Ugetsu Live

Although Art Blakey's Jazz Messengers recorded the definitive version, we were pleasantly surprised to listen to Emmet Cohen perform the piece with Bartley and Harris. This version of Walton's "Ugetsu" is spirited, passionate, and features some expressive playing from the horns. Cohen's piano solo is one of the more unique and exciting runs we have heard from him. Bartly was cooking on the alto saxophone. For a second, he even brought to mind a young Eric Dolphy staying within the confines of bop (yet screaming for freedom). 

Arabia

 

This used to be one of our favorite recordings of Art Blakey and the Jazz Messengers. Now we're reclaiming it as a commemorative piece in honor of our "ancestor" Sayf b. Dhi Yazan of Himyar, in the Arabian Peninsula. This one is for all the Banu Sayf.

Blue Lace

Another delightful and introspective jazz-waltz, penned by the inimitable Lee Morgan. It's amazing how varied and complex the waltz time pieces of Morgan can be. 

Kozo's Waltz

As a fan of the jazz waltz, Lee Morgan's "Kozo's Waltz" has long been a personal favorite. Blakey manages to insert a seamless drum solo into a song in waltz time. That inimitable vamp, so clearly a product of the funky Morgan, features Morgan as well as another personal favorite horn player, Wayne Shorter. 

I Called Him Morgan

I've finally watched I Called Him Morgan. It goes without saying that this is a superior documentary to the recent Coltrane documentary because it tells a lesser known story while actually disseminating new information to a general public that likely knows less about Morgan than Coltrane. Anyway, focusing on Lee Morgan through the perspective of Helen Morgan, his wife who fatally shot him at Slug's in 1972, was a brilliant move that humanizes Helen while providing a look at Lee Morgan through a completely different lens. We learn about Helen's roots in North Carolina, her struggle to make it on her own terms in an era when opportunities for black women in New York were extremely limited, and just how important her role was in resuscitating Lee, both musically and morally. Unfortunately, I would have liked to learn a bit more about Lee's music and his own Philadelphia roots, but interviews with Jymie Merritt, Wayne Shorter, Bennie Maupin, and others helped fill the gap. Extensive use of photographs of recording sessions for Blue Note were excellently matched with the oral testimonies of interviewees who either recorded with Morgan or knew both Helen and Lee intimately. Nonetheless, it was shocking that "The Sidewinder" was not referenced at all in this film, particularly since it shaped Lee's subsequent recordings with Blue Note and the "soul-jazz" phenomenon of the 1960s. Nor was there specific mention of Morgan's later work's new directions, including some in the vein of jazz fusion and funkier aesthetics, except for a song composed in honor of Angela Davis by Merritt. In spite of these shortcomings, and the rather somber tone of the film, there is a rich sense of humor throughout. Helen, from a recorded interview in the 1990s before her death, describes her first meeting with Miles Davis, who calls her a bitch with a quick mouth. Wayne Shorter's recollections about the food and drink at Blue Note recording sessions was amusing and light-hearted. Seeing Shorter remember is musical comrade from their days in the Jazz Messengers was quite endearing. Next on the list is Kasper Collin's Albert Ayler documentary!

Waltz For Ruth

A beautiful ballad featuring John Gilmore, Lee Morgan, and Curtis Fuller from 1965. Written by pianist John Hicks, this sentimental waltz embodies all of my favorite attributes of a jazz waltz: syncopated valse rhythm, playful and sweet melodies, delicate piano solos, and even a boisterous but not too out of way trombone solo! Grachan Moncur III is still my go-to trombonist in jazz, but Fuller always knew how to blend into any ensemble or group. 

