"I believe in this music" - Art Blakey.
We love music as much as we love comedy, classic movies, animation and silent films at Way Too Damn Lazy To Write A Blog - can't stick to just one - and for today's post, the spotlight shall be on music. After all, yesterday was the birthday of 20th century music giant Thelonious Monk. Celebrated his birthday by seeing Charlotte Zwerin's documentary Thelonious Monk: Straight No Chaser.
Today, we enthusiastically celebrate the 100th birthday of another 20th century music giant, the great Art Blakey (October 11, 1919 – October 16, 1990).
In the powerhouse percussionist/bandleader pantheon, Art remains paramount, along with Gene Krupa, Max Roach, Buddy Rich, Roy Haynes, Philly Joe Jones, Elvin Jones and Tony Williams.
As fate would have it, two jazz greats, fellow powerhouse percussionist Billy Higgins (1936 – 2001) and trumpet ace Lester Bowie (1941 - 1999) shared that October 11 natal anniversary with Art.
Art Blakey, who (as far as we know) did not play Raymond Scott's "Powerhouse" in any of his set lists, started his five decade career in music with pianist Mary Lou Williams in 1942, before touring with Fletcher Henderson & His Orchestra in 1943-1944, leading his own Boston-based ensemble briefly and then joining vocalist Billy "Mr. B" Eckstine's big band.
At various points in the mid and late 1940's, the Billy Eckstine big band featured young firebrands Charlie Parker, Fats Navarro, Dizzy Gillespie, Dexter Gordon and Miles Davis, as well as Blakey. Arrangements were by Tadd Dameron, Jerry Valentine and Gil Fuller.
Vocalist Sarah Vaughan joined the group in 1944; they were both previously in the touring big band of pianist Earl "Fatha" Hines. As far as Billy's crooning goes, it's a good bet Sinatra was paying attention.
In the following clip, Billy scat-sings a la Ella Fitzgerald, preceding Mel Tormé and Annie Ross in that difficult to master vocal style. Not surprisingly, the second vocalist in the Eckstine group, Sarah Vaughan, would go on to blaze her own trails in the vocalese terrain and record acclaimed duet albums with Billy.
While playing in groups led by clarinetist Buddy DeFranco (the bop era's answer to Artie Shaw), Art met pianist Horace Silver in the early 1950's. The two joined forces and formed the Art Blakey Quintet, which featured trumpet genius Clifford Brown, alto saxophonist Lou Donaldson and bassist Curly Russell. It would be the first of many ensembles led by Art and Horace over several decades.
In 1955, Art and Horace enlisted tenor saxophonist Hank Mobley and trumpeter Kenny Dorham and formed the first official Jazz Messengers group. Blending elements of blues and gospel with modern jazz harmonies and rhythms, the Messengers recorded numerous albums for Blue Note Records.
Horace Silver left to form his own very successful band in 1956 and Art Blakey's Jazz Messengers, featuring stellar lineups of young musicians that changed every 3-5 years (as the group's cornerstones then left and formed their own bands).
Fortunately, the Jazz Messengers recorded and toured incessantly, so, unlike quite a few wonderful jazz and classical music artists, there are numerous examples of their concerts and TV appearances on video to enjoy.
Art Blakey & The Jazz Messengers would endure and entertain audiences around the world for 35 years.
The musicians may have changed, but the winning formula and modus operandi of rhythmically propulsive, soulful, hard-driving jazz (a.k.a. hard bop) remained constant over those decades.
Happy 100th birthday, Art Blakey! For more info, see Art Blakey: Praise The Messenger by Michael J. West.
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