Art Blakey


Theme For Stacy

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Tarih: 25 Şubat 2020 , Salı günü eklendi.
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YORUMLAR (Art Blakey - Theme For Stacy)
  1. Richard Williams

    If anyone in jazz can capture tonation and the mood it is without a doubt Lee Morgan. His sensitivity is what makes him so great imho. Simply AWESOME!

  2. Wayne Colburn

    I love Lee. My grandfather bunny berigan would love his playing. Lee is one of the very greatest.

  3. Deborah W Hardwick

    Thanks for Sharing This Rare & Classic Footage!!!!

  4. MrRatherino

    willing to bet none of them ever took a music lesson in their lives...all pure individual talent..can't be bought....can't be sold..

  5. Valdir Valdir

    So tem fera do jazz!

  6. Johan Lee Meyer

    Blows my mind when i see live footage of the trumpet gods

  7. Rafael

    Lee Morgan played the trumpet the way Miles Davis wished he could have played.

  8. LUCKY 472

    DELIGHTFUL LEE !!!!! ☆☆☆☆☆

  9. Siyabonga Shezi

    Jazz or rather Black Classical Music as Lee Morgan once put it. The oppressor may have stole our land, sold our people into slavery and looted our minerals, but they can never take away the blessings that God poured upon all black people. Our souls remain intact.

  10. Siyabonga Shezi

    Great story teller. Lee Morgan. My hero.

  11. m yoko

    情感 美 苦悩 陰影 深淵 哲学 愛 etc. 素晴らしい!!

  12. cosmocast

    Who the f*** is Stacy to deserve such magic dedicated to her?!

  13. Marc Halikas

    Regality...I LOVE THIS! Sidewinder too!

  14. hakthemonsta

    Wow!! This guy got me hooked on jazz!!

  15. gil b

    straight ahead jazz played correctly very little improvisation needed

  16. A L Maxwell

    Lee Morgan, trumpet John Gilmore, tenor sax John Hicks, piano Victor Sproles, bass Art Blakey, drums

  17. DUB __

    Great playing...terrible perm

  18. RealBro

    Lee Morgan, simply Brilliant!

  19. Bogdan Mincrafter


  20. cruptbside

    Is it true that Art is responsible for getting his side men hooked on skag?

  21. JazzTube

    Review 1/2 Jazz has made tremendous strides in the past few years. Some of the strides have been made in seven-league clogs. Some of them have taken jazz so far beyond the firing line that you can't be sure it's really jazz at all. If you bring up this subject, of course, you may be put down for trying to pigeonhole an art form, or for denying to freedom music the right of freedom from swinging. This writer is reactionary and corny enough to believe that most good jazz is at its best when it swings, when it is an extrovert, rhythmically fluent expression of the performers' emotions, and when the musicians like one another, and like their audiences. Perhaps this is why—correction: I know this is why—Art Blakey for the past ten years has had the most consistently satisfying small combo in modern jazz. Some of the faces on these new sides may be unfamiliar but the basic sound of the Messengers remains pretty much the same, and as always Blakey has among his sidemen enough writing talent to give form, character and color to his repertoire. FAITH is one of the songs from a'Broad-way musical, / HadA Ball. By combining the essence of the simple melody with the uninhibited characteristics of the group, the Messengers manage, as has been their occasional policy in the past, to make a suitable vehicle out of what might have seemed unlikely material. Blakey's eight-beat shuffle background provides an interesting rhythmic pulse. 'S MAKE IT, by Lee Morgan, is an F-minor blues. Perhaps more than any other track in the album, this performance demonstrates the function of the Messengers as a group, and the importance of Blakey as a drummer and leader. There is a tension-and-release quality in the theme that is underlined, in fact virtually delineated, by Blakey's role (and, if you'll excuse the expression, by his rolls). He is a past master of the art of making his presence evident and important without ever stepping over the line into excessive domination of the overall sound. WALTZ FOR RUTH is a John Hicks original with pretty changes. It represents a brand of jazz composition that has become increasingly common in recent years, in the sense that the jazz qualities lie almost entirely in the interpretation. The theme itself is so essentially melodic that it is not entirely unthinkable to conceive of its being performed by Lawrence Welk. (Frankly, I'll stay with Blakey.) On this track Victor Sproles is added to the list of soloists and Fuller has a particularly effective interlude. One For Garnet was named by its composer, Lee Morgan, for Blakey's five-year old son. Morgan is Gamal's godfather. This 16-bar line, based partly on a descending scale, has a happy, old-timey flavor. The informality of the performance is reminiscent of the style of some of the Messengers' earlier works. LITTLE HUGHIE involves one of the more unusual dedications of the several in this album. "I named it," says Curtis Fuller, "for a duck my kids watch on television." Little Hughie may not know it, but he is now a sanctified duck, for the composition is a gospel-flavored blues. In a period that has seen the qualities of church gospel music imitated by artists who sound as if they were about as close to the source as so many Zen Buddhists. Blakey's men are refreshingly at ease in this idiom. That's Lee Morgan doubling on cowbell toward the end. OLYMPIA is an engaging ballad by John Hicks. Though the notes and chords are original enough to be unpredictable, the result is an essentially melodic and pretty composition. Note the fullness of the ensemble sound as Lee Morgan's trumpet is backed up by the two other horns. Both in his adlib-bing and in his exposition of the melody, Morgan shows here how much he has matured since we first saw him as a brash and promising teenager with the Dizzy Gillespie band. Composer Hicks himself contributes a melodic 16-bar solo; Victor Sproles' role, with its appropriate filling of occasional gaps, is another important element. LAMENT FOR STACY starts with a 12/8 feeling that deceptively gives an impression of a fast waltz, but as the theme enters it becomes clear that this is a slow and very lovely ballad. "Stacy is a young female acquaintance of mine," says composer Lee Morgan. The lady evidently inspired him; his solo here is among his most movingly lyrical performances. --Leonard Feather

