Art Blakey Discography of CDs

Art Blakey music CDs EU-only 10 CD set containing 19 albums from the Jazz great. Includes the albums A Night At Birdland Vol 1, At The Caf‚ Bohemia Vol 2, At The Caf‚ Bohemia Vol 1, Ritual The Modern Jazz Messengers, Orgy In Rhythm Vol 1, Like Someone In Love, Orgy In Rhythm Vol 2, The Big Beat, Holiday For Skins Vol 1, Roots & Herbs, Holiday For Skins Vol 2, Moanin, A Night In Tunisia, Mosaic, Art Blakey At The Jazz Corner Of The World Vol 1, Art Blakey At The Corner Of The World Vol 2, Art Blakey!!!!Jazz Messengers!!!!!, and The Witch Doctor. Real Gone Jazz.

Art Blakey CD discography The Rudy Van Gelder Edition of MOANIN' includes an essay by Bob Blumenthal. Art Blakey & The Jazz Messengers: Art Blakey (drums); Benny Golson (tenor saxophone); Lee Morgan (trumpet); Bobby Timmons (piano); Jymie Merritt (bass). Digitally remastered using 24-bit technology by Rudy Van Gelder (Van Gelder Studio, Englewood Cliffs, New Jersey). This is part of the Blue Note Rudy Van Gelder Editions series. Recorded at the Van Gelder Studio, Hackensack, New Jersey on October 30, 1958. Originally released on Blue Note (4003). Includes liner notes by Leonard Feather and Bob Blumenthal. Full performer name: Art Blakey & The Jazz Messengers. Producer: Alfred Lion. Reissue producer: Michael Cuscuna. Personnel: Art Blakey (drums); Benny Golson (tenor saxophone); Lee Morgan (trumpet); Bobby Timmons (piano). Liner Note Authors: Leonard Feather; Bob Blumenthal. Recording information: New York, NY (10/30/1958); Van Gelder studio, Hackensack, NJ (10/30/1958). Photographers: Buck Hoeffler; Francis Wolff; Paul J. Hoeffler.

Art Blakey discography Art Blakey & The Jazz Messengers: Art Blakey (drums); Hank Mobley (tenor saxophone); Kenny Dorham (trumpet); Horace Silver (piano); Doug Watkins (bass). Recorded live at the Cafe Bohemia, New York, New York on November 23, 1955. Originally released on Bluenote (1507). Includes liner notes by Bob Blumenthal. The Art Blakey/Horace Silver alliance that formed the Jazz Messengers in the '50s kicked off one the greatest ensembles in the history of jazz. This first volume of a live set from the famous Cafe Bohemia in 1955 features one of the earliest line-ups with Kenny Dorham (trumpet), Hank Mobley (saxophone) and Doug Watkins (bass) along with Silver and Blakey. This is the pure, original Messengers sound that reflected the best of what became known as '50s post-bop, also made popular by Miles Davis' first great quintet of the same period. The grooves are swinging, the soloists are cool and the spirit of the blues is in the air. After Blakey's proud introduction of his comrades the band launches into an easy-going reading of Benny Goodman's "Soft Winds" to kick off the set. Kenny Dorham's contributions to the evening's performance include his up-tempo "Minor's Holiday," the swinging "Prince Albert" and, of course, "The Theme," a Messenger's concert favorite. Also included are the standards "Alone Together," featuring Mobley's soulful lead, Tadd Dameron's classic "Lady Bird" and the immortal ballad "What's New" featuring Watkins. Finally, Mobley's blistering "Decifering The Message" puts the finishing touch on this classic set. Digitally remastered by Rudy Van Gelder. This is part of Blue Note's Rudy Van Gelder Editions series. Full performer name: Art Blakey & The Jazz Messengers. Producer: Alfred Lion. Reissue producer: Michael Cuscuna. Personnel: Art Blakey (drums); Hank Mobley (tenor saxophone); Kenny Dorham (trumpet); Horace Silver (piano). Liner Note Authors: Bob Bluementhal; Leonard Feather. Recording information: Cafe Bohemia, New York, NY (11/23/1955). Photographer: Francis Wolff.

Art Blakey songs 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. 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.

Art Blakey CD discography Recorded live at Birdland, New York, New York on February 21, 1954. Originally released on Bluenote (1521). Includes liner notes by Bob Blumenthal. When Pee-Wee Marquette, emcee of Birdland, introduces Art Blakey and his quintet, the audience in attendance erupts in enthusiastic applause. Rightly so; this is a powerful group in full stride. A NIGHT AT BIRDLAND VOL. ONE captures Blakey's pre-Messengers quintet on an evening in February 1954 with legendary trumpeter Clifford Brown and alto saxophonist Lou Donaldson holding down the front line. Longtime partners Blakey and pianist Horace Silver, as well as talented bassist Curley Russell, propel the relentless rhythm section. The results of that eventful night are now preserved so that we may become patrons of the once legendary nightspot. The fiery mambo "Split Kick" opens the set showcasing Blakey's assertive drumming and the fine blowing of Brown and Donaldson. Silver's bebop-style "Quicksilver" also provides a stunning vehicle for the group's lightning-quick dexterity. Turning the tide, the slow and sultry "Blues" is a totally improvised jam that provides some down-and-dirty solos by the horns and piano. Of course, the highlight of the set is Dizzy Gillespie's "A Night In Tunisia," a piece that would become a Messengers favorite. Finally, Silver's up-tempo "Mayreh" closes the set on a high note with raucous solos all around. Digitally remastered by Rudy Van Gelder. This is part of Blue Note's Rudy Van Gelder Editions series. Art Blakey Quintet: Art Blakey (drums); Lou Donaldson (alto saxophone); Clifford Brown (trumpet); Horace Silver (piano); Curly Russell (bass). Producer: Alfred Lion. Reissue producer: Michael Cuscuna. Personnel: Art Blakey (drums); Lou Donaldson (alto saxophone); Clifford Brown (trumpet); Horace Silver (piano). Liner Note Authors: Bob Bluementhal; Leonard Feather. Recording information: Birdland, New York, NY (02/21/1954). Photographer: Francis Wolff.

