Art Blakey - The Big Beat

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.

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Art Blakey - Mosaic

A list of Jazz Messengers alumni reads like a jazz Hall of Fame; Wynton Marsalis played With Art Blakey's group in 1980. In the Messengers' 35+ years of existence, this is arguably its finest incarnation and their most exciting album. Saxophonist Wayne Shorter, trumpeter Freddie Hubbard, trombonist Curtis Fuller, and Pianist Cedar Walton provide both distinctive compositions and emotional solos. Since the group has three horns, the two who aren't soloing are playing as an ensemble in the background giving the group a small 'big band' feel. Drummer Art never takes a self-indulgent solo; he is a solid, consistent presence. What sets this collection apart from others is the music. Each selection stands alone as a superior piece of writing that has been covered many times since this release. This recording was made in 1963 just before the individuals set out on their own respective roads. - Review By Leonard Gorsky

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Hank Mobley - Roll Call

During his tenure with Miles Davis, Hank Mobley made four Blue Note albums with band mates Wynton Kelly and Paul Chambers, the most celebrated being Soul Station with Art Blakey on drums.

For Roll Call, recorded nine months later, Mobley assembled the same magnificent rhythm section and added Freddie Hubbard on trumpet. The result rivals its more well known predecessor in swing, soul and incredible solos. The gospely "A Baptist Beat," heard here in two takes, has become a favorite among club DJs and acid jazz fans.

Hank Mobley: Tenor Saxophone
Freddie Hubbard: Trumpet
Wynton Kelly: Piano
Paul Chambers: Bass
Art Blakey: Drums

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Art Blakey - Holiday for skins

Holiday for Skins is not totally unique in drummer Art Blakey's output, as the drummer was most famous for some of the greatest hard bop era records ever made with his Jazz Messengers. Though not a Jazz Messengers recording, this original double volume definitely has Blakey's strong personal, percussive stamp. The cover states this is "a message from Blakey and that message is mostly about rhythm and the vast expressive possibilities of the drum sets, congas, bongos, timbales and other percussion instruments.

The opening track, "Feast, starts with a single conga drum slowly sounding single notes with a vocal call (by which musician, though, who knows?). The single voice receives a response from a chorus of men (including Philly Joe Jones and the leader himself) before launching into an Afro/Cuban groove over which trumpeter Donald Byrd sails eloquent melodic statements. Ray Bryant 's piano solo follows and it is both burning and rock solid with the groove. About four-and-a-half minutes into "Feast Blakey starts one of his great solos that, though loud and explosive, is clearly in dialogue with the drum choir. The track comes full circle to the slowly beating solo conga drum and vocal call and response. However, what is the meaning of the chants? Are they traditional? Original? Are these Blakey's arrangements? Which conga player is soloing in what tune? The liner notes offer a nice glimpse into Blakey's personality, but leave a lot of basic, musically appropriate questions unanswered.

On "Mirage, a very cool tune by Blakey, we get to hear Philly Joe step into the spotlight on drum set. It begins with a bongo obbligato soon giving way to a Bryant vamp that tells you this tune is going to burn. Byrd plays the simple theme and then launches into a skillful solo that provides some of this project's most exciting moments. "Reflection, a Bryant original—which, coincidentally also makes an appearance on another great percussionist's recording, We Three (OJC, 1958), by Roy Haynes —appropriately closes the CD. Francis Lo Kee - AAJ

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Thelonious Monk - The Complete Blue Note Recordings

"From the 1947 sessions that lead off this set through to the 1958 live recordings at the Five Spot with John Coltrane, this box set chronicles the development of one of the most unique and creative American musicians. The first CD dates entirely from 1947, and on it we hear a Monk conversant in the bebop idiom, his distinct style emerging. By 1951 on the second CD we have a gorgeous version of "Ask Me Now," with all the delightful rhythmic hesitation that became one of his trademarks. "Reflections" on the third CD has Sonny Rollins caressing the melody in an almost languid tempo, followed by a classic version of "Misterioso," with J.J. Johnson and Horace Silver sharing the piano role. The Monk-Coltrane live cuts on the fourth CD are incandescent. All in all, a set that is both enlightening (with a number of alternate takes) in its scope and delightful in its sheer musicianship and creative spark." --Michael Monhart

Personnel: Thelonious Monk (piano); Kenny "Pancho" Hagood (vocals); Danny Quebec West, Sahib Shihab, Lou Donaldson (alto saxophone); Sonny Rollins, Lucky Thompson, John Coltrane (tenor saxophone); Idrees Sulieman, George Taitt, Kenny Dorham (trumpet); J.J. Johnson (trombone); Milt Jackson (vibraphone); Horace Silver (piano); John Simmons, Gene Ramey, Al McKibbon, Paul Chambers, Ahmed Abdul-Malik, Bob Paige, Nelson Boyd (bass); Art Blakey, Max Roach, Shadow Wilson, Roy Haynes (drums).

Recorded at the Van Gelder Studio, Hackensack, New Jersey on April 14, 1957; live at the Five Spot, New York, New York on September 11, 1958; Apex Studios, New York, New York on July 2, 1948; WOR Studios, New York, New York between October 15, 1947 and May 30, 1952.

Added to Monk’s original Blue Note sessions (1947-52) are the two tracks he cut with Sonny Rollins in ’56 and the recently discovered live ’58 Five Spot recording with John Coltrane. The Five Spot session has been speed corrected, and the early dates have been de-clicked. Sidemen include Art Blakey, Milt Jackson, Lou Donaldson, Lucky Thompson and Sahib Shihab.

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