Freddie Hubbard's Crisis featuring McCoy Tyner and Elvin Jones

Though "Crisis" recorded previously with Art Blakey's Jazz Messengers is a hard bop classic, this version featuring McCoy Tyner and Elvin Jones is more satisfying. Hubbard had recently collaborated with Jones and Tyner via John Coltrane (check out the Africa/Brass sessions), so he was used to working with them. As I have said in the past, the strength of the Coltrane Quartet rested in the foundation set by Tyner and Jones, who provided complex rhythmic and harmonic backing while also taking adventurous solos. Hubbard is really trying to outdo his previous recording with Blakey, but Jones and Tyner steal the show here (and, well, Wayne Shorter). Jones applies his characteristic quasi-Latin swing, Tyner comps, and Shorter blows away contemplatively in a state of restrained crisis (hey, just like the title of the song!). Now, if we could only get rid of McKinney's euphonium, then this great song could be even greater. Hard bop like this with the some of the best musicians of 1960s jazz is a truly rare delight. 

Lee Morgan + Wayne Shorter + Art Blakey = The Best of the Jazz Messengers

Any incarnation of Art Blakey and the Jazz Messengers featuring Lee Morgan and Wayne Shorter represents the epitome of the Jazz Messengers and hard bop. They take you to church on jams such as "This Here" while also combining Morgan's fiery passion and funk with Shorter's more elegant, 'refined' approach and composing talent. They complemented each other perfectly as well as composed and 'blew' some of the best solos Art Blakey's Jazz Messengers ever played. If I rememeber correctly, Lee Morgan actually brought Shorter into the Jazz Messengers by recommending him to Blakey. 

Enjoy some great jazz below!

http://www.youtube.com/watch?v=RDwy3-B02Us
http://www.youtube.com/watch?v=EfGDTGBHM9M
http://www.youtube.com/watch?v=WV5EXrfs_Aw
http://www.youtube.com/watch?v=cyLY7FSd3WA
http://www.youtube.com/watch?v=jU2pITrtwMs
http://www.youtube.com/watch?v=qTp8UxEsvSk
http://www.youtube.com/watch?v=YXL6FDt5L5k
http://www.youtube.com/watch?v=EPI3xMd9liM
http://www.youtube.com/watch?v=16ITj7KR5rk

The Young Wayne Shorter: Genius Child

Source: Mercer's Footprints

Young Wayne Shorter, product of Newark's Ironbound district and a working-class family. His creative talents were encouraged by his mother, who married Shorter's father and moved to Newark from Philadelphia. Shorter also attended the same church in Newark that Sarah Vaughan sang for her in her youth. Also, Shorter went to NYU in music education while his brother, Alan, also a musician, was a friend of Amiri Baraka and went to Howard.

Shorter was initially drawn to painting but switched to music after listening to bop on the radio in the 1940s. He began on the clarinet but later moved on to tenor saxophone. The legend was known as the "Newark Flash" by New York musicians across the river and was always a versatile musician, even at mambos in the 1950s! Shorter opened for mambo legend Perez Prado once and had Celia Cruz and Tito Puente approving his chops in Latin music. Indeed, check out his skills at latin funk on "Tom Thumb" with its bossa nova influences. Shorter never lost his touch for funky and Latin rhythms.

Shorter also composed and recorded for Art Blakey's Jazz Messengers, the second Miles Davis Quintet, Weather Report, and his own solo sessions, my favorites being Speak No Evil and Juju, influenced by Coltrane yet uniquely Shorter. Indeed, this socially awkward genius reminds me of myself in some ways. Enjoy "Footprints." And the lovely "Miyako" has been one of my favorite jazz ballads and tributes (to his daughter of the same name) I have ever had the pleasure to hear (and that includes "Lester Left Town" for Lester Young).

Music for a Peaceful Friday

Here are some tunes stuck in my head today. Enjoy the Friday evening! I think I will spend it relaxing, reading, and listening to jazz. I'm currently perusing a biography of jazz legend Wayne Shorter and feel I owe it to his great music to devour some jazz this weekend. Shorter could write jams like "Tom Thumb" and some ethereal and emotionally complex pieces, such as "Footprints." Also, don't forget your salsa! Ismael Rivera and Rafael Cortijo might be my favorite Puerto Rican musical group. 