Art Blakey albums Art Blakey & The Jazz Messengers: Art Blakey (drums); Wayne Shorter (tenor saxophone); Lee Morgan (trumpet); Bobby Timmons (piano); Jymie Merritt (bass). Digitally remastered using 20-bit technology by Ron McMaster. The title of the Jazz Messengers' THE FREEDOM RIDER was inspired by civil rights protestors of the '60s. The passion with which Blakey and his men play on this session is proof enough of the strong convictions at the heart of the struggles of the time. Indeed, the fire and emotion contained herein can be felt as well as heard. This session portrays the Messengers of the early '60s (before the departure of Lee Morgan and Bobby Timmons) in fine form. The bulk of the compositions here are by Wayne Shorter and Lee Morgan. Shorter's swaggering "Tell It Like It Is" opens the set, fueled by Blakey's signature shuffle beat. Later, his bouncing "El Toro" is a passionate mambo/swing number that showcases the group's stunning ensemble work. Morgan's bluesy "Petty Larceny" takes a page from Timmons soulful style and his blistering "Uptight" is a classic Messengers barnburner. The centerpiece of the disc, however, is the powerful unaccompanied Blakey solo that constitutes the title cut. The cut showcases the man at his skilled, dramatic best as he crashes, pounds and whirls through over seven minutes of raw, primal expression. This performance alone is worth the price of the disc. Recorded at the Van Gelder Studio, Englewood Cliffs, New Jersey on February 12 & 18 and May 27, 1961. Full performer name: Art Blakey & The Jazz Messengers. Producer: Alfred Lion. Reissue producer: Michael Cuscuna. Personnel: Art Blakey (drums); Wayne Shorter (saxophone, tenor saxophone); Lee Morgan (trumpet); Bobby Timmons (piano). Liner Note Author: Nat Hentoff. Recording information: Van Gelder Studios, Englewood Cliffs, NJ (02/12/1961-05/27/1961). Photographer: Francis Wolff. Unknown Contributor Roles: Art Blakey; Wayne Shorter; Bobby Timmons.

Art Blakey & The Jazz Messengers: Art Blakey (drums); Wayne Shorter (tenor saxophone); Freddie Hubbard (trumpet); Curtis Fuller (trombone); Cedar Walton (piano); Reggie Workman (bass). Recorded live at Birdland, New York, New York on June 16, 1963. Originally released on Riverside (9464). Includes liner notes by Ed Sherman and Orrin Keepnews. Digitally remastered by Kirk Felton (1989, Fantasy Studios, Berkeley, California). This live set from the original Birdland finds Art Blakey and his Jazz Messengers at the peak of their powers with one of their strongest lineups. The group primarily recorded sessions for Alfred Lion's Blue Note label, but this Riverside date is as strong as any of their previous outings. Having acquired the services of trombonist Curtis Fuller in 1961, the Messengers' front line was its most robust ever, with Wayne Shorter and Freddie Hubbard consistently turning in some of their best performances. Rounding out the rhythm section with Blakey are the equally powerful Reggie Workman and Cedar Walton. The Messengers' set list finds the majority of tunes written by musical director Wayne Shorter, as well as a few choice numbers from Curtis Fuller and Cedar Walton's title cut. The group is spurred on by a very receptive crowd, tempos and solos are spirited for the most part, and Blakey seems exceptionally energetic despite not performing a single extended solo himself. His between-song banter is equally entertaining. Overall, the group is precise, expressive, and swinging hard, delivering its message from the grandest platform of the time. Full performer name: Art Blakey & The Jazz Messengers. Personnel: Art Blakey (drums); Wayne Shorter (tenor saxophone); Freddie Hubbard (trumpet); Curtis Fuller (trombone); Cedar Walton (piano). Audio Remasterer: Joe Tarantino. Liner Note Author: Neil Tesser. Recording information: Birdland, New York, NY (06/16/1963).

EU-only 10 CD set containing 19 albums from the Jazz great. Includes the albums A Night At Birdland Vol 1, At The Caf‚ Bohemia Vol 2, At The Caf‚ Bohemia Vol 1, Ritual The Modern Jazz Messengers, Orgy In Rhythm Vol 1, Like Someone In Love, Orgy In Rhythm Vol 2, The Big Beat, Holiday For Skins Vol 1, Roots & Herbs, Holiday For Skins Vol 2, Moanin, A Night In Tunisia, Mosaic, Art Blakey At The Jazz Corner Of The World Vol 1, Art Blakey At The Corner Of The World Vol 2, Art Blakey!!!!Jazz Messengers!!!!!, and The Witch Doctor. Real Gone Jazz.

The Rudy Van Gelder Edition of MOANIN' includes an essay by Bob Blumenthal. Art Blakey & The Jazz Messengers: Art Blakey (drums); Benny Golson (tenor saxophone); Lee Morgan (trumpet); Bobby Timmons (piano); Jymie Merritt (bass). Digitally remastered using 24-bit technology by Rudy Van Gelder (Van Gelder Studio, Englewood Cliffs, New Jersey). This is part of the Blue Note Rudy Van Gelder Editions series. Recorded at the Van Gelder Studio, Hackensack, New Jersey on October 30, 1958. Originally released on Blue Note (4003). Includes liner notes by Leonard Feather and Bob Blumenthal. Full performer name: Art Blakey & The Jazz Messengers. Producer: Alfred Lion. Reissue producer: Michael Cuscuna. Personnel: Art Blakey (drums); Benny Golson (tenor saxophone); Lee Morgan (trumpet); Bobby Timmons (piano). Liner Note Authors: Leonard Feather; Bob Blumenthal. Recording information: New York, NY (10/30/1958); Van Gelder studio, Hackensack, NJ (10/30/1958). Photographers: Buck Hoeffler; Francis Wolff; Paul J. Hoeffler.

