High Modes Art Blakey the Jazz Messengers the Comedian
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This time capsule, recorded in 1959 in Rudy Van Gelder's Hackensack, NJ, living room and left undisturbed in the Blueish Note vaults until now, contains the essential DNA of the outset flowering of hard bop in the late '50s. All the genre hallmarks are present: There are intricate chase-scene originals and clever arrangements (the standard "Close Your Eyes") and brash blues-inflected outbursts that light upwardly the solos. And even so, transcending those individual traits, defining non just the notes but the very spirit of the attempt, is a quality that doesn't get discussed enough in jazz—precision, as in persnickety dotted i's and crossed t's.
At times it'southward downright startling hearing these five musicians nail the details to the wall. They're inappreciably "just coolin'" hither; they're circumspect to the small nuances of tunes that might take been written the morning of the session. You can detect the commitment in the pitch-angle doiiiits and the staccato unmarried-note jabs, in the explosion of a long-cresting press roll and the deliberate, nothing-extra step of a Blakey-trademarked medium-tempo swing. You lot can hear it in the way trumpeter Lee Morgan and tenor saxophonist Hank Mobley phrase together, adding grace notes that are nearly inaudible just key nonetheless. And you can't miss it in the thrillingly open lanes where the solos happen. Blakey was revered for the communication he cultivated between musicians; using a repertoire of hits and jabs, he pulled his collaborators into rich, sometimes boisterous discussions, a mode of interplay that in many ways defines hard bop.
At that place are enough of examples on this record, but perhaps the nearly crystalline comes during Morgan's first few choruses on "Jimerick," a blazing uptempo blues. He begins with a short inversion of the theme, first restating it in a lazy mode. Then he articulates more aggressively, as though trying to found consensus on the tempo. Blakey picks that upward, and jabs out an even sharper response from the metal rim of the snare drum. That unleashes some hateful Morgan double-time bebop; what began as a single-note bugle telephone call becomes an intricate conversation. Each element of that conversation is notable for its clarity, and each new soloist contributes to it in a different way—check the unhurried, wonderfully lucid way Mobley carves upward the opening "Hipsippy Dejection." The melody is one of three originals Mobley wrote for the date, and if it's familiar that'south because information technology was included on a monumental live recording captured a few months later—At the Jazz Corner of the World, a fiery and complex document that's become part of the "essential listening" jazz canon. Just Coolin', which is apparently the only other recording of this brusk lived incarnation of the group, might be a step below that in terms of intensity. But only a step. © Tom Moon/Qobuz
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Bernie Grundman, Mastering Engineer, StudioPersonnel - Rudy Van Gelder, Recording Engineer, StudioPersonnel - Alfred Lion, Producer - Hank Mobley, Tenor Saxophone, AssociatedPerformer, ComposerLyricist - Art Blakey, Drums, AssociatedPerformer - Lee Morgan, Trumpet, AssociatedPerformer - Bobby Timmons, Piano, AssociatedPerformer - Jymie Merritt, Double Bass, AssociatedPerformer - Fine art Blakey & The Jazz Messengers, MainArtist - Kevin Gray, Mastering Engineer, StudioPersonnel - Zev Feldman, Producer, Additional Producer
℗ 2020 UMG Recordings, Inc.
Bernie Grundman, Mastering Engineer, StudioPersonnel - Rudy Van Gelder, Recording Engineer, StudioPersonnel - Alfred Lion, Producer - Hank Mobley, Tenor Saxophone, AssociatedPerformer - Art Blakey, Drums, AssociatedPerformer - Lee Morgan, Trumpet, AssociatedPerformer - Bobby Timmons, Piano, AssociatedPerformer - Bernice Petkere, ComposerLyricist - Jymie Merritt, Double Bass, AssociatedPerformer - Art Blakey & The Jazz Messengers, MainArtist - Kevin Grayness, Mastering Engineer, StudioPersonnel - Zev Feldman, Producer, Additional Producer
℗ 2020 UMG Recordings, Inc.
Bernie Grundman, Mastering Engineer, StudioPersonnel - Rudy Van Gelder, Recording Engineer, StudioPersonnel - Alfred Lion, Producer - Hank Mobley, Tenor Saxophone, AssociatedPerformer - Art Blakey, Drums, AssociatedPerformer - Lee Morgan, Trumpet, AssociatedPerformer - Bobby Timmons, Piano, AssociatedPerformer - Jymie Merritt, Double Bass, AssociatedPerformer - Art Blakey & The Jazz Messengers, MainArtist - UNKNOWN COMPOSER, ComposerLyricist - Kevin Greyness, Mastering Engineer, StudioPersonnel - Zev Feldman, Producer, Boosted Producer
℗ 2020 UMG Recordings, Inc.
