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Reseña de álbum

An absolutely wonderful 1961 set from Blakey and company, who demonstrate here how to be note-perfect without leeching away the emotion of a performance. Aside from Blakey's divine drum work, the standouts include Jaymie Merritt's trippy bass fingerwork and Wayne Shorter blowing his heart out on tenor sax.

Reseñas de clientes

What?

Did we listen to the same album? All arrangements are tight. The group as a whole really swings. Do not know what critic is talking about. For $5 this album is a steal!

Woke Me Up

I first heard the music on this album in 1960, when I was 16. I immediately knew that there were huge aspects of life that a 16 year old white boy from Pittsburgh could not comprehend. I have seen a lot of life in the almost 50 years since, but this music still makes me hungry to understand more. It's lyrical, technical and free, all at once. Magnificent.

The Jazz Messengers At the Top Of Their Game

Originally released on Impulse in 1961 this gathering of The Messengers is one of the strongest ever. Please let no one overlook that the trumpet player on this album is the legendary Lee Morgan, as mentioned by others the brilliant Wayne Shorter on tenor, Curtis Fuller on trombone, the magnificent Bobby Timmons on piano, Jymie Merritt on bass and a guy the union sent over on drums :-) Recording engineer on this one is very important, one of the greats, Rudy Van Gelder and produced by Bob Thiele (this matters to we jazz fans). One reviewer remarked that this is a steal at $5.00. Well, it's a steal at $20.00 which is what I paid for my hard copy (or thereabouts). This is Art and his classic Jazz Messengers at the top of their game and the choice of material is first rate. Don't even think twice about buying this treasure. Just buy it!

Joe Hayes,
Del Mar, CA

Biografía

Nacido/a: Pittsburgh, PA, 11 de octubre de 1919

Género: Jazz

Años de actividad: '40s, '50s, '60s, '70s, '80s

In the '60s, when John Coltrane and Ornette Coleman were defining the concept of a jazz avant-garde, few knowledgeable observers would have guessed that in another 30 years the music's mainstream would virtually bypass their innovations, in favor of the hard bop style that free jazz had apparently supplanted. As it turned out, many listeners who had come to love jazz as a sophisticated manifestation of popular music were unable to accept the extreme esotericism of the avant-garde; their tastes were...
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