Last but certainly not least, I met an old man from Jamaica who has lived in the US for over 40 years. He claimed he went to school with Bob Marley, which is certainly possible. He was a little 'off' though and was obsessed with potentially winning the lottery. Anywho, enjoy your reggae, too! 

Café au lait by Les Shleu Shleu

"Café au lait" by Les Shleu Shleu is a stirring minor-toned piece with gorgeous guitar. Also, apparently the group was initially funded by an Arab Haitian (source). Does that explain the seemingly North African-influenced band name? I'm not sure, I suppose it's possible. The guitarist, using a lot of reverb produces a pleasing sound that, though repetitive, is very dark and sounds like guitar music of Latin America, although much of Haitian music would use similar minor scales and feature 'ominous' sounds, right? Regardless, it's a beautiful song showing how great Haitian music of the 1960s can be, without a full horn section, too! And listen to that drummer!  For no reason whatsoever, check out "Oscalypso" by Art Blakey from one of his 'worldbeat' 1950s albums, the electric amp connected to the cello reminds me of this song. And check out the rest of the Les Shleu Shleu album here!

Lee Morgan's Tom Cat

1. "Tom Cat" (Lee Morgan) – 9:50

2. "Exotique" (Morgan) – 9:34

3. "Twice Around" (Morgan) – 7:36

4. "Twilight Mist" (McCoy Tyner) – 6:57

5. "Rigormortis" (J. Del, Henry Glover, Morris Levy) – 7:27

A beautiful album with a strong lineup. Tyner on keys works well with Morgan's fiery hard-bop base while Blakey, McLean, who was becoming more adventurous, too, and Fuller mesh with Morgan's hard bop roots. "Rigormortis" and "Twilight Mist" are two highlights, especially the propulsive swing of Blakey and Tyner's introspective piano and Morgan's energetic blasts of energy and soul into "Rigormortis." While retaining the characteristic funky blues sound of The Sidewinder and other typical Morgan releases of the 1960s for Blue Note, this album is more progressive and forward-thinking, almost as much as Search for the New Land, where Morgan and company embraced modal and avant-garde influences. Although I feel that Fuller's trombone is unnecessary overall to the album, because I usually prefer to not hear the clunky, awkward tone of the trombone, Fuller's solos are limited. Blakey, one of my favorite jazz drummers, keeps things interesting with his Afro-Latin-esque brief solos but mostly serves as a timekeeper who injects African vitality to the fun romp that is "Rigormortis." The bluesy funk of "Tom Cat" is delectable, too, although sounding perhaps too much like Morgan's schooling days in Blakey's Jazz Messengers, though never reaching the heights of "Moanin', but McLean's solos here and on "Exotique" are stirring alongside accompaniment from Tyner. With a great lineup and good Morgan material, this album is highly recommendable, accessible, and worthwhile for any fan of Morgan, Blakey, or even Tyner.

Amazing World of "World" Music

An incomplete playlist of Jamaican rocksteady, reggae, and ska music with some Jamaican-influenced songs from the US and UK. Worth listening to here.

A West African music playlist including Afrobeat, highlife, folk music, mbalax, and other genres from Nigeria, Guinea, Senegal, Gambia, and Mali. Enjoy!

An Art Blakey playlist, also incomplete, but a good start. Listen!

Rough start on a John Coltrane playlist here.

Brazilian playlists galore! I have 3 different playlists encompassing MPB, samba, bossa nova, jazz, and a few other genres, such as baiao.
Check them out here, here, here, and here.

