Art Blakey: How The Jazz Messenger Shaped The Future Of Jazz.A Guide To Blue Note: 10 Essential Albums You Must Hear.Its opener, “Backstage Sally,” is regarded as a classic Messengers tune and was written by Wayne Shorter, who had joined the band in 1959 and made his debut on 1960’s The Big Beat album, where he immediately showed his qualities as a composer. Ear-shattering percussion pyrotechnicsīuhaina’s Delight was birthed from two separate sessions at Rudy Van Gelder’s famous Englewood Cliffs studio, on Tuesday, November 28, and Monday, December 18 1961. They were all hand-picked by their leader, Blakey, who was an astute judge of young talent and provided them with impeccable training on the bandstand. When he joined the band, Art Blakey had just expanded the group from a quintet (which had been its usual configuration) to a sextet, with the addition of Curtis Fuller, whose resonant slide trombone brought both richer textures and deeper sonorities to the group’s horn sound.Įnriched by Fuller’s musical presence, the band at this time also included rising tenor saxophonist Wayne Shorter, pianist Cedar Walton ( Buhaina’s Delight was only his second studio outing with the band), and bassist Jymie Merritt, a stalwart from the Moanin’ days. Like Morgan, the Indianapolis-born Hubbard enjoyed a parallel solo career at Blue Note while also playing with The Messengers. In the late summer of 1961, however, he left to be replaced by an even more dazzling and flamboyant horn blower: Freddie Hubbard. Trumpeter Lee Morgan – a precociously-talented prodigy who signed to Blue Note as a solo artist at the age of 17, in 1956 – had led Blakey’s front line since 1958, when he made his debut on the band’s famous Moanin’ album.
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