution audio transferred directly from the original tapes, and will mark the first time the Montgomery Estate will be paid for this recording, which has been available as various bootlegs since the 1970s. This is also Resonance’s second album released in partnership with INA in a series of ORTF recordings, following 2016’s critically acclaimed Larry Young – In Paris: The ORTF Recordings.