Art Blakey the Jazz Messengers Hard Bop 1956 Rar

Horace Silver and the Jazz Messengers is a 1956 studio anthology by jazz pianist Horace Silvery with drummer Art Blakey and the Jazz Messengers. It was an important album in the establishment of the hard bop style, and was the first studio album released under the band proper name The Jazz Messengers, which Blakey would employ for the remainder of his career. Scott Yanow on Allmusic describes information technology as "a true classic". Originally released equally an LP, the album has subsequently been reissued on CD several times.

Horace Silver and the Jazz Messengers was the first 12" Bluish Note album released under Silvery's name. The anthology is a reissue of two previous 10" LPs -- Horace Silver Quintet (BLP 5058) and Horace Silver Quintet, Vol. 2 (BLP 5062) -- and the kickoff sessions in which he used the quintet format which he would largely apply for the rest of his career. The music on the album mixes bebop influences with blues and gospel feels.

One of the most successful tunes from the album, "The Preacher", was almost rejected for recording by producer Alfred King of beasts, who thought it was "likewise old-timey", but reinstated at the insistence of Blakey and Silver, who threatened to cancel the session until he had written another melody to record in its place if it wasn't included. According to Silver, the rail showed that the band could "reach way dorsum and get that former fourth dimension, gutbucket barroom feeling with only a gustatory modality of the back-beat out".

In 1954, pianist Horace Silver teamed with drummer Art Blakey to form a cooperative ensemble that would combine the dexterity and ability of bebop with the midtempo, downwardly-habitation grooves of blues and gospel music. The results are what would get known equally hard bop, and the Jazz Messengers were one of the leading exponents of this significant era in jazz history. Earlier Silver'southward deviation and Blakey'south lifetime of leadership, this first major session past the original Jazz Messengers set the standard past which future incarnations of the group would exist measured. The tunes here are all Silvery'south, salve the bopping "Hankerin'" past tenor human Hank Mobley. Such cuts equally the opening "Room 608," the bluesy "Creepin' In," and "Hippy" are excellent examples of both Silver's creative composing mode and the Messengers' signature sound. Of form, the most remembered tunes from the session are the classic "The Preacher" and "Doodlin'," two quintessential difficult bop standards. In all, this set is not merely a stunning snapshot of one of the first groups of its kind, but the very definition of a fashion that dominated jazz in the 1950s and '60s.

A true classic, this CD found pianist Horace Silverish and drummer Fine art Blakey co-leading the Jazz Messengers; Silver would get out a twelvemonth later to form his ain grouping. Besides featuring trumpeter Kenny Dorham, Hank Mobley on tenor, and bassist Doug Watkins, this set is most notable for the original versions of Silver's "The Preacher" and "Doodlin'," funky standards that helped launch hard bop and both the Jazz Messengers and Silver's quintet. Essential music.

Horace Silver and the Jazz Messengers is a terrific record. Y'all can put this in the car CD player, striking REPEAT and listen to it over and again without getting likewise tired of it. (OK, maybe after 3 times you'll want to switch to the Ramones, or Willie Nelson, or Bach, just for a change of flavor.)

It is, at once, underrated and overrated. Underrated in the sense that Kenny Dorham and Hank Mobley aren't superstars, or even first-line stars, but should be. Overrated in the sense that the The Jazz Messengers, and especially this very first iteration of the ring, are regarded equally the founding fathers of hard bop who can do near aught wrong.

Yes, Fine art Blakey is here, though not equally prominently every bit in later Messenger albums. Yeah, Horace Silver is the leader and the guy who wrote vii of the 8 wonderful tunes. (Hank Mobley contributed one, too, called "Hankerin.' ") But information technology is truly a group effort, the strength being not only the solos but the perfect unison themes and choruses.

The music, naturally, is all bop—or mostly bop. "The Preacher" is the standout tune, but also the anomaly. It's a real New Orleans-way gospel-ish number that sounds vaguely like "Downwards by the Riverside." (Somewhere in the TV evidence Treme, someone must accept played this vocal—or should have. God, I miss that testify!) "Creepin' In" is a slow burner, a smoky blues noir slice that would fit nicely in any number of Humphrey Bogart movies. And, of grade, in that location is fast, fun, funky bop galore.

You know the history. Silverish soon dropped out of the band, Blakey picked upwards the baton and turned the Jazz Messengers into the all-fourth dimension greatest school of difficult bop in history. More neat musicians than you can count came from this band over the decades. Only it started hither—the start album released under the Jazz Messengers proper noun—and arguably information technology never got ameliorate.

At that place are no bad Messengers albums. Every one is worth hearing and owning. Merely in that location are two or iii albums at the absolute pinnacle, and this is i.

Rail listing:

ane. Room 608
two. Creepin' In
three. Stop Time
4. To Whom It May Concern
five. Hippy
six. The Preacher
7. Hankerin'
8. Doodlin'

Personnel:

Horace Silvery - piano
Kenny Dorham - trumpet
Hank Mobley - tenor saxophone
Doug Watkins - bass
Art Blakey - drums

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