Recorded live at Birdland, New York, New York on February 21, 1954. Originally released on Bluenote (1522). Includes liner notes by Bob Blumenthal. Digitally remastered using 24-bit technology by Rudy Van Gelder. Art Blakey's pre-Messengers quintet are in fine form on this second volume of A NIGHT AT BIRDLAND, a date that Blakey later claimed to be the "first time I enjoyed a record session." Clifford Brown, Lou Donaldson, Curley Russell, original Messengers leader Horace Silver and the powerful Art Blakey present a night of hard-swinging tunes and astounding soloing that defines the state of modern jazz in 1954. Blakey launches into a raucous solo to introduce the sizzling "Wee Dot" as the set's opener. Switching gears, Donaldson is then featured on the classic "If I Had You," a bluesy ballad that gets a lift by the saxophonist's shimmering tone. The heat is back on, though, as a lightning-quick alternate take of Silver's "Quicksilver" will leave you breathless in its wake. A delightful arrangement of Jerome Kern's "The Way You Look Tonight" gives us a hint of the future Messengers sound. The end of the set appropriately features two Bird classics--the exemplary "Now's The Time" and the furious "Confirmation"-- both receiving excellent performances that cap off a memorable night of jazz. This is part of Blue Note's Rudy Van Gelder Editions series. 3 Bonus Tracks Art Blakey Quintet: Art Blakey (drums); Lou Donaldson (alto saxophone); Clifford Brown (trumpet); Horace Silver (piano); Curly Russell (bass). Producer: Alfred Lion. Reissue producer: Michael Cuscuna.

Art Blakey & The Jazz Messengers: Art Blakey (drums); Wayne Shorter (tenor saxophone); Freddie Hubbard (trumpet); Curtis Fuller (trombone); Cedar Walton (piano); Reggie Workman (bass). Digitally remastered using 20-bit K2 Super Coding System technology. Yet another fabulous session by Art Blakey and his Jazz Messengers from the early '60s. CARAVAN was the Messengers' debut for Riverside during a time when they primarily recorded sessions for Alfred Lion's Blue Note label. This is the sextet version of the group, with Freddie Hubbard, Curtis Fuller, and Wayne Shorter forming one of the best front lines of all time. As usual, the band is the epitome of classic hard bop, with tight ensemble work, highly advanced arrangements, and powerful solos by all. The group's impressive arrangement of Duke Ellington's "Caravan" opens the set with signature African drum grooves and solos from the leader. Music director Shorter contributes two original selections for the set; his swinging waltz "Sweet 'N' Sour" is offered in two takes, and the moving "This is For Albert" is, interestingly enough, a dedication to pianist Bud Powell. One of the group's strengths, of course, was their treatment of standards, and both "In the Wee Small Hours of the Morning" and "Skylark" receive beautiful readings here. Freddie Hubbard's classic "Thermo" gets two excellent takes to close the set in true Messengers fashion. All tracks have been digitally remastered. Recorded at Plaza Sound Studios, New York, New York on October 23 & 24, 1962. Originally released on Riverside (9438). Includes liner notes by Ira Gitler. Full performer name: Art Blakey & The Jazz Messengers. Personnel: Art Blakey (drums); Art Blakey (drum); Reggie Workman (bass instrument); Wayne Shorter (tenor saxophone); Freddie Hubbard (trumpet); Curtis Fuller (trombone); Cedar Walton (piano). Audio Remasterer: Joe Tarantino. Liner Note Authors: Orrin Keepnews; Ira Gitler. Recording information: Plaza Sound Studios, New York, NY (10/23/1962-10/24/1962). Photographers: Steve Schapiro; Burt Goldblatt; Bob Parent.

Digitally remastered by Kevin Reeves (Universal Mastering Studios-East). In conjunction with the release of Ken Burns' ten-part, 19-hour epic PBS documentary Jazz, Columbia issued 22 single-disc compilations devoted to jazz's most significant artists, as well as a five-disc historical summary. Since the individual compilations attempt to present balanced overviews of each artist's career, tracks from multiple labels have thankfully been licensed where appropriate. Hard bop stalwart Art Blakey was arguably the finest drummer in the style, not only gracing countless Blue Note recording sessions but also leading his own group, the Jazz Messengers, which gained a reputation as a training ground for high-quality young musicians. Surprisingly, Ken Burns Jazz neglects the late-'70s/early-'80s edition of the Messengers, which featured a just-out-of-high-school Wynton Marsalis; most of what's here comes from the '50s and '60s version of the band. Given the comprehensiveness of most of the Burns samplers, it's a little disappointing, but what is here is excellent nonetheless, and at least makes for a good introduction to Blakey's Blue Note prime. ~ Steve Huey Recorded between 1954 and 1981. Includes liner notes by Doug Ramsey. This is part of the Verve Records Ken Burns JAZZ series. Personnel: Art Blakey (spoken vocals, drums); Lou Donaldson (alto saxophone); Hank Mobley, Johnny Griffin, Wayne Shorter, Benny Golson, Bill Pierce (tenor saxophone); Clifford Brown , Freddie Hubbard, Kenny Dorham, Lee Morgan , Wynton Marsalis, Bill Hardman (trumpet); Curtis Fuller (trombone); Horace Silver, Thelonious Monk, James Williams , Bobby Timmons, Cedar Walton (piano). Liner Note Authors: Peter Keepnews; Doug Ramsey. Recording information: 02/21/1954-04/12/1981. Photographers: Paul J. Hoeffler; Lee Tanner; Herman Leonard. Personnel: Art Blakey (drums); Lou Donaldson, Bobby Watson (alto saxophone); Hank Mobley, Johnny Griffin, Benny Golson, Wayne Shorter, Bill Pierce (tenor saxophone); Clifford Brown, Kenny Dorham, Bill Hardman, Lee Morgan, Freddie Hubbard, Wynton Marsalis (trumpet); Curtis Fuller (trombone); Horace Silver, Thelonious Monk, Bobby Timmons, Cedar Walton, James Williams (piano); Curley Russell, Doug Watkins, Spanky DeBrest, Jymie Merritt, Reggie Workman, Charles Fambrough (bass).

