Arthur "Art" Blakey (October 11, 1919 โ October 16, 1990), also known as A… Read Full Bio ↴Arthur "Art" Blakey (October 11, 1919 โ October 16, 1990), also known as Abdullah Ibn Buhaina, was an American jazz drummer and bandleader.
Along with Kenny Clarke and Max Roach, he was one of the inventors of the modern bebop style of drumming. He is known as a powerful musician and a vital groover; his brand of bluesy, funky hard bop was and continues to be profoundly influential on mainstream jazz. For more than 30 years his band Art Blakey & The Jazz Messengers included many young musicians who went on to become prominent names in jazz. The band's legacy is thus not only known for the often exceptionally fine music it produced, but as a proving ground for several generations of jazz musicians; Blakey's groups are matched only by those of Miles Davis in this regard. He was a member of the Ahmadiyya Muslim Community.
Legendary jazz drummer Art Blakey (1919-1990) is best known for the band he led, known as Art Blakey & The Jazz Messengers, which over the course of thirty years included some of the most prominent jazz musicians of the day -- including Clifford Brown, Wayne Shorter, Lee Morgan, Wynton Marsalis and Branford Marsalis.
Blakey was born in Pittsburgh, Pennsylvania. By the time he was a teenager he was playing the piano full-time, leading a commercial band. Shortly afterwards, he taught himself to play the drums in the aggressive swing style of Chick Webb, Sid Catlett and Ray Bauduc. He joined Mary Lou Williams as a drummer for an engagement in New York in autumn 1942. He then toured with the Fletcher Henderson Orchestra (1943โ4). During his years with Billy Eckstineโs big band (1944โ7) Blakey became associated with the modern-jazz movement, along with his fellow band members Miles Davis, Dexter Gordon, Fats Navarro and others.[4]
In 1947 Blakey organized the Seventeen Messengers, a rehearsal band, and recorded with an octet called the Jazz Messengers. He claimed that he then travelled to Africa. Unfortunately, no documentation has been uncovered that supports this claim. In the early 1950s he performed and broadcast with such musicians as Charlie Parker, Miles Davis and Clifford Brown, and particularly with Horace Silver, his kindred musical spirit of this time. Blakey and Silver recorded together on several occasions, including the album A Night at Birdland (1954, BN), having formed in 1953 a cooperative group with Hank Mobley and Kenny Dorham, retaining the name Jazz Messengers. By 1956 Silver had left and the leadership of this important band passed to Blakey, and he remained associated with it until his death. It was the archetypal hard-bop group of the late 1950s, playing a driving, aggressive extension of bop with pronounced blues roots. Over the years the Jazz Messengers served as a springboard for young jazz musicians such as Donald Byrd, Johnny Griffin, Lee Morgan, Wayne Shorter, Freddie Hubbard, Keith Jarrett, Chuck Mangione, Woody Shaw, JoAnne Brackeen and Wynton Marsalis. Blakey also made a world tour in 1971โ2 with the Giants of Jazz (with Dizzy Gillespie, Kai Winding, Sonny Stitt, Thelonious Monk and Al McKibbon). [4]
From his earliest recording sessions with Eckstine, and particularly in his historic sessions with Monk in 1947, Blakey exuded power and originality, creating a dark cymbal sound punctuated by frequent loud snare- and bass-drum accents in triplets or cross-rhythms. Although Blakey discouraged comparison of his own music with African drumming, he adopted several African devices after his visit in 1948โ9, including rapping on the side of the drum and using his elbow on the tom-tom to alter the pitch. His much-imitated trademark, the forceful closing of the hi-hat on every second and fourth beat, was part of his style from 1950 to '51. A loud and domineering drummer, Blakey also listened and responded to his soloists. His contribution to jazz as a discoverer and molder of young talent over three decades was no less significant than his very considerable innovations on his instrument.
In the 1940s, Blakey was a member of bands led by Mary Lou Williams, Fletcher Henderson, and Billy Eckstine. He converted to Islam during a visit to West Africa in the late 1940s and took the name Abdullah Ibn Buhaina (which led to the nickname "Bu"). By the late forties and early fifties, Blakey was backing musicians such as Miles Davis, Bud Powell and Thelonious Monk โ he is often considered to have been Monk's most empathetic drummer, and he played on both Monk's first recording session as a leader (for Blue Note Records in 1947) and his final one (in London in 1971), as well as many in between.
Up to the 1960s Blakey also recorded as a sideman with many other musicians: Jimmy Smith, Herbie Nichols, Cannonball Adderley, Grant Green, and Jazz Messengers graduates Lee Morgan and Hank Mobley, amongst many others. However, after the mid-1960s he mostly concentrated on his own work as a leader.
