| | Art Blakey Mosaic CD Art Blakey Discography of CDs
Art Blakey & The Jazz Messengers: Art Blakey (drums); Wayne Shorter (tenor saxophone); Freddie Hubbard (trumpet); Curtis Fuller (trombone); Cedar Walton (piano); Jymie Merritt (bass).
Recorded on October 2, 1961. Includes liner notes by Leonard Feather.
Art Blakey & the Jazz Messengers: Wayne Shorter (tenor saxophone); Freddie Hubbard (trumpet); Curtis Fuller (trombone); Cedar Walton (piano); Jymie Merritt (upright bass); Art Blakey (drums).
Freddie Hubbard (trumpet) and Wayne Shorter (saxophone) are joined by Curtis Fuller's trombone to expand Art Blakey's Jazz Messengers to a sextet for MOSAIC. The result is a huge sound that is powerfully propelled by Blakey's forceful drumming. The deep, soulful grooves here support complex ensemble arrangements with concise solo spots for the horns and pianist Cedar Walton. In all, this is classic '60s era Messengers in their prime.
Although Shorter was the group's musical director and chief contributor of new material during his tenure, Hubbard, Walton and Fuller each offer excellent compositions on this outing. Walton's boisterous "Mosaic" gets the opening slot and is a quintessential Messengers number. Blakey's trademark shuffle groove highlights Hubbard's gospel-flavored "Down Under" before the sextet gears up for Shorter's masterful "Children Of The Night," one of his most dynamic compositions that gets a spirited reading here. Fuller's minor "Arabia" is a hard swinging track that captures the Middle Eastern flavor of its namesake. Finally, Hubbard's intricate "Crisis" is a stunning arrangement that offers alternating passages of reflective horn harmonies and banging accents for a hard bopping grand finale.
Full performer name: Art Blakey & The Jazz Messengers.
Liner Note Author: Bob Blumenthal. Mosaic Review
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Purchase Mosaic CD To buy, Click on price to add to cart | Art Blakey Buhaina's Delight CD (1962) Bonus Tracks; Remastered
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When Art Blakey's Jazz Messengers expanded to a sextet with the addition of Curtis Fuller on trombone, the group took on the character of a small big band propelled by Blakey's forceful drumming. BUHAINA'S DELIGHT, another session in the long line of great Blue Note dates from this period, displays that classic line-up in pristine form. With Freddie Hubbard replacing Lee Morgan, Cedar Walton replacing Bobby Timmons and musical director Wayne Shorter, the Messengers were full of fresh sounds and vibrant with energy.
Uncharacteristically for a Messengers session, the relaxed shuffle "Backstage Sally" opens the disc in a laid back groove. Shorter's brilliant playing is featured prominently on this session on the delicate ballad "Contemplation" and many stunning solo spots. The title track (dubbed for Blakey's Islamic name, Buhaina) and a dynamic arrangement ...
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FREE FOR ALL captures Art Blakey and his Messengers at the height of their powers in the mid '60s. Since expanding to a sextet with the addition of Curtis Fuller on trombone, the group took on a larger-than-life sound with more complex arrangements encompassing the larger horn line, musical director Wayne Shorter's dramatic compositions and, of course, the powerful drumming ...
| | Wayne Shorter Night Dreamer CD (1964) Bonus Track; Remastered
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Shorter's Blue Note debut, NIGHT DREAMER, is a stunning statement from one of the premiere saxophonists and composers in the history of jazz. In 1964, after a long period as musical director for Art Blakey's Jazz Messengers and newly joining Miles Davis' quintet, Shorter was primed to enter the field as a major solo artist. His guests include Lee Morgan (trumpet), renewing the outstanding frontline the two formed in Blakey's band, and McCoy Tyner (piano) and Elvin Jones (drums) from Coltrane's legendary quartet. The musical vision here, however, is Shorter's alone.
Shorter's distinctive compositional style begins to take shape with the opening title track, a bouncing waltz with a dusky, modal flavor and a subtle rhythmic drive. Likewise, his arrangement of an "Oriental Folk Song" has a similar burnished tone with beautifully executed harmonies between ...
| | Dexter Gordon Gettin' Around CD (1965) Bonus Tracks; Remastered
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After two Blue Note LPs recorded in Europe (his adopted home since 1962), Gordon finally made it back to the States to record this mid-Sixties release. Curiously, the two previously unreleased tunes seem slightly out of place with the rest of the record, and feel more akin to the kind of work Gordon's labelmates were releasing at the time. "Flick of a Trick" is a sultry, walking eight-bar blues, while "Very Saxily Yours," distinguishes itself from the standards here by virtue of its riffing melody and use of hits during the head.
Having said that, part of the appeal of Gordon's approach is the way this album is built from standards. There's a sense of getting down to basics, from the passion and depths that can come out in a ballad to the sheer joy of swinging hard on the uptempo tunes. "Le Coiffeur" now sounds a little dated (like the theme from a lost Sixties sitcom), but there's something charming about that, as there is about the loping exuberance of "Shiny Stockings" and the presence of "Manha de Carnaval," a recent movie theme at the time.
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| | Lee Morgan Gigolo CD (1965) Bonus Track; Remastered
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More quintessential hard bop from one of the genre's leading figures at the height of his considerable powers as a composer and trumpeter. Morgan had just returned to solo work a year earlier after his second stint with Art Blakey's Jazz Messengers; in 1965 the trumpeter also released CORNBREAD and THE RUMPROLLER and did numerous sessions as a sideman. Morgan composed the title track, and three others including the Coots/Gillespie ballad "You Go To My Head" round things out.
"Yes I Can, No You Can't" opens with the rhythm section laying down a churning vamp; the horns enter with a typical Morgan statement, funky, swaggering and confident. "Speedball" is a bebop-style blues, but more relaxed, with a secondary theme appearing in the third chorus of the head. "Trapped," a modified minor blues, is more urgent, while "The Gigolo" is a brooding and majestic jazz waltz more evocative of a bullfight than of the ballroom. Throughout, the ensemble work is tight and the solos crackle with passion and joy.
Lee Morgan was ...
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Seemingly incapable of making serious headway beyond the their already existing fan base, despite years and years of competently waving the melodic metalcore flag (a flag they helped knit in the first place), Germany's Caliban now appear hell-bent on just beating it to death -- rushing out album after album before the plastic even cools on the previous one. Just over a year has transpired since the group unleashed 2006's The Undying Darkness and, much like their chosen musical style as a whole, 2007's follow-up, The Awakening, feels like it's circling the wagons and storing provisions as though a final stand is at hand. As a result, the album is unquestionably Caliban's heaviest effort in some time, with bludgeoning, death metal-like tracks such as "Let Go," "Stop Running," "Life Is Too Short," and "Rise and Fight" rarely or never even bothering to indulge in metalcore's defining softer, melodic aspirations. And perhaps that's for the ...
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