  22. JazzTube

    Review 2/2 The Messengers VICTOR SPROLES, bass. Born in Chicago, III., November 18, 1927, he studied with private teachers, played tuba in the school band, and was in the Army for two years (1947-49). His professional career got under way in 1950 through work at the Bee Hive, where he was a member of the house rhythm section that accompanied such visiting giants as Lester Young, Sonny Stitt, and Wardell Gray. After touring the U.S. and Japan with Carmen McRae, he joined the Messengers in the fall of 1964. LEE MORGAN, trumpet. Born in Philadelphia, Pa., July 10, 1938, he studied at Mastbaum School and played his first professional jobs in 1953. During the next three years he sat in with some of the name groups that played in local clubs, among them Art Blakey's. He joined Dizzy Gillespie's big band late in 1956 and remained a Ii-tole over a year until the band broke up. After freelancing for awhile he was hired by Blakey in September, 1958, stayed until 1961, and returned again early in 1964. He names Clifford Brown, Gillespie, and Fats Navarro as his chief sources of inspiration. CURTIS DUBOIS FULLER, trombone. Born in Detroit, Mich., December 15, 1934, he played baritone horn in high school. In 1953-55 he was in an Army band that included Cannonball Adderley. After working with Y.usef Lateef and Kenny Burrell in Detroit, he went to New York in 1957 and worked with Miles Davis, Dizzy Gillespie, Lester Young, Gil Evans, then with the Benny Golson-Art Farmer Jazztet (in 1959 - 60) before joining the Messengers. His favorites include J. J. Johnson, Jimmy Cleveland, Bob Brookmeyer, and Urbie Green. JOHN GILMORE, tenor saxophone. Born in Summit, Miss., in 1931, he was brought to Chicago as an infant and studied at Du Sable High. After a long stretch in the service (1948-52), he spent four months with Earl Hines' band, then worked around Chicago with Sun Ra. He joined the Messengers in October 1964. JOHN HICKS, piano. Born in Atlanta, Ga., December 21, 1941, he was raised in Los Angeles and St. Louis and studied at Lincoln U. and at the Berklee School of Music. He worked with the Al Grey-Billy Mitchell combo in Chicago, went to New York in 1962, and was with Kenny Dorham and Lucky Thompson among others before joining Art Blakey in October of 1964. ART BLAKEY I guess you could call me an optimist. We've been very fortunate; the Messengers have been wonderfully received all over Europe, as far away as Finland, and all over Japan; and in the years that I've had a group I've made thousands of wonderful friends all over the world. So I can't help but feel good about the state of jazz and its international acceptance. Still, that doesn't mean that I don't have a few comments and complaints, a couple of constructive suggestions about parts of the scene that I believe could be brighter. The message my men have tried to deliver, no matter which personnel we had, was always jazz. When you get away from swinging, get away from developing along the lines that were started by Diz and Bird and Max, you may be in danger of losing the essence of jazz. There's a lot of things happening in jazz today that are getting away from this hard core of the music, rejecting some of its natural rhythmic character. I believe that a musician can mature and expand without falling into this trap. A while back we had one of those drum nights at Birdland. Max Roach and Elvin Jones and Mel Lewis and I. we had a ball, playing and talking about how things are changing. Elvin is the youngest and he showed his direction and some of the exciting things that are happening; but Max is playing entirely different today, too. It's a beautiful thing to watch. And it'll stay beautiful as long as we all keep that beat in there. You have to have the beat; to that extent the music has to be harnessed. Some musicians today are going so far out that this rhythmic quality is being lost, or deliberately rejected; they are losing all sense of direction, losing the jazz identity. I think you can go way out, but as far as that is concerned, Lennie Tristano and Lee Konitz were doing that kind of thing 15 years ago, but at least it had a