The origins of the Messengers are in a series of groups led or co-led by Blakey and pianist Horace Silver, though the name was not used on the earliest of their recordings. The most celebrated of these early records (credited to "The Art Blakey Quintet"), is A Night at Birdland from February 1954, one of the earliest commercially released "live" jazz records. This featured Silver, Blakey, the young trumpeter Clifford Brown, alto saxophonist Lou Donaldson and bassist Curly Russell. The "Jazz Messengers" name was first used on a 1954 recording nominally led by Silver, with Blakey, Hank Mobley, Kenny Dorham and Doug Watkins โ the same quintet would record The Jazz Messengers at the Cafe Bohemia the following year, still as a collective. Donald Byrd replaced Dorham, and the group recorded an album called simply The Jazz Messengers for Columbia Records in 1956. Blakey took over the group name when Silver left after the band's first year (taking Mobley, Byrd and Watkins with him to form a new quintet with a variety of drummers), and the band was known as "Art Blakey and the Jazz Messengers" from then onwards.
From 1959 to 1961 the group featured Wayne Shorter on tenor saxophone, Jymie Merritt, Lee Morgan, and Bobby Timmons. The second line-up (1961โ1964) was a sextet that added trombonist Curtis Fuller and replaced Morgan and Timmons with Freddie Hubbard and Cedar Walton, respectively. Shorter was the musical director of the group, and many of his original compositions such as "Lester Left Town" remained staples of Blakey's repertoire even after Shorter's departure. (Other players over the years made permanent marks on Blakey's repertoire โ Timmons, composer of "Dat Dere" and "Moanin'", Benny Golson, composer of "Along Came Betty" and "Are You Real", and, later, Bobby Watson.) Shorter's more experimental inclinations pushed the band at the time into an engagement with the 1960s "New Thing", as it was called: the influence of Coltrane's contemporary records on Impulse! is evident on Free For All (1964), often cited as the greatest document of the Shorter-era Messengers (and certainly one of the most fearsomely powerful examples of hard bop on record)
Blakey went on to record dozens of albums with a constantly changing group of Jazz Messengers โ he had a policy of encouraging young musicians: as he remarked on-mike on A Night at Birdland (1954): "I'm gonna stay with the youngsters. When these get too old I'll get some younger ones. Keeps the mind active." After weathering the fusion era in the 1970s with some difficulty (recordings from this period are less plentiful and include attempts to incorporate instruments like electric piano), Blakey's band got revitalized in the early 1980s with the advent of neotraditionalist jazz. Wynton Marsalis was for a time the band's trumpeter and musical director, and even after Marsalis's departure Blakey's band continued as a proving ground for many "Young Lions" like Terence Blanchard, Donald Harrison and Kenny Garrett. Blakey continued performing and touring with the group into the late 1980s, and he died in 1990 of lung cancer in New York City, leaving behind a vast legacy and approach to jazz which is still the model for countless hard-bop players.
Along with Kenny Clarke and Max Roach, he was one of the inventors of the modern bebop style of drumming. He is known as a powerful musician and a vital groover; his brand of bluesy, funky hard bop was and continues to be profoundly influential on mainstream jazz. For more than 30 years his band Art Blakey & The Jazz Messengers included many young musicians who went on to become prominent names in jazz. The band's legacy is thus not only known for the often exceptionally fine music it produced, but as a proving ground for several generations of jazz musicians; Blakey's groups are matched only by those of Miles Davis in this regard. He was a member of the Ahmadiyya Muslim Community.
Legendary jazz drummer Art Blakey (1919-1990) is best known for the band he led, known as Art Blakey & The Jazz Messengers, which over the course of thirty years included some of the most prominent jazz musicians of the day -- including Clifford Brown, Wayne Shorter, Lee Morgan, Wynton Marsalis and Branford Marsalis.
