Soon, it’s all change and Bobby Timmons jabs and stabs at the keyboard picking out the melody before the drums signal the arrival of the saxophone. Initially the horns play a leading role while the piano plays a supporting role. It’s been reinvented and features a brisk, lilting arrangement. Art Blakey’s drums plays a leading role in the sound and success of this truly memorable track.Ĭlosing Moanin’ is the standard Come Rain Or Come Shine. From the get-go it sounds as if he had been influenced by the music of New Orleans’ marching bands. Later, the suite would become a staple of his live sets.īlues March is another of the Benny Golson composition on the albums. Just like the rest of the album there’ an intensity to his playing as he unleashes on of his finest performance on the album. This three part suite features Drum Thunder, Cry A Blue Tear and Harlem’s Disciples and was a showcase for the legendary drummer and bandleader. The Drum Thunder Suite was written by Benny Golson especially for Art Blakey. It’s the nearest thing to a ballad on the album and is without doubt one of the highlights. The result is a propulsive tracks that’s a mixture of beauty and melancholy.Ĭlosing side one of Moanin’ is Along Came Betty where the tempo drops on this lyrical track that’s much more melodic and expressive. Bobby Timmons fingers dance across the keyboard, Art Blakey powers his way round his drum kit enjoying the opportunity to showboat before the baton passes to bassist Jymie Merritt who plays a fleet-fingered solo. Then when the solos arrive, the rest of the band enjoy the opportunity to shine. Straight away, there’s an almost wistful sound to Are You Real? Especially the horns who pose the question and play a starring role while the rhythm section drive the arrangement along. Art Blakey and The Jazz Messengers are at the top of their game and set the bar high for the rest of this future classic album. Moanin’ opens with the title-track is mellifluous and melodic bluesy shuffle that’s also an early example of soul-jazz. The result was a potent and powerful combination and Moanin’ featured some of the finest music that Art Blakey and The Jazz Messengers would ever record. Critics were won over by what a captivating combination of old-fashioned gospel and blues which Art Blakey and The Jazz Messengers combined with what was their innovative and sophisticated take on modern jazz. Meanwhile, Moanin’ was released to widespread critical acclaim in January 1959. By then, Moanin’ had been released, and Hank Mobley who was former Messenger had rejoined the group. However, Benny Golson wanted to be part of a more structured band, and in 1959 formed The Jazztet with Art Farmer. When Art Blakey and The Jazz Messengers retuned home, Benny Golson left the group.Īlthough he had only been a Messenger for a few months, he had played on a future jazz classic and ensured the band stayed relevant in spite of the growing popularity of the soul-jazz movement. However, all wasn’t well behind the scenes and there were personality clashes during the tour.
#MOANIN ART BLAKEY SERIES#
During November and December 1958, they wowed and won over audiences across Europe with a series of spellbinding performances.
#MOANIN ART BLAKEY PLUS#
These compositions plus Bobby Timmons’ Moanin’ and a cover of Come Rain or Come Shine were recorded by Rudy Van Gelder and produced Alfred Lion and eventually became Moanin’.Īfter the recording of Moanin, Art Blakey and The Jazz Messengers embarked upon a European tour. He wrote Are You Real, Along Came Betty, The Drum Thunder Suite and Blues March. By then, Benny Golson was The Jazz Messengers’ musical director and chief composer. On the ‘30th’ of October 1958, Art Blakey and The Jazz Messengers journeyed to the original Van Gelder Studio, at 25 Prospect Avenue in Hackensack, New Jersey. Now Art Blakey and The Jazz Messengers had signed to jazz’s premiere label and were about to record one of the most important albums of their career. The group had led a nomadic existence for the past few years recording for a number of different labels including Columbia, Pacific Jazz, Cadet, Vic Records, Jubilee, Atlantic and Bethlehem. It was also Art Blakey and The Jazz Messengers debut album for Blue Note Records. This latest lineup of The Messengers made their recording debut on what would become a classic album, Moanin’. They were all from Philly, and included bassist Jymie Merritt, pianist Bobby Timmons and trumpeter Lee Morgan who joined Benny Golson in the front line. He joined in 1958, and during the summer, helped Art Blakey recruit three new Messengers. Jazz Classic: Art Blakey and The Jazz Messengers-Moanin’.Īlthough Philly-born tenor saxophonist Benny Golson’s tenure with The Jazz Messengers was short-lived, he still played an important part in the development and history of the group. JAZZ CLASSIC: ART BLAKEY AND THE JAZZ MESSENGERS-MOANIN’.