Art Blakey & The Jazz Messengers: Art Blakey (drums); Wayne Shorter (tenor saxophone); Lee Morgan (trumpet); Bobby Timmons (piano); Jymie Merritt (bass). Digitally remastered using 20-bit technology by Ron McMaster. The title of the Jazz Messengers' THE FREEDOM RIDER was inspired by civil rights protestors of the '60s. The passion with which Blakey and his men play on this session is proof enough of the strong convictions at the heart of the struggles of the time. Indeed, the fire and emotion contained herein can be felt as well as heard. This session portrays the Messengers of the early '60s (before the departure of Lee Morgan and Bobby Timmons) in fine form. The bulk of the compositions here are by Wayne Shorter and Lee Morgan. Shorter's swaggering "Tell It Like It Is" opens the set, fueled by Blakey's signature shuffle beat. Later, his bouncing "El Toro" is a passionate mambo/swing number that showcases the group's stunning ensemble work. Morgan's bluesy "Petty Larceny" takes a page from Timmons soulful style and his blistering "Uptight" is a classic Messengers barnburner. The centerpiece of the disc, however, is the powerful unaccompanied Blakey solo that constitutes the title cut. The cut showcases the man at his skilled, dramatic best as he crashes, pounds and whirls through over seven minutes of raw, primal expression. This performance alone is worth the price of the disc. Recorded at the Van Gelder Studio, Englewood Cliffs, New Jersey on February 12 & 18 and May 27, 1961. Full performer name: Art Blakey & The Jazz Messengers. Producer: Alfred Lion. Reissue producer: Michael Cuscuna. Personnel: Art Blakey (drums); Wayne Shorter (saxophone, tenor saxophone); Lee Morgan (trumpet); Bobby Timmons (piano). Liner Note Author: Nat Hentoff. Recording information: Van Gelder Studios, Englewood Cliffs, NJ (02/12/1961-05/27/1961). Photographer: Francis Wolff. Unknown Contributor Roles: Art Blakey; Wayne Shorter; Bobby Timmons.

2010 two CD archive release containing a complete previously unissued 1958 concert performed in Zurich by one of the best formations of Art Blakey's Jazz Messengers, with excellent sound quality. Featuring Lee Morgan, Benny Golson, Bobby Timmons and Jymie Merritt. Contains new versions of the classics 'Moanin'' and 'I Remember Clifford', along with the only existing live version of 'Come Rain or Come Shine' by this group, and an amazing trio version of 'My Funny Valentine' with Bobby Timmons as the featured soloist. Includes 12-page booklet

Art Blakey & The Jazz Messengers: Art Blakey (drums); Wayne Shorter (tenor saxophone); Freddie Hubbard (trumpet); Curtis Fuller (trombone); Cedar Walton (piano); Reggie Workman (bass). Recorded live at Birdland, New York, New York on June 16, 1963. Originally released on Riverside (9464). Includes liner notes by Ed Sherman and Orrin Keepnews. Digitally remastered by Kirk Felton (1989, Fantasy Studios, Berkeley, California). This live set from the original Birdland finds Art Blakey and his Jazz Messengers at the peak of their powers with one of their strongest lineups. The group primarily recorded sessions for Alfred Lion's Blue Note label, but this Riverside date is as strong as any of their previous outings. Having acquired the services of trombonist Curtis Fuller in 1961, the Messengers' front line was its most robust ever, with Wayne Shorter and Freddie Hubbard consistently turning in some of their best performances. Rounding out the rhythm section with Blakey are the equally powerful Reggie Workman and Cedar Walton. The Messengers' set list finds the majority of tunes written by musical director Wayne Shorter, as well as a few choice numbers from Curtis Fuller and Cedar Walton's title cut. The group is spurred on by a very receptive crowd, tempos and solos are spirited for the most part, and Blakey seems exceptionally energetic despite not performing a single extended solo himself. His between-song banter is equally entertaining. Overall, the group is precise, expressive, and swinging hard, delivering its message from the grandest platform of the time. Full performer name: Art Blakey & The Jazz Messengers. Personnel: Art Blakey (drums); Wayne Shorter (tenor saxophone); Freddie Hubbard (trumpet); Curtis Fuller (trombone); Cedar Walton (piano). Audio Remasterer: Joe Tarantino. Liner Note Author: Neil Tesser. Recording information: Birdland, New York, NY (06/16/1963).