Bernie Grundman, Mastering Engineer, StudioPersonnel - Rudy Van Gelder, Recording Engineer, StudioPersonnel - Alfred Lion, Producer - Hank Mobley, Tenor Saxophone, AssociatedPerformer - Art Blakey, Drums, AssociatedPerformer - Lee Morgan, Trumpet, AssociatedPerformer - Bobby Timmons, Pianoforte, AssociatedPerformer, ComposerLyricist - Jymie Merritt, Double Bass, AssociatedPerformer - Fine art Blakey & The Jazz Messengers, MainArtist - Kevin Grayness, Mastering Engineer, StudioPersonnel - Zev Feldman, Producer, Additional Producer
℗ 2020 UMG Recordings, Inc.
Bernie Grundman, Mastering Engineer, StudioPersonnel - Rudy Van Gelder, Recording Engineer, StudioPersonnel - Alfred King of beasts, Producer - Hank Mobley, Tenor Saxophone, AssociatedPerformer, ComposerLyricist - Art Blakey, Drums, AssociatedPerformer - Lee Morgan, Trumpet, AssociatedPerformer - Bobby Timmons, Pianoforte, AssociatedPerformer - Jymie Merritt, Double Bass, AssociatedPerformer - Fine art Blakey & The Jazz Messengers, MainArtist - Kevin Greyness, Mastering Engineer, StudioPersonnel - Zev Feldman, Producer, Additional Producer
℗ 2020 UMG Recordings, Inc.
Bernie Grundman, Mastering Engineer, StudioPersonnel - Rudy Van Gelder, Recording Engineer, StudioPersonnel - Alfred Panthera leo, Producer - Hank Mobley, Tenor Saxophone, AssociatedPerformer, ComposerLyricist - Art Blakey, Drums, AssociatedPerformer - Lee Morgan, Trumpet, AssociatedPerformer - Bobby Timmons, Pianoforte, AssociatedPerformer - Jymie Merritt, Double Bass, AssociatedPerformer - Art Blakey & The Jazz Messengers, MainArtist - Kevin Gray, Mastering Engineer, StudioPersonnel - Zev Feldman, Producer, Additional Producer
℗ 2020 UMG Recordings, Inc.
Album Description
This time capsule, recorded in 1959 in Rudy Van Gelder's Hackensack, NJ, living room and left undisturbed in the Blue Note vaults until now, contains the essential DNA of the start flowering of hard bop in the late '50s. All the genre hallmarks are present: At that place are intricate hunt-scene originals and clever arrangements (the standard "Close Your Optics") and advised dejection-inflected outbursts that light up the solos. And yet, transcending those individual traits, defining non just the notes but the very spirit of the endeavor, is a quality that doesn't get discussed enough in jazz—precision, equally in persnickety dotted i'due south and crossed t's.
At times it's downright startling hearing these 5 musicians smash the details to the wall. They're hardly "just coolin'" here; they're attentive to the modest nuances of tunes that might have been written the morn of the session. You can detect the commitment in the pitch-bending doiiiits and the staccato unmarried-notation jabs, in the explosion of a long-cresting press roll and the deliberate, zilch-extra stride of a Blakey-trademarked medium-tempo swing. You tin hear it in the way trumpeter Lee Morgan and tenor saxophonist Hank Mobley phrase together, calculation grace notes that are near inaudible but key nonetheless. And you lot tin can't miss information technology in the thrillingly open lanes where the solos happen. Blakey was revered for the advice he cultivated between musicians; using a repertoire of hits and jabs, he pulled his collaborators into rich, sometimes bouncy discussions, a mode of interplay that in many ways defines hard bop.
There are plenty of examples on this record, just perhaps the nearly crystalline comes during Morgan's showtime few choruses on "Jimerick," a blazing uptempo blues. He begins with a short inversion of the theme, start restating information technology in a lazy way. Then he articulates more aggressively, as though trying to establish consensus on the tempo. Blakey picks that upwardly, and jabs out an even sharper response from the metal rim of the snare drum. That unleashes some mean Morgan double-time bebop; what began as a unmarried-notation bugle phone call becomes an intricate chat. Each chemical element of that conversation is notable for its clarity, and each new soloist contributes to it in a different fashion—check the unhurried, wonderfully lucid way Mobley carves upwardly the opening "Hipsippy Blues." The tune is one of three originals Mobley wrote for the engagement, and if it'south familiar that's because it was included on a monumental live recording captured a few months later—At the Jazz Corner of the World, a fiery and complex document that's become function of the "essential listening" jazz canon. But Coolin', which is apparently the just other recording of this short lived incarnation of the grouping, might be a step beneath that in terms of intensity. But merely a step. © Tom Moon/Qobuz
Near the album
- ane disc(s) - half-dozen track(s)
- Total length: 00:38:53
- Principal artist: Fine art Blakey & The Jazz Messengers
- Composer: Various Composers
- Label: Blueish Note Records
- Genre: Jazz
-
24-Fleck 192.0 kHz - Stereo
© 2020 UMG Recordings, Inc. ℗ 2020 UMG Recordings, Inc.
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Source: https://www.qobuz.com/us-en/album/just-coolin-art-blakey-the-jazz-messengers/vazaja7shnsdc?lf=28ad4a3c8627015c52ce0841234e5614
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