Streaming ilimitado
Escuche este álbum ahora en alta calidad en nuestras apps
Comenzar mi periodo de prueba gratis y escuchar este álbumDisfrute de este álbum en las apps Qobuz con sususcripción
SuscribirDisfrute de este álbum en las apps Qobuz con sususcripción
Idioma disponible: inglés
This third live recording at San Francisco's Keystone Korner in the late '70s and early '80s of drummer Art Blakey's Jazz Messengers is significant for many reasons. It marks the final ushering out of the famous band that was fronted at times by David Schnitter, Curtis Fuller, Bobby Watson, and Valery Ponomarev, with Bill Pierce then the lone holdout. It is the first recording to include alto saxophonist Branford Marsalis (who specialized on tenor and soprano sax,) and teams him with brother Wynton Marsalis and Pierce on a formidable, compact front line. Memphis continues to be represented as Donald Brown takes over for James Williams, and New Orleans bass wizard Charles Fambrough remains. The result is an ultra-melodic band of Messengers who instrumentally sing together, swing hard, and are completely commanded by an energetic and powerful rhythm machine in Blakey, at the time in his early sixties. The show starts with a rousing version of "In Walked Bud," with the front line instrumentally singing this famous melody, Wynton growling on his solo, and Branford lyrically sounding like Charlie Parker. "In a Sentimental Mood" is a feature for Pierce without the brothers, as Brown's chiming comping piano buoys the measured tenor sax. The next three pieces are remainders of the previous bands. "Fuller Love," the Bobby Watson tribute to Curtis Fuller, is a 6/8 modal line full of energy, as biting and precise harmonic bass and horns stab with Blakey's driving rhythms all signify the best hard bop offers in modern times. "Waterfall" is the magnum opus of the set, as the horns ascend and descend dynamically in perfect in and out changes, Wynton's solo double-timed to bop pace the highlight. "A La Mode" is the famous composition of Fuller's played to exacting specs in hushed tones with Brown perfectly shadowing the horns, while Blakey dominates and commands the troops in building tension, then halting them at will. Of the many live recordings with different Jazz Messengers lineups, this ranks among their best, and is a springboard for what the Marsalis brothers would offer as artists in their own right. With Blakey, this combination was special.
© Michael G. Nastos /TiVo
Está escuchando muestras.
Escuche más de 100 millones de pistas con un plan de streaming ilimitado.
Escuche esta playlist y más de 100 millones de pistas con nuestros planes de streaming ilimitado.
Desde $ 124.90/mes
Thelonious Monk, ComposerLyricist - Art Blakey, MainArtist - The Jazz Messengers, MainArtist
℗ 1982 Concord Jazz, Inc.
Irving Mills, ComposerLyricist - Art Blakey, MainArtist - Manny Kurtz, ComposerLyricist - The Jazz Messengers, MainArtist
℗ 1982 Concord Jazz, Inc.
Art Blakey, MainArtist - Bobby Watson, ComposerLyricist - The Jazz Messengers, MainArtist
℗ 1982 Concord Jazz, Inc.
Art Blakey, MainArtist - Wynton Marsalis, ComposerLyricist - The Jazz Messengers, MainArtist - Frank Dorritie, Producer
℗ 1982 Concord Jazz, Inc.
Art Blakey, MainArtist - Curtis Fuller, ComposerLyricist - The Jazz Messengers, MainArtist
℗ 1982 Concord Jazz, Inc.
Presentación del Álbum
This third live recording at San Francisco's Keystone Korner in the late '70s and early '80s of drummer Art Blakey's Jazz Messengers is significant for many reasons. It marks the final ushering out of the famous band that was fronted at times by David Schnitter, Curtis Fuller, Bobby Watson, and Valery Ponomarev, with Bill Pierce then the lone holdout. It is the first recording to include alto saxophonist Branford Marsalis (who specialized on tenor and soprano sax,) and teams him with brother Wynton Marsalis and Pierce on a formidable, compact front line. Memphis continues to be represented as Donald Brown takes over for James Williams, and New Orleans bass wizard Charles Fambrough remains. The result is an ultra-melodic band of Messengers who instrumentally sing together, swing hard, and are completely commanded by an energetic and powerful rhythm machine in Blakey, at the time in his early sixties. The show starts with a rousing version of "In Walked Bud," with the front line instrumentally singing this famous melody, Wynton growling on his solo, and Branford lyrically sounding like Charlie Parker. "In a Sentimental Mood" is a feature for Pierce without the brothers, as Brown's chiming comping piano buoys the measured tenor sax. The next three pieces are remainders of the previous bands. "Fuller Love," the Bobby Watson tribute to Curtis Fuller, is a 6/8 modal line full of energy, as biting and precise harmonic bass and horns stab with Blakey's driving rhythms all signify the best hard bop offers in modern times. "Waterfall" is the magnum opus of the set, as the horns ascend and descend dynamically in perfect in and out changes, Wynton's solo double-timed to bop pace the highlight. "A La Mode" is the famous composition of Fuller's played to exacting specs in hushed tones with Brown perfectly shadowing the horns, while Blakey dominates and commands the troops in building tension, then halting them at will. Of the many live recordings with different Jazz Messengers lineups, this ranks among their best, and is a springboard for what the Marsalis brothers would offer as artists in their own right. With Blakey, this combination was special.
© Michael G. Nastos /TiVo
Acerca del álbum
- 1 disco(s) - 5 pista(s)
- Duración total: 00:46:31
- Artistas principales: Art Blakey The Jazz Messengers
- Compositor: Various Composers
- Sello: Fantasy Records
- Género Jazz
© 1982 Concord Jazz, Inc. ℗ 1982 Concord Jazz, Inc.
Mejorar la información del álbum