Minor Thesis - Musik

Minor Thesis by Art Blakey & The Jazz Messengers Big Band

Art Blakey & The Jazz Messengers Big Band

Künstlerbiographie Art Blakey & The Jazz Messengers Big Band

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 Citation Needed 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. Two Of The Group's Most Famous Lineups Featured Wayne Shorter On Saxophone. The First Was A Quintet That Existed From 1959 To 1961 And Included Blakey Shorter 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 Blakey Went On To Record Dozens Of Albums With A Constantly Changing Group Of Jazz Messengers — He Had A Policy Of Encouraging Young Musicians As He Remarked On-Mike On A Night At Birdland 1954 "I'm Gonna Stay With The Youngsters. When These Get Too Old I'll Get Some Younger Ones. Keeps The Mind Active." After Weathering The Fusion Era Of The 1960s And 1970s With Some Difficulty Recordings From This Period Are Less Plentiful And Include Attempts To Incorporate Instruments Like Electric Piano Blakey's Band Got A Shot In The Arm In The Late 1970s And Early 1980s With The Advent Of Neotraditionalist Jazz. Wynton Marsalis Was For A Time The Band's Trumpeter And Musical Director And Even After Marsalis's Departure Blakey's Band Continued As A Proving Ground For Many So-Called "Young Lion" Players. Blakey Continued Performing And Touring With The Group Into The Late 1980s And He Died In 1990 In New York City Leaving Behind A Vast Legacy And Approach To Jazz Which Is Still The Model For Countless Hard-Bop Players. Up To The 1960s Blakey Also Recorded As A Sideman With Many Other Musicians Jimmy Smith Herbie Nichols Cannonball Adderley Miles Davis Grant Green And Jazz Messengers Graduates Lee Morgan And Hank Mobley Amongst Many Others. However After The Mid-1960s He Mostly Concentrated On His Own Work As A Leader.