A Blues playlist here

A playlist including Curtis Mayfield, The Impressions, and other Chicago soul artists here

A Soul/R&B playlist also worth checking out

Congolese rumba 

Latin Jazz

Boogaloo/Latin Soul including many of the best Nuyorican artists of the genre's zenith in the 1960s

Miriam Makeba, South African kwela, marabi, and jazz included here

Hip-hop playlist as well

Clifford Jordan's Blowin' In From Chicago

Clifford Jordan is joined by John Gilmore of Sun Ra's Arkestra, Art Blakey, Horace Silver, and Curly Russell on bass. As suggested by the title, Jordan is bringing his Chicago jazz background to the New York scene in the late 1950s, when this album was released. It's fascinating to hear the amazing John Gilmore on tenor, who was an important influence on John Coltrane and avant-garde jazz, play in this rather accessible and conventional hard bop release. Furthermore, Horace Silver and Art Blakey were among the finest hard bop jazz artists in the 1950s. Interestingly, both Jordan and Gilmore studied music at DuSable High on the Southside, where many famous Chicago jazz artists were educated (as well as future mayor of Chicago, Harold Washington). So if you want to hear some great hard bop jazz with two of Chicago's finest saxophonists, check out this album. Below are my thoughts and comments on each track. Some of the links are to mog.com, the only site where I could find the entire album online, but one may have to register an account to listen. Unfortunately, I could not locate the bonus track added to the CD issue, so I have only commented on the 6 original tracks, which truly are a fantastic jam session with some of the finest musicians in the game. Listening to this album proves that Blakey was an essential ingredient in any great hard bop jam session, or in hard bop generally. His presence on seminal albums such as Somethin' Else demonstrates this, as well as how the albums were geared toward black urban culture and slang.

That review can be found here.

1. "Status Quo" (John Neely) - 5:36
Beautiful, short drum solo by Art Blakey that goes Latin, a beautiful head, and great soloing from John Gilmore. Blakey really keeps this piece together for the jam session, providing strong rhythms and some spontaneity. Silver's piano solo also provides a nice break between Jordan's sax solo and Gilmore's solo, even though the album is focused on a jam session between these two masters of the tenor saxophone. I swear that I hear Horace Silver quoting another famous jazz song in his brief solo by Duke Ellington, but I cannot recall which. Anyway, I think John Gilmore won this duel. His solo almost sounds like future John Coltrane.

2. "Bo-Till" - 5:56
Features a great Latin beat from my man, Art Blakey. The head is cute, too, but Art Blakey really steals the show. After the brief Latin-infused intro, Blakey swings hard while Jordan's solo, bluesy and funky, keeps things from settling into boredom. Silver's proceeding piano solo also has it's cutesy charm, but not enough to maintain my interest. Gilmore's next solo picks up the song, but ends too quickly before the song reverts to the Latin-inflected theme. Overall, not a great track, except for Blakey's lovable short solo in the conclusion.

3. "Blue Lights" (Gigi Gryce) - 6:38
A fun blues, Jordan excels here. Coming from the Chicago jazz tradition, it's inevitable to not become adept at the blues form, which Jordan does well in his angular, bebop-based improvisation. Silver does nice accompaniment and Blakey knows when to mix it up a little himself to add some spice with different rolls and rhythms. Silver, as someone whose entire style is still in debt to the blues, plays an interesting solo which takes multiple directions, but emphasizes the groove. Gilmores' solo is also good, too, with him responding to himself with different notes and Blakey's fine rhythmic presence. Though hardly as far out or avant-garde as his later work, Gilmore's contribution is welcomed. Curly Russell's bass solo even works here, though too short. Same for Blakey's as well, which ends too soon before the band restates the short bluesy theme.

4. "Billie's Bounce" (Charlie Parker) - 9:34
This certainly lives up to the "bounce" suggested in the title, with Blakey beginning alone at a loud, uptempo pace. The bluesy theme then picks up while Blakey rocks the drumset. Another fun, bluesy romp where Jordan's solo is also likable and pleasant with excellent accompaniment, especially from Blakey's thunderous drums that will have you tapping your feet. Who said jazz ain't dance music? This is classic, good times hard bop everyone in the family can enjoy. None of the solos are difficult to follow or deviate from the blues, especially Horace Silver's piano and the saxophonists. The later exchanges between Blakey and the saxophonists is another highlight, in addition to Blakey's funky solo.

