Reissue with the latest remastering. Features original cover artwork. Comes with a descripton in Japanese. Leader of The Jazz Messengers at the time of this recording for over 22 years, drummer Art Blakey was still discovering new talent. In addition to altoist Bobby Watson, trumpeter Valeri Ponomarev and David Schnitter on tenor, this particular session introduced the great pianist James Williams to The Messenger fold. Despite the changes in musical fashions, Art Blakey and his hard-bop institution were still turning out new material and solos in the late '70s that sound fresh and alive today.
Reissue with the latest remastering. Features original cover artwork. Comes with a descripton in Japanese. Leader of The Jazz Messengers at the time of this recording for over 22 years, drummer Art Blakey was still discovering new talent. In addition to altoist Bobby Watson, trumpeter Valeri Ponomarev and David Schnitter on tenor, this particular session introduced the great pianist James Williams to The Messenger fold. Despite the changes in musical fashions, Art Blakey and his hard-bop institution were still turning out new material and solos in the late '70s that sound fresh and alive today.
A hard-swinging cooker from Art Blakey and the Jazz Messengers – recorded during the landmark year of 1957 – when Blakey's group was open to recording for a number of different labels, in a number of different settings! The set was originally done for the west coast stalwart Pacific Jazz, but it's got a sound that's much more in the hardbop mode of the New York scene – all the fire and intensity that Blakey first cooked up for Blue Note, cast out with a slight sense of openness here in the less iconic setting. Players include Jackie McLean on alto, Bill Hardman on trumpet, and Sam Dockery on piano – and the album's right up there with Vik/RCA, Savoy, and Chess material they cut at the time.
The very first edition of Art Blakey's Jazz Messengers was unfortunately short-lived, and as excellent as they were collectively, it was the beginning of a trend for the members of this group to come and go. Unbeknown to Blakey at the time, he would become a champion for bringing talent from the high minor leagues to full-blown jazz-star status, starting with this band featuring Detroit trumpeter Donald Byrd, East coast tenor saxophonist Hank Mobley, and pianist Horace Silver, a jazz legend ever after.
Art Blakey And The Jazz Messengers' Live In Moers 1976 is an original master concert recording from Moers Jazzfestival (Germany) retrospectively released for the first time in 2016. Live In Moers 1976 is a part of the WDR's The Cologne Broadcasts series, executively produced by jazz historian Dr. Bernd Hoffmann. Arthur "Art" Blakey (October 11, 1919-October 16, 1990) was an American jazz drummer and bandleader who made a name for himself in the 1940s in the big bands of Fletcher Henderson and Billy Eckstine. He then worked with bebop musicians Thelonious Monk, Charlie Parker, and Dizzy Gillespie.
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.
New Remaster. Features the high-fidelity SHM-CD format (compatible with standard CD player) and the latest 24bit 192kHz remastering. A blinding session by Blakey! Truly one of his all-time great ones, and a record we've been putting on the turntable for 20 years, still always with new delight! The session was recorded in 1961 – when Blakey was working with Bobby Timmons, Lee Morgan, and Wayne Shorter (who's especially fantastic here!) For some incredibly odd reason, the session was not issued at the time – and only came out briefly at the end of the 60s. It's amazing, though – and features 6 stunning tracks that will forever restore your faith in jazz, even at your darkest moments. Includes "Ping Pong", "Roots & Herbs", "Master Mind", "Look At the Birdie", and "United".
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.
Art Blakey and the Jazz Messengers met their artistic peak with the powerful A NIGHT IN TUNISIA. This incarnation of the group included Lee Morgan, Wayne Shorter, Bobby Timmons and Jymie Merritt with their leader Blakey. As the Messengers entered their most fruitful period for Blue Note, Blakey drove his men relentlessly with powerful grooves, heavy swinging and shouts of encouragement. This session documents the full power of his assertive leadership and the masterful playing of his sidemen, each rising to legendary status under his tutelage.
This edition of Art Blakey's Jazz Messengers is an unusual one. The personnel includes Blakey veterans Lee Morgan (returning to the band after some success as a leader), Curtis Fuller, and Victor Sproles, along with John Hicks (who appeared on three other Blakey records) and the tenor saxophonist John Gilmore (of Sun Ra fame) in his only appearance with the band. As typical for Blakey-led groups, the emphasis is on original material by its members; the one Broadway show tune included, "Faith," is from a long since forgotten I Had a Ball.