Recorded live at Birdland, New York, New York on September 14, 1960. Originally released on Blue Note (84054/84055). Includes liner notes by Leonard Feather and Bob Blumenthal. This set collects both installments of Art Blakey & the Jazz Messengers' Meet You at the Jazz Corner of the World (1961) in a comprehensive two-CD compendium, sporting thoroughly remastered sound by legendary jazz producer/engineer Rudy Van Gelder. Audio-conscious consumers should be aware of the distortion that somewhat marred the original vinyl, as well as all subsequent pressings. Unfortunately, it seems to have been inherent in the master tapes. While it occasionally reveals itself during the more dynamic contrasts and passages, the combo's swinging bop and sheer musicality outweigh any and all anomalies. Birdland (aka "the jazz corner of the world") produced some of Art Blakey's (drums) most revered live recordings. In addition to these volumes, enthusiasts are equally encouraged to locate the genre-defining A Night at Birdland (1954). For the Meet You at the Jazz Corner of the World sides, listeners fast-forward six years to Blakey's latest quintet, which includes the respective talents of Lee Morgan (trumpet), Wayne Shorter (tenor sax), Bobby Timmons (piano), and Jymie Merritt (bass) -- all of whom are solidly grounded to Blakey's firm yet profound backbeat. The lyrical performance style that began to emerge from Shorter in the early to mid-'60s can be heard developing during his tenure as a Jazz Messenger. He contrasts Morgan's limber and lilting solos and improvisations, which are especially notable on "'Round About Midnight" and the spirited "The Breeze and I." The latter title also allows Timmons the opportunity to stretch out and motivate the melody. "High Modes" showcases Merritt's pulsating and hypnotic basslines as he weaves a smoky groove beneath Morgan and Shorter's scintillating leads. In addition to "High Modes," this set features two more Hank Mobley compositions. The syncopated and infectiously rhythmic "Night Watch" is highlighted by Shorter, as he begins to fully grasp his improvisational skills that seem to materialize right before the keen-eared listener. He is quickly developing into the undaunted instrumentalist who would revolutionize modern jazz with Miles Davis in the mid-'60s. The set concludes with a rousing rendition of Shorter's "The Summit," which became a comparable standard for this version of the Jazz Messengers. Once again the lines fly fast and furious between Shorter and Morgan, with Timmons securely anchoring the soloists to the equally involved rhythm section. The 2002 reissue includes a newly inked essay from jazz historian Bob Blumenthal as well as reproductions of Leonard Feather's original sleeve notes. The sheer volume of releases by Art Blakey & the Jazz Messengers arguably makes this set somewhat obscured by the plethora of similarly classic live platters. However, the 2002 complete Meet You at the Jazz Corner of the World would be a welcome addition to the library of most any jazz lover. ~ Lindsay Planer All tracks have been digitally remastered. This is part of Blue Note's Rudy Van Gelder Edition series. Bobby Timmons (piano); Jymie Merritt (bass). Producer: Alfred Lion. Reissue producer: Michael Cuscuna. Personnel: Art Blakey (drums); Wayne Shorter (tenor saxophone); Lee Morgan (trumpet); Bobby Timmons (piano). Audio Remasterer: Rudy Van Gelder. Liner Note Authors: Leonard Feather; Bob Blumenthal. Recording information: Birdland, New York, NY (09/14/1960). Photographer: Francis Wolff. Personnel includes: Art Blakey (spoken vocals, drums); Pee Wee Marquette (spoken vocals); Wayne Shorter (tenor saxophone); Lee Morgan (trumpet);

Recorded live at Birdland, New York, New York on February 21, 1954. Originally released on Bluenote (1521). Includes liner notes by Bob Blumenthal. When Pee-Wee Marquette, emcee of Birdland, introduces Art Blakey and his quintet, the audience in attendance erupts in enthusiastic applause. Rightly so; this is a powerful group in full stride. A NIGHT AT BIRDLAND VOL. ONE captures Blakey's pre-Messengers quintet on an evening in February 1954 with legendary trumpeter Clifford Brown and alto saxophonist Lou Donaldson holding down the front line. Longtime partners Blakey and pianist Horace Silver, as well as talented bassist Curley Russell, propel the relentless rhythm section. The results of that eventful night are now preserved so that we may become patrons of the once legendary nightspot. The fiery mambo "Split Kick" opens the set showcasing Blakey's assertive drumming and the fine blowing of Brown and Donaldson. Silver's bebop-style "Quicksilver" also provides a stunning vehicle for the group's lightning-quick dexterity. Turning the tide, the slow and sultry "Blues" is a totally improvised jam that provides some down-and-dirty solos by the horns and piano. Of course, the highlight of the set is Dizzy Gillespie's "A Night In Tunisia," a piece that would become a Messengers favorite. Finally, Silver's up-tempo "Mayreh" closes the set on a high note with raucous solos all around. Digitally remastered by Rudy Van Gelder. This is part of Blue Note's Rudy Van Gelder Editions series. 3 Bonus Tracks Art Blakey Quintet: Art Blakey (drums); Lou Donaldson (alto saxophone); Clifford Brown (trumpet); Horace Silver (piano); Curly Russell (bass). Producer: Alfred Lion. Reissue producer: Michael Cuscuna. Personnel: Art Blakey (drums); Lou Donaldson (alto saxophone); Clifford Brown (trumpet); Horace Silver (piano). Liner Note Authors: Bob Bluementhal; Leonard Feather. Recording information: Birdland, New York, NY (02/21/1954). Photographer: Francis Wolff.

Art Blakey/Art Blakey & the Jazz Messengers: Art Blakey; Julian Priester (tenor saxophone); Lawrence Evans (bass instrument); Ronnie Mathews, Bill Hardman, Billy Harper. 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. Personnel: Art Blakey (drums); Billy Harper (tenor saxophone); Bill Hardman (trumpet); Julian Priester (trombone); Ronnie Mathews (piano). Liner Note Author: Larry Hollis. Recording information: Slug's, New York, NY (08/1968). Illustrator: Michael Lauzardo.

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 live at the Renaissance Club, Hollywood, California in March 1962. Includes liner notes by Michael Cuscuna. Super two-record set with arguably his best three-horn front line (Wayne Shorter, Freddie Hubbard, Curtis Fuller) plus consistently fine piano from Cedar Walton. ~ Ron Wynn & The Jazz Messengers. Producer: Alan Douglas. Reissue producer: Michael Cuscuna. Personnel: Art Blakey (drums); Wayne Shorter (tenor saxophone); Freddie Hubbard (trumpet); Curtis Fuller (trombone); Cedar Walton (piano). Liner Note Author: Michael Cuscuna. Recording information: Ranaissance Club, Hollywood, CA (03/09/1962/03/18/1962); Renaissance Club, Hollywood, CA (03/09/1962/03/18/1962).