Blakey was born in Pittsburgh, Pennsylvania. By the time he was a teenager he was playing the piano full-time, leading a commercial band. Shortly afterwards, he taught himself to play the drums in the aggressive swing style of Chick Webb, Sid Catlett and Ray Bauduc. He joined Mary Lou Williams as a drummer for an engagement in New York in autumn 1942. He then toured with the Fletcher Henderson Orchestra (1943โ4). During his years with Billy Eckstineโs big band (1944โ7) Blakey became associated with the modern-jazz movement, along with his fellow band members Miles Davis, Dexter Gordon, Fats Navarro and others.[4]
In 1947 Blakey organized the Seventeen Messengers, a rehearsal band, and recorded with an octet called the Jazz Messengers. He claimed that he then travelled to Africa. Unfortunately, no documentation has been uncovered that supports this claim. In the early 1950s he performed and broadcast with such musicians as Charlie Parker, Miles Davis and Clifford Brown, and particularly with Horace Silver, his kindred musical spirit of this time. Blakey and Silver recorded together on several occasions, including the album A Night at Birdland (1954, BN), having formed in 1953 a cooperative group with Hank Mobley and Kenny Dorham, retaining the name Jazz Messengers. By 1956 Silver had left and the leadership of this important band passed to Blakey, and he remained associated with it until his death. It was the archetypal hard-bop group of the late 1950s, playing a driving, aggressive extension of bop with pronounced blues roots. Over the years the Jazz Messengers served as a springboard for young jazz musicians such as Donald Byrd, Johnny Griffin, Lee Morgan, Wayne Shorter, Freddie Hubbard, Keith Jarrett, Chuck Mangione, Woody Shaw, JoAnne Brackeen and Wynton Marsalis. Blakey also made a world tour in 1971โ2 with the Giants of Jazz (with Dizzy Gillespie, Kai Winding, Sonny Stitt, Thelonious Monk and Al McKibbon). [4]
From his earliest recording sessions with Eckstine, and particularly in his historic sessions with Monk in 1947, Blakey exuded power and originality, creating a dark cymbal sound punctuated by frequent loud snare- and bass-drum accents in triplets or cross-rhythms. Although Blakey discouraged comparison of his own music with African drumming, he adopted several African devices after his visit in 1948โ9, including rapping on the side of the drum and using his elbow on the tom-tom to alter the pitch. His much-imitated trademark, the forceful closing of the hi-hat on every second and fourth beat, was part of his style from 1950 to '51. A loud and domineering drummer, Blakey also listened and responded to his soloists. His contribution to jazz as a discoverer and molder of young talent over three decades was no less significant than his very considerable innovations on his instrument.
In the 1940s, Blakey was a member of bands led by Mary Lou Williams, Fletcher Henderson, and Billy Eckstine. He converted to Islam during a visit to West Africa in the late 1940s and took the name Abdullah Ibn Buhaina (which led to the nickname "Bu"). By the late forties and early fifties, Blakey was backing musicians such as Miles Davis, Bud Powell and Thelonious Monk โ he is often considered to have been Monk's most empathetic drummer, and he played on both Monk's first recording session as a leader (for Blue Note Records in 1947) and his final one (in London in 1971), as well as many in between.
Up to the 1960s Blakey also recorded as a sideman with many other musicians: Jimmy Smith, Herbie Nichols, Cannonball Adderley, Grant Green, and Jazz Messengers graduates Lee Morgan and Hank Mobley, amongst many others. However, after the mid-1960s he mostly concentrated on his own work as a leader.
The origins of the Messengers are in a series of groups led or co-led by Blakey and pianist Horace Silver, though the name was not used on the earliest of their recordings. The most celebrated of these early records (credited to "The Art Blakey Quintet"), is A Night at Birdland from February 1954, one of the earliest commercially released "live" jazz records. This featured Silver, Blakey, the young trumpeter Clifford Brown, alto saxophonist Lou Donaldson and bassist Curly Russell. The "Jazz Messengers" name was first used on a 1954 recording nominally led by Silver, with Blakey, Hank Mobley, Kenny Dorham and Doug Watkins โ the same quintet would record The Jazz Messengers at the Cafe Bohemia the following year, still as a collective. Donald Byrd replaced Dorham, and the group recorded an album called simply The Jazz Messengers for Columbia Records in 1956. Blakey took over the group name when Silver left after the band's first year (taking Mobley, Byrd and Watkins with him to form a new quintet with a variety of drummers), and the band was known as "Art Blakey and the Jazz Messengers" from then onwards.
From 1959 to 1961 the group featured Wayne Shorter on tenor saxophone, Jymie Merritt, Lee Morgan, and Bobby Timmons. The second line-up (1961โ1964) was a sextet that added trombonist Curtis Fuller and replaced Morgan and Timmons with Freddie Hubbard and Cedar Walton, respectively. Shorter was the musical director of the group, and many of his original compositions such as "Lester Left Town" remained staples of Blakey's repertoire even after Shorter's departure. (Other players over the years made permanent marks on Blakey's repertoire โ Timmons, composer of "Dat Dere" and "Moanin'", Benny Golson, composer of "Along Came Betty" and "Are You Real", and, later, Bobby Watson.) Shorter's more experimental inclinations pushed the band at the time into an engagement with the 1960s "New Thing", as it was called: the influence of Coltrane's contemporary records on Impulse! is evident on Free For All (1964), often cited as the greatest document of the Shorter-era Messengers (and certainly one of the most fearsomely powerful examples of hard bop on record)
Blakey went on to record dozens of albums with a constantly changing group of Jazz Messengers โ he had a policy of encouraging young musicians: as he remarked on-mike on A Night at Birdland (1954): "I'm gonna stay with the youngsters. When these get too old I'll get some younger ones. Keeps the mind active." After weathering the fusion era in the 1970s with some difficulty (recordings from this period are less plentiful and include attempts to incorporate instruments like electric piano), Blakey's band got revitalized in the early 1980s with the advent of neotraditionalist jazz. Wynton Marsalis was for a time the band's trumpeter and musical director, and even after Marsalis's departure Blakey's band continued as a proving ground for many "Young Lions" like Terence Blanchard, Donald Harrison and Kenny Garrett. Blakey continued performing and touring with the group into the late 1980s, and he died in 1990 of lung cancer in New York City, leaving behind a vast legacy and approach to jazz which is still the model for countless hard-bop players.
