Coleção Folha Clássicos do Jazz, Vol. 5 - Art Blakey
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Artist:
Arthur (Art) Blakey (October 11, 1919-October 16, 1990), born in Pittsburgh, Pennsylvania. Also known as Abdullah Ibn Buhaina, he was an American jazz drummer and bandleader. Along with Kenny Clarke and Max Roach, he was one of the inventors of the modern bebop style of drumming. He is known as a powerful musician and a vital groover; his brand of bluesy, funky hard bop was (and remains) profoundly influential on mainstream jazz. Over more than 30 years his band the Jazz Messengers included many young musicians who went on to become prominent names in jazz.. The band's legacy is thus not only the often exceptionally fine music it produced, but as a proving ground for several generations of jazz musicians; Blakey's group is equivalent only to those of Miles Davis in this regard. He was a member of the Ahmadiyya Muslim Community.In the 1940s, Blakey was a member of bands led by Mary Lou Williams, Fletcher Henderson, and Billy Eckstine. He converted to Islam during a visit to West Africa in the late 1940s and took the name Abdullah Ibn Buhaina (which led to the nickname "Bu"). The African visit is the subject of some dispute as he was never absent from America for the length of time claimed. Some suspect the trip never took place.[who?] By the late forties and early fifties, Blakey was backing musicians such as Miles Davis, Bud Powell and Thelonious Monk — he is often considered to have been Monk's most sympathetic drummer,[citation needed] and he played on both Monk's first recording session as a leader (for Blue Note Records in 1947) and his final one (in London in 1971), as well as many in between.
The origins of the Messengers are in a series of groups led or co-led by Blakey and pianist Horace Silver, though the name was not used on the earliest of their recordings. The most celebrated of these early records (credited to "The Art Blakey Quintet"), is A Night at Birdland from February 1954,one of the earliest commercially released "live" jazz records. This featured Silver, Blakey, the young trumpeter Clifford Brown, alto saxophonist Lou Donaldson and bassist Curly Russell. The "Jazz Messengers" name was first used on a 1954 recording nominally led by Silver, with Blakey, Hank Mobley, Kenny Dorham and Doug Watkins — the same quintet would record The Jazz Messengers at the Cafe Bohemia the following year, still as a collective. Donald Byrd replaced Dorham, and the group recorded an album called simply The Jazz Messengers for Columbia Records in 1956. Blakey took over the group name when Silver left after the band's first year (taking Mobley, Byrd and Watkins with him to form a new quintet with a variety of drummers), and the band was known as "Art Blakey and the Jazz Messengers" from then onwards. From 1959 to 1961 the group featured Wayne Shorter on tenor saxophone, Jymie Merritt, Lee Morgan, and Bobby Timmons. The second (1961-1964) was a sextet that added trombonist Curtis Fuller and replaced Morgan and Timmons with Freddie Hubbard and Cedar Walton, respectively. Shorter was the musical director of the group, and many of his original compositions such as "Lester Left Town" remained staples of Blakey's repertoire even after Shorter's departure. (Other players over the years made permanent marks on Blakey's repertoire — Timmons, composer of "Dat Dere" and "Moanin'", Benny Golson, composer of "Along Came Betty" and "Are You Real", and, later, Bobby Watson.) Shorter's more experimental inclinations pushed the band at the time into an engagement with the 1960s "New Thing", as it was called: the influence of Coltrane's contemporary records on Impulse! is evident on Free For All (1964), often cited as the greatest document of the Shorter-era Messengers (and certainly one of the most fearsomely powerful examples of hard bop on record).
Tracks
1. Moanin'
2. Blues March
3. Lester Left Town
4. A Night in Tunisia
5. Dat Dere
6. Mosaic
7. Free For All
** Tracks 1 and 2: recorded in New Jersey on October 30, 1958 (track 1) and January 01, 1958 (track 2).
Art Blakey (drums), Lee Morgan (trumpet), Benny Goslon (tenor sax), Bobby Timmons (piano) and Jymie Merritt (bass)
** Tracks 3 to 5: Recorded in New Jersey, in order - March 06, 1960, August 14, 1960 and March 06, 1960.
Art Blakey (drums), Lee Morgan (trumpet), Wayne Shorter (tenor sax), Bobby Timmons (piano) and Jymie Merritt (bass)
** Track 6: recorded in New Jersey on October 02, 1961
Art Blakey (drums), Freddie Hubbard (trumpet), Curtis Fuller (trombone), Wayne Shorter (tenor sax), Cedar Walton (piano), Jymie Merritt (bass) and Sabu (drums)
** Track 7: Recorded in New Jersey on February 10, 1964.
Art Blakey (drums), Freddie Hubbard (trumpet), Curtis Fuller (trombone), Wayne Shorter (tenor sax), Cedar Walton (piano) and Reggie Workman (bass).
Details
.. Year: 2007
.. Label: Folha de São Paulo
.. Country: U.S.A.
.. Bitrate: VBR (Level = 0)
.. Ripped: EAC 9.0
.. Genre: Jazz
.. Home-Page: www.artblakey.com/
.. Wikipedia: en.wikipedia.org/wiki/Art_Blakey
.. Drummerworld: www.drummerworld.com/drummers/Art_Blakey.html
.. BUY ME : Amazon
.. BUY ME : CD Universe
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