Art Blakey & The Jazz Messengers: Art Blakey (drums); Wayne Shorter (tenor saxophone); Lee Morgan (trumpet); Bobby Timmons (piano); Jymie Merritt (bass). Art Blakey/Art Blakey & the Jazz Messengers: Art Blakey; Lee Morgan (trumpet); Jymie Merritt (double bass); Wayne Shorter, Bobby Timmons. 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. Long known for their creative arrangements within the context of small group jazz, the Messengers push the definition of hardbop and blues to the limit here. Dizzy Gillespie's title track is evidence enough of the creative power of this group: Blakey's steam shovel-like mambo, Morgan and Shorter's wailing solos and a dramatic ending make for a stunning piece. Shorter's contribution includes the swinging "Sincerely Diana," presented in two takes here. The soulful Bobby Timmons presents his delightful "So Tired," a bluesy number in the spirit of his classic "Dat Dere." Also included are Lee Morgan's smoky "Yama," the bouncing "Kozo's Waltz" and the classic "When Your Lover Has Gone." 1960 Rvg Remaster W/2 Bonus Tracks. Recorded at the Van Gelder Studio, Englewood Cliffs, New Jersey on August 7 & 14, 1960. Includes liner notes by Barbara J. Gardner. Full performer name: Art Blakey & The Jazz Messengers. Producer: Alfred Lion. Reissue producer: Michael Cuscuna. Personnel: Art Blakey (drums); Wayne Shorter (tenor saxophone); Lee Morgan Quintet (trumpet); Bobby Timmons (piano). Audio Remasterer: Rudy Van Gelder. Liner Note Authors: Bob Blumenthal; Barbara J. Gardner. Recording information: Van Gelder Studios, Englewood Cliffs, NJ (08/07/1960/08/14/1960). Photographer: Francis Wolff.

Art Blakey & The Jazz Messengers: Art Blakey (drums); Wayne Shorter (tenor saxophone); Lee Morgan (trumpet); Curtis Fuller (trombone); Cedar Walton (piano); Reggie Workman (bass). Lee Morgan once again became part of the Jazz Messengers after replacing Freddie Hubbard, who left after replacing Morgan originally. The band is rounded out by pianist Cedar Walton, a steaming Wayne Shorter on tenor, Curtis Fuller on trombone, and bassist Reggie Workman with Art Blakey on the skins, of course. Indestructible is a hard-blowing blues 'n' bop date with Shorter taking his own solos to the outside a bit, and with Blakey allowing some of Fuller's longer, suite-like modal compositional work into the mix as well ("The Egyptian" and "Sortie"). There are plenty of hard swinging grooves-- an off-Latin funk à la Morgan's "Calling Miss Kadija," Shorter's killer "Mr. Jin," and Walton's ballad-cum-post-bop sprint "When Love Is New" -- and the Blakey drive is in full effect, making this album comes closest in feel to the Moanin' sessions with Bobby Timmons. Here the balance of soul groove and innovative tough bop are about equal. Morgan lends great intensity to this date by being such a perfect foil for Shorter, and their trading of fours and eights in "Sortie" is one of the disc's many high points. Morgan's bluesed-out modal frame is already in evidence here as he was beginning to stretch beyond the parameters of the 12-bar frame and into music from other spaces and times. ~ Thom Jurek & The Jazz Messengers. Rvg Remaster W/ 1 Bonus Track Recorded at the Van Gelder Studio, Englewood Cliffs, New Jersey on April 15 & 24 and May 15, 1964. Originally released on Blue Note (4193). Includes liner notes by Leonard Feather and Bob Blumenthal. Personnel: Art Blakey (drums); Wayne Shorter (tenor saxophone); Lee Morgan (trumpet); Curtis Fuller (trombone); Cedar Walton (piano). Audio Remasterer: Rudy Van Gelder. Liner Note Authors: Leonard Feather; Bob Blumenthal. Recording information: 04/24/1964-05/15/1964. Author: Michael Cuscuna. Photographer: Francis Wolff.

Art Blakey & The Jazz Messengers: Art Blakey (drums); Hank Mobley (tenor saxophone); Donald Byrd (trumpet); Horace Silver (piano); Doug Watkins (bass). With The Jazz Messengers, these early-period (mid-'50s) recordings are excellent. With Jackie McLean (as). ~ Michael G. Nastos Recorded at Columbia 30th Street Studio, New York, New York on April 6 and May 4, 1956. Producer: George Avakian.

The 1960 version of Art Blakey's Jazz Messengers (which consisted of the drummer/leader, trumpeter Lee Morgan, tenor saxophonist Wayne Shorter, pianist Bobby Timmons, and bassist Jymie Meritt) was very well documented. This 1996 CD releases for the first time music from the second half of a Geneva concert by the band. One can argue that these performances of "It's Only a Paper Moon," "'Round Midnight," Wayne Shorter's "The Summit," "A Night In Tunisia" and Timmons' "This Here" do not add that much to the Messengers' vast legacy, but the music is really too good for hard bop fans (even those with many other versions) to pass up. ~ Scott Yanow This is part of TCB's Swiss Radio Days Jazz Series. Recorded at Theatre De Beaulieu, Lausanne, Switzerland on December 8, 1960. Includes liner notes by Jimmy Woode. Personnel: Art Blakey (drums); Wayne Shorter (tenor saxophone); Bobby Timmons (piano). Liner Note Author: Jimmy Woode. Recording information: Theatre de Beaulieu, Lausanne, Switzerland (12/08/1960). Personnel: Art Blakey (drums); Wayne Shorter (tenor saxophone); Lee Morgan (trumpet); Bobby Timmons (piano); Jymie Merritt (bass). Engineers: Claude Blanc, Jean-Claude Martin.

Perhaps the best known and most loved of Art Blakey's works, The Big Beat is a testament to the creative progress of one of the best jazz drummers of all time. Now over 40 years old, The Big Beat is as thunderous as ever. Here, Blakey combines his rhythm with tenor saxophonist Wayne Shorter's brilliant composing to make what could only be termed a "structurally raw" album. Each track rips through bebop as quickly as Blakey ripped through drum heads. "Dat Dere" and "Lester Left Town" stand out as part of the true canons for hot jazz. Two alternate versions of "It's Only a Paper Moon" round out the album, both brimming with the fluid integrity of the song and the drive only Blakey could provide. As one of the few drummers to step out and lead, not just play backup, Blakey created a true jazz treasure in The Big Beat. ~ Christopher Fielder Additional Tracks Liner Note Authors: Nat Hentoff; Bob Blumenthal. Recording information: Van Gelder Studios, Englewood Cliffs, NJ (03/06/1960). Photographer: Francis Wolff. Personnel: Art Blakey (drums); Art Blakey; Jymie Merritt (bass instrument); Wayne Shorter (tenor saxophone); Lee Morgan (trumpet); Bobby Timmons (piano). Audio Remasterer: Rudy Van Gelder.

