Art Blakey Live! At Slug's N.Y.C. CD

Art Blakey/Art Blakey & the Jazz Messengers: Art Blakey; Julian Priester (tenor saxophone); Lawrence Evans (bass instrument); Bill Hardman, Billy Harper, Ronnie Matthews.
Personnel: Art Blakey (drums); Billy Harper (tenor saxophone); Bill Hardman (trumpet); Julian Priester (trombone); Ronnie Matthews (piano).
Liner Note Author: Larry Hollis.
Recording information: Slug's, New York, NY (08/1968).
Illustrator: Michael Lauzardo.
Although this budget-priced in-concert recording of Art Blakey & the Jazz Messengers features minimal information, the music here speaks for itself. On LIVE, the legendary drummer/bandleader steers his ensemble through a potent set of tunes including his own frenetic "New World" and Slide Hampton's slinky "Slide #2." While longtime Blakey fans will likely opt for performances released on bigger labels, jazz neophytes may enjoy this disc.
This live outing by Art Blakey & the Jazz Messengers was recorded at the New York City venue Slug's in 1968. (Incidentally, former Jazz Messenger Lee Morgan would meet his demise at the same club four years later.) Blakey leads his proficient band through a four-song set that includes two tunes penned by Slide Hampton (the propulsive "New World" and the slinky "Slide No. 2"), displaying his trademark nuanced, neo-swing drumming. While the entire ensemble is in top-notch form, Blakey, trumpeter Bill Hardman, and trombonist Julian Priester particularly stand out with their fierce soloing, making this a welcome addition to the extensive catalogue of the Jazz Messengers.
Released in 2007 by the budget label Collectables, New World is one of only two Art Blakey albums dating from the year 1968. Previously released under various titles on the Everest, Trip, Passport, Just Jazz, Hot, and Empire Musicwerkes labels, this in-your-face club recording was taped live at Slugg's Saloon in New York City in August 1968, with Blakey presiding in the company of bassist Lawrence Evans and pianist Ronnie Mathews. As with each and every edition of the Jazz Messengers, the chemistry of the front line was and is a fascinating study in parallel contrasts. Mid-'50s Messenger alumnus Bill Hardman blew trumpet alongside trombonist Julian Priester (veteran leader of late-'50s hard bop sessions and future founder of the Marine Intrusion group) and tenor saxophonist Billy Harper, a passionate improviser who would soon collaborate wonderfully with ex-Messenger Lee Morgan, himself a brilliant musician destined to be murdered in cold blood right there at Slugg's in February 1972. New World successfully conveys the excitement of Blakey and company in person. Anyone who ever heard this master percussionist holding forth within the intimate confines of a nightclub can testify to the transformative and recuperative properties of his music. The only other recordings known to have been made by this particular combination of players was taped live in November 1968 and subsequently issued in tandem with music performed by an adventurous group operating under the leadership of drummer Sunny Murray. ~ arwulf arwulf
The 1968 version of Art Blakey's Jazz Messengers did not record any studio albums and was only captured on two club sessions. The most notable soloist in the group at the time was tenor saxophonist Billy Harper, whose passionate and often-intense solos stretched Blakey's hard bop music to the breaking point, showing off the influence of the avant-garde while still remaining connected to chordal improvisation. Trumpeter Bill Hardman was more in the Lee Morgan/Freddie Hubbard tradition while trombonist Julian Priester and pianist Ronnie Matthews were forward-thinking hard boppers and the obscure bassist Larry Evans drove the group well. This CD, a straight reissue (with new liner notes) of an Everest LP, showcases Harper on "Angel Eyes," includes two lengthy renditions of Slide Hampton pieces (including "New World," which is based on "Impressions") and finishes with a relatively coDown Beat (p.72) - 3 stars out of 5 -- "[T]here's intense expression that crackles with energy, and the band is intimate with the repertoire."
JazzTimes (p.145) - "Harper turns in some dramatic, emotionally charged tenor work on a sparse arrangement of 'Angel Eyes'...'