direction, it was harnessed to a degree, and it was still jazz. I don't ever want to go out there and stretch out so far that I'll lose the people and lose the fundamental things that to me are part of the jazz idiom. There is another thing in jazz today that I consider to be in very poor taste, and that is that idea of people not coming to hear the music, but coming to see how weird the musicians are going to behave. It's really ridiculous to exploit musicians in this manner instead of just following what they are trying to put down musically. After all is said and done, you know the music itself is going to be what counts, and not the way a man acted or his personal life. I have refused to go into this absurd thing and do something way out to attract people's attention. I aspire to be accepted among my fellow-musicians as a great musician, and to have my band accepted for its musical value. People sometimes will listen to a performance that they really don't understand, but they'll go all out for it because they've heard it's the hip thing to do. Some of these critics like LeRoi Jones will write up something that they don't really understand anything about themselves and get the public stirred up about it; and really, these musicians they write about are not bad musicians, they're just men trying to develop into something, trying to go in another direction, but before they can get a start and mature, the critics ruin them. I believe very firmly in the kind of music our group has represented for the last ten years. I believe it provides the right kind of showcase for individual talent. We have had some wonderful arrangers and arrangements, thanks to men like Horace Silver, Kenny Dorham, Hank Mobley, Benny Golson. Bobby Timmons, Wayne Shorter, and all the others who have played with us and written for us. But at the same time we have always used the group to a large extent as a framework, a setting for improvisation, and I'm very proud of the list of my alumni—some of the most respected soloists in modern jazz, all the way from Clifford Brown on down. Some of the men who used to work with the group have gone out and tried to make it with combos of their own, and most of them haven't had too much luck. They forget that it's the teamwork of your teammates that can help you to sound as good as you do; this is part of the musical policy of the Messengers and, I guess, one of the important reasons for whatever success we have enjoyed. But when they go out on their own and have difficulty finding the right men to back them up and go on the road with them, it's another story. And pretty soon they get disgusted. And I'm glad that Lee Morgan is back with us. He was gone for three years, but after what happened to him during that time, all the disappointments and the difficulties of getting the right jobs, he realized just what was going on. He's a fine musician and a wonderful composer, and I think our first Limelight album demonstrates this very clearly. Of course, in addition to the familiar faces like Lee Morgan and Curtis Fuller, there are some new faces in the group now. I'm always on the lookout for new talent. I have always believed in encouraging the youngsters coming up, and they will always be an inspiration to me. I believe in organization and presentation. No matter how much the musicians may try to convince themselves to the contrary, it's still show business on the bandstand, and I think musicians should conduct themselves accordingly; by the same token, a performance has to have a good theme and development and a mood; it's not enough to just get up there and blow and wander off. I try to show the young musicians the way that I have learned to go in music and the ideas that I believe people will go for. I believe you can do this without compromising; you can deliver good music, well performed. modern, but never go so far ahead of the public that they are lost or so far away from rhythm that jazz itself is lost That's the way I feel about music, and I hope it's all expressed in this album. --Art Blakey

  23. Joe M

    My favorite Art Blakey song!

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