Along with Gene Krupa and Max Roach, one of the most popular and influential jazz drummers ever is the late Art Blakey. Blakey wasn't only a powerful drummer and hard-bop standard-bearer--his many editions of the Jazz Messengers were a finishing school for a few generations of players (including Freddie Hubbard and Chuck Mangione). Originally issued in 1965, SOUL FINGER finds the Messengers in transition. Lee Morgan and Freddie Hubbard make farewell appearances here, and the fine, underrated saxophonist Lucky Thompson gets a guest shot. Then up-and-comer Gary Bartz is on alto; the super-fine inside-outside pianist is John Hicks. While not exactly a mellow affair, SOUL FINGER is a bit more relaxed, less furious, than usual. Personnel: Lucky Thompson (soprano saxophone, tenor saxophone); Freddie Hubbard, Lee Morgan (trumpet); John Hicks (piano); Victor Sproles (bass instrument); Art Blakey (drums).

Real Gone Jazz repackaged and re-released eight Art Blakey LPs on Blue Note and Impulse -- Holiday for Skins, Holiday for Skins, Vol. 2, Roots and Herbs, Moanin', A Night in Tunisia, Mosaic, Art Blakey!!! Jazz Messengers!!!, and The Witch Doctor -- as a box set. It's not a bad way to acquire the albums if you don't already own them, but isn't recommended for the casual fan. ~ Al Campbell EU-only four CD set containing eight albums from the Jazz great. Includes the albums Holiday for Skins Vol 1, Roots and Herbs, Holiday for Skins Vol 2, Moanin', A Night in Tunisia, Mosaic, Art Blakey Jazz Messangers, and The Witch Doctor.

Impulse Records released only two LPs credited to Art Blakey, both with somewhat generic titles, 1961's Jazz Messengers!!!!, with Blakey's usual group, the Jazz Messengers, and 1963's A Jazz Message, by the Art Blakey Quartet. Half a century later, the two albums make an obvious choice for a two-fer CD from the Impulse/Verve imprint of Universal. The former album (Tracks 1-6) is a fairly standard set for the Jazz Messengers of the time, a group then including Wayne Shorter on tenor sax, which is to say that it is a superior hard bop blowing session. For A Jazz Message (Tracks 7-12), Impulse tried something different, convening, on a one-time-only basis for the July 16, 1963, recording date, a group consisting of Blakey on drums, Art Davis on bass, McCoy Tyner on piano, and Sonny Stitt on tenor and alto saxophones. The thrown-together nature of the date is indicated by the reliance on standards like "Summertime" and "The Song Is You," as well as the straight blues called "Blues Back." But the players spark each other, with Tyner getting some excellent solo time (particularly on "Blues Back"), while the spotlight usually falls on Stitt. Blakey mostly contents himself with timekeeping, which throws into question his leadership of the outfit, but as usual, he is a catalyst. The two albums provide different sides of his talent from his prime. ~ William Ruhlmann Budget reissue re-release, 2 LPs on 1 CD Liner Note Authors: Dan Morgenstern; Dick Katz. Recording information: Englewood Cliffs, NJ (06/13/1961/06/14/1961); Englewood Cliffs, NJ (07/19/1963). Photographers: Ted Russell; Bob Ghiraldini.

Art Blakey & The Jazz Messengers: Art Blakey (drums); Branford Marsalis (alto saxophone); Bill Pierce (tenor saxophone); Wynton Marsalis (trumpet); Donald Brown (piano); Charles Fambrough (bass). Recorded live at Keystone Korner, San Francisco, California in January 1982. Includes liner notes by Frank Dorritie. This is a Hybrid Super Audio CD playable on both regular and Super Audio CD players. This third live recording at San Francisco's Keystone Korner in the late '70s and early '80s of drummer Art Blakey's Jazz Messengers is significant for many reasons. It marks the final ushering out of the famous band that was fronted at times by David Schnitter, Curtis Fuller, Bobby Watson, and Valery Ponomarev, with Bill Pierce then the lone holdout. It is the first recording to include alto saxophonist Branford Marsalis (who specialized on tenor and soprano sax,) and teams him with brother Wynton Marsalis and Pierce on a formidable, compact front line. Memphis continues to be represented as Donald Brown takes over for James Williams, and New Orleans bass wizard Charles Fambrough remains. The result is an ultra-melodic band of Messengers who instrumentally sing together, swing hard, and are completely commanded by an energetic and powerful rhythm machine in Blakey, at the time in his early sixties. The show starts with a rousing version of "In Walked Bud," with the front line instrumentally singing this famous melody, Wynton growling on his solo, and Branford lyrically sounding like Charlie Parker. "In a Sentimental Mood" is a feature for Pierce without the brothers, as Brown's chiming comping piano buoys the measured tenor sax. The next three pieces are remainders of the previous bands. "Fuller Love," the Bobby Watson tribute to Curtis Fuller, is a 6/8 modal line full of energy, as biting and precise harmonic bass and horns stab with Blakey's driving rhythms all signify the best hard bop offers in modern times. "Waterfall" is the magnum opus of the set, as the horns ascend and descend dynamically in perfect in and out changes, Wynton's solo double-timed to bop pace the highlight. "A La Mode" is the famous composition of Fuller's played to exacting specs in hushed tones with Brown perfectly shadowing the horns, while Blakey dominates and commands the troops in building tension, then halting them at will. Of the many live recordings with different Jazz Messengers lineups, this ranks among their best, and is a springboard for what the Marsalis brothers would offer as artists in their own right. With Blakey, this combination was special. ~ Michael G. Nastos Personnel: Branford Marsalis (alto saxophone); Bill Pierce (tenor saxophone); Wynton Marsalis (trumpet); Donald Brown (piano); Art Blakey (drums). Audio Remixer: Phil Edwards . Liner Note Author: Frank Dorritie. Recording information: Keystone Korner, San Francisco, CA (01/1982). Authors: Chris Albertson; Frank Rutter. Unknown Contributor Roles: Donald Brown ; Wynton Marsalis; Branford Marsalis; Bill Pierce ; Charles Fambrough.