5. "Evil Eye" - 5:14
A funky blues, "Evil Eye" doesn't really connote an evil eye, though it does sound a little ominous as a minor blues. Jordan's searching, soulful solo really does encapsulate one of the highlights of blues in jazz music, however. In addition to fine saxes, Silver's funky piano brings an additional element of blues into the piece, by playing funky lines. This, when combined with Jordan and Gilmore's call and response, a central feature of African-American music, one cannot help but love this piece more than "Blue Lights." Though not well-known, compositions like this best represent the zenith of hard bop's funkier side in the 1950s as well as providing a musical landscape of urban black America.

6. "Everywhere" (Horace Silver) - 5:45
Silver's composition is a catchy number that swings, like every track on the album. The initial saxophone solo is quite lovely with its sudden shifts and honking sounds. Then we are treated to Silver's "cute" solo and Blakey's polyrhythmic improvisation. Of course one cannot overlook Curly Russell's constant bass picking. Blakey's solo, though short here, displays his mastery of Latin and African styles, hitting different to get different tones.

Art Blakey's Indestructible

Perhaps my favorite of the Jazz Messengers, Indestructible is one of the last times Lee Morgan and Wayne Shorter would record together with Blakey. Morgan, my Philadelphia Negro and funky trumpeter, contributes to this album with the latin-funk cut, "Calling Ms. Khadija," a danceable number that proves jazz music can groove, too. My Newark brother, Wayne Shorter, an amazing saxophonist, contributes with "Mr. Jin," a contemplative piece. Trombonist Curtis Fuller also adds two amazing songs, "The Egyptian" and "Sortie," which both feature powerful drumming by my boy Art Blakey and Middle-Eastern themes. The final track, "When Love Is New," is your standard ballad that is nice to listen to, but far from essential. 

"The Egyptian": Blakey's drums take us off, along with that repetitive vamp. Doesn't sound very Egyptian, but definitely leaning toward the modal jazz influenced by North African and Middle Eastern music that also impacted Coltrane and Miles Davis. There is something akin to a spiritual search here, and Fuller's trombone solo keeps digging deeper and deeper into the depths of the soul. Shorter's solo around 3:20 also shows Shorter sounding like Coltrane with the overblowing around 4:50s. Morgan's trumpet solo returns us to a more contemplative journey, as does Cedar Walton's piano solo, which does sound Middle Eastern-tinged at times. Of course one must not overlook that titling this piece after the Egyptian nation likely has resonance with Pan-Africanist and African-American reclamation of ancient Egyptian heritage. Interestingly, around 7 minutes into the song, pianist Walton quotes the melody "A Felicidade" from the famous film, Black Orpheus, a nice little tribute to Brazil and bossa nova!

http://www.youtube.com/watch?v=WV5EXrfs_Aw

http://www.youtube.com/watch?v=T6ParynStSU Hear the influence of bossa nova 

"Sortie": Blakey provides some Latin-influenced percussion, Morgan blows that trumpet in a typical hard bop, funky mould we all love, even if it gets monotonous on his later solo albums. Then our savior, Wayne Shorter, comes riding in on his saxophone around 3:45 into the song, sounding a lot like John Coltrane, whose playing began to influence Shorter and push him beyond the Blakey school of hard bop. This is beautiful and funky simultaneously, especially that piano riff Walton takes off with. Proof that trombonists are relevant in post-swing jazz and great composers. Walton's piano solo near the end may be the highlight for me, surprisingly.