The Summit
Art Blakey Lyrics
We have lyrics for 'The Summit' by these artists:
Avi Kaplan Keep walking, keep talking, keep climbing to the summit Keep…
AzizTheShake Whatโs my mothafuckin name? (A, A, A) Whats my mothafuckin n…
B.H. Here we go here we go ่ฅฟใ ๆฑใ ใใฃใใธใงใณ ใใฃใใธใงใณ ็นใใใฎ ใใคใซใใฉใณ ่ใใ ่ฅใ…
Bear McCreary Fylg minni Rรถdd Er รพรฉr lรฝsir um nรณtt Hann รพarf รพinn styrk รพรบ…
breaths We'll never see it With our eyes closed Something we failed …
Divisions Here we go here we go ่ฅฟใ ๆฑใ ใใฃใใธใงใณ ใใฃใใธใงใณ ็นใใใฎ ใใคใซใใฉใณ ่ใใ ่ฅใ…
Frank Sinatra Las Vegas, Nev You know why I fly up there so…
House of Lords THE SUMMIT HymasChristianBell Now you're at the crossroads …
Ofln - Spiritbox I was looking for the wrong way out Empty road is…
SpiritBox I was looking for the wrong way out Empty road is…
We have lyrics for these tracks by Art Blakey:
'Round Midnight It begins to tell 'Round midnight, midnight I do pretty well…
A_Night_In_Tunisia [Instrumental]…
Blue Moon Blue moon you saw me standing alone Without a dream in…
Blues Blue moon you saw me standing alone Without a dream in…
Body And Soul My heart is sad and lonely For you I sigh, for…
Caravan Night and stars above that shine so bright The myst'ry…
How Deep Is the Ocean How much do I love you? I'll tell you no lie How…
I mean you I could show the world how to smile I could be…
I Remember Clifford I know heโฒll never be forgotten Long as there's still sound …
I Waited for You This is hard to say, but as I wandered through…
If I Had You I could show the world how to smile I could be…
Ill Wind Hush now don't explain I know you raise Cain I'm glad you'…
It's Only a Paper Moon Say, it's only a paper moon Sailing over a cardboard sea But…
It's You or No One How did I know that the warmth of the glow…
Just One of Those Things It was just one o' those things Just one o' those…
Like Someone in Love Lately, I find myself out gazing at stars, Hearing guitars…
Lover I don't know why but I'm feeling so sad I long…
My Heart Stood Still I took one look at you That's all I meant to…
Never Never Land I'll never be the same Stars have lost their meaning for…
Once in a While Once in a while will you try to give One little…
One By One I could show the world how to smile I could be…
One For Trane This is hard to say, but as I wandered through…
Round 'Bout Midnight It begins to tell 'Round midnight, midnight I do pretty well…
Skylark Skylark Have you anything to say to me? Won't you tell me…
Song Is You I hear music when I look at you, A beautiful theme…
Split Kick Ladies and gentleman, as you know we have something special…
Stardust And now the purple dusk of twilight time Steals across the…
That Old Feeling Last night I started out happy Last night my heart was…
The Man I Love The very thought of you makes my heart sing Like an…
The Song Is You I hear music when I look at you, A beautiful theme…
The Things I Love The very thought of you makes my heart sing Like an…
When Lights Are Low Listen to the melody entrancing Blending in a soft and sweet…
Without A Song Without a song the day would never end Without a song…
The lyrics are frequently found in the comments by searching or by filtering for lyric videos
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Jenise Reedus
My favorite Messengers group, rest In Power Maestro Wayne Shorter, my fellow Newarker and Arts High alum!!!๐๐๐
CERI MCCOY
Whole lotta sax playing going on here! Mr Shorter hits a home Run. ๐ทโพ
trying to delete this account
Fantastic music, of course, but notice how beautiful the camera work is. Does anyone do this any more?
d .byn
Gotta love how Mr Shorter's eyes roll up in back of his head in sheer pleasure as he plays!
ctrader6
He is emulating Pharoah Sanders; I saw Sanders doing that in 1968.
lost
@ctrader6 Wayne Shorter was 7 years older than Pharoah Sanders and a professional musician before him as well.
He is most certainly not "emulating Pharoah or anyone else. He is simply playing with emotion and feeling it as well.