In the mid-'50s, before critics deemed him a jazz institution, Art Blakey was busy making great music. Along with his Jazz Messengers, he delivered hard bop and gave dozens of players a chance to learn the business. This two-disc collection represents two solid sets, Play Lerner and Loewe from 1957 and A Night in Tunisia (not to be confused with two later Blakey albums of the same name) from 1958. The personnel are similar for both dates, with tenor Johnny Griffin, trumpeter Bill Hardman, pianist Sam Dockery, and bassist Jimmy DeBrest joining Blakey. Play Lerner and Loewe kicks off with an up-tempo version of "I Could Have Danced All Night," a four-minute romp that allows each soloist to play at breakneck speed and basically forget about the melody. This joyous abandon spills over into the remainder of the album. Griffin and Hardman toss off a series of sparkling exchanges at the beginning of "There But for You Go I," followed by a lively, extended solo by Dockery. Play Lerner and Loewe finishes with "Almost Like Being in Love," a piece filled with rapid horn ascents and backed by Blakey and DeBrest's steady, demanding rhythm. The highlight of A Night in Tunisia is the title track, a joyful 12-minute take on Gillespie's classic piece of Latin-tinged bop. This track, and the album, is also livened up by the presence of altoist Ferris Bender. Because of their similar personnel and approach, Play Lerner and Loewe and A Night in Tunisia make a good match. Both albums find Art Blakey's Jazz Messengers in superb form, offering the listener a double dose of hard bop delivered with pizzazz. ~ Ronnie D. Lankford Jr. Originally released on VIK (1115) & VIK (1103). 2 LPs On 2 CDs: A NIGHT IN TUNISIA (1958)/PLAY LERNER & LOEWE (1957). Art Blakey's Jazz Messengers: Art Blakey (drums); Johnny Griffin (tenor saxophone); Bill Hardman (trumpet); Bill Dockery (piano); Jimmy DEBrest (bass). Personnel: Art Blakey (drums); John Griffin (tenor); Bill Hardman (trumpet). Liner Note Author: Dom Cerulli.

Art Blakey & The Jazz Messengers: Art Blakey (drums); Benny Golson, Wayne Shorter (tenor saxophone); Lee Morgan (trumpet); Bobby Timmons, Walter Davis Jr. (piano); Jymie Merritt (bass). Recorded live on November 29, 1958 and in November 1959. Includes liner notes by Dave Gelly. Art Blakey's lighthearted introduction before the first live set on this collection doesn't reveal the impassioned seriousness with which he and his Jazz Messengers communicated their music. The first six cuts feature the classic lineup of Lee Morgan, Benny Golson, Bobby Timmons, and Jymie Merritt in a 1958 performance in Europe. This unsanctioned recording is a valuable look at this now-legendary band in action. Classic Messenger tunes such as Timmons' "Moanin'," Golson's "I Remember Clifford," and Blakey's signature feature "A Night in Tunisia" truly come alive on the concert stage. The last two tracks, recorded a year later in Paris, find Wayne Shorter and Walter Davis Jr. replacing Golson and Timmons, respectively. Blakey gives a brief introduction before the band tears into the raucous "No Problem." Although the sound quality on this track leaves a good deal to be desired, it is obvious that this, too, was another powerful performance, with hints of Morgan and Shorter's magical partnership in the band revealing themselves throughout. In all, LIVE IN THE '50s is an enjoyable picture of both groups before receptive audiences, doing what they do best. 8 tracks total, over 72 min. in Europe at 2 locations: 6 tracks in Scheveningen, 1958 w. Lee Morgan-tpt, Benny Golson-ten, Bobby Timmons-pno, Jimmy Merritt-bs; 2 tracks in Paris, 1959 w. Lee Morgan-tpt, Wayne Shorter-ten, Walter Davis Jr.-pno, Jimmy Merr & The Jazz Messengers. Personnel: Art Blakey (drums); Wayne Shorter, Benny Golson (lute, tenor saxophone); Lee Morgan , Lee Morgan Quintet (trumpet); Walter Davis, Walter Davis, Jr., Bobby Timmons (piano). Liner Note Author: Dave Gelly. Recording information: JMTV Paris (11/29/1958-11/??/1959); Kurhaus, Scheveningen, The Netherlands (11/29/1958-11/??/1959).

Art Blakey & The Jazz Messengers: Art Blakey (drums); Wayen Shorter (tenor saxophone); Lee Morgan (trumpet); Bobby Timmons (piano); Jymie Merritt (bass). Recorded live in Paris, France on May 13, 1961. Includes liner notes by Georges Paczynski. Although the less-than-stellar sound quality of this disc may take getting used to, it is the shear power of the 1961 Jazz Messengers that transcends any aural limitations. At a time when they were at the peak of their abilities, Art Blakey's Jazz Messengers were captured many times on their legendary treks across Europe. Lee Morgan and Wayne Shorter make the perfect front line, bursting with creative energy, while Bobby Timmons and Jymie Merritt hold down the rhythm section with the stalwart Blakey. The group's performances from this time contained many works that would go on to become Messengers favorites for years to come. Tunes like Timmons' "Dat Dere," Monk's famed "'Round About Midnight," and the classic "My Funny Valentine" all get brilliant readings here with Shorter, Morgan, and Timmons handling most of the solo spots. Of special note are the original tunes like Shorter's opening burner "The Summit" and Morgan's reflective ballad "Yama," which displays the softer side of the Messengers' sound. Although this group was mostly known for its many stellar sessions for Blue Note, one-off performance discs like this one only add to the legend. Full performer name: Art BLakey & The Jazz Messengers. Personnel: Art Blakey (drums); Wayne Shorter (tenor saxophone); Bobby Timmons (piano). Liner Note Author: Georges Paczynski. Recording information: Paris, France (05/13/1961).