http://www.youtube.com/watch?v=idq5XFN-FUQ

"Calling Ms. Khadija": With a name like Khadija, Morgan probably wrote this latin funk piece for a black woman. Blakey's aggressive Latin rhythms propel the piece, as well as the waltzy horns, primarily Morgan. Like "The Sidewinder," this is latin funky bop at its best. Blakey's waltz drum solo here too closely resembles his solo on "Koko's Waltz," another Morgan composition, but its still all good in the hood. It definitely illustrates how Blakey must have been an octopus to play the drums like that. Shorter shines here as well, playing that soulful solo around 2:15 or so. Interesting fact: one source I found claims that the Khadija in this song is actually the sister of McCoy Tyner's wife, Aisha. They're all from Philadelphia, my city.

http://www.youtube.com/watch?v=j1iYARikFJg

"When Love is New": a nice ballad, this is the sole cut from the album that lacks the aggressive, propulsive swing associated with Blakey. Nice horn work, especially on the part of Wayne Shorter, saves this ballad from developing into boredom. But that's hardly a surprise since Shorter always does well with any ballad (listen to Evil Eyes, from Speak No Evil.)

http://www.youtube.com/watch?v=ZhS-ZKxAtRg

"Mr. Jin": Mr. Shorter's sole piece sounds like the first two on the album, especially "The Egyptian." However, Shorter takes the piece into different directions during his time to shine, moving past the restrictive hard bop of the Blakey school of jazz. He calls and responds to himself in a way not limited to the blues form, but sounds like his own solo recordings. Lee Morgan's solo also shows off his ability to play in the same school as Shorter.

http://www.youtube.com/watch?v=cyLY7FSd3WA

Overall, this is one of the strongest albums by Art Blakey and the Jazz Messengers. As someone who loves Lee Morgan and Wayne Shorter, it's always a pleasure to hear them together. This live version of "The Egyptian" with John Gilmore and Lee Morgan is also worth hearing. Gilmore, who was a member of Sun Ra's Arkestra, actually had a huge impact on Coltrane and is truly an unrecognized innovator of the saxophone.

http://www.youtube.com/watch?v=uZ4Wgu5L87E

Best of Art Blakey

I Love Art Blakey and the Jazz Messengers. Their lineup with Wayne Shorter on tenor and my boy Lee Morgan on trumpet is one of the best in jazz. In order to share my love of Art Blakey with the world, I've decided to post links to videos of my favorite songs of his. Enjoy!

Love, the Mystery Of from The African Beat, an album inspired by African folk music. Yusef Lateef lends his valuable skills and knowledge of world music along with multiple percussionists. Art Blakey went to West Africa where he claims he studied religion but it's hard to believe that he didn't also study drumming there...

This rendition of A Night in Tunisia is from the original lineup of the Jazz Messengers, with Horace Silver playing funky piano. Live from Birdland.

It's Only A Paper Moon is an old jazz standard that is rebooted in this recording by the Jazz Messengers with Lee Morgan on trumpet and Wayne Shorter.

Dat Dere, like Moanin', is a funky blues. Like Moanin', it was composed by the pianist, Bobby Timmons. Here's a live performance.

I've always liked Lester Left Town, Wayne Shorter's tribute to the then recently deceased tenor player Lester Young.

Bu's Delight is another fun song with a good drum solo from Blakey. Bu was Blakey's nickname...

Pensativa is a Latin-influenced piece.

Moanin' is one of my favorite songs of all time. Bluesy and drenching with funk. Lee Morgan's trumpet solo is one of his best. Benny Golson aint half bad either.

The Drum Thunder Suite features Blakey drumming in different styles to showcase his abilities as a drummer. Composed by Benny Golson.

I've always liked Blakey's solo on this Middle-Eastern-influenced song.

Lee Morgan's Kozo's Waltz is another favorite of mine with great drumming and a funky bassline.

This recording of A Night in Tunisia with Lee Morgan and Wayne Shorter is my favorite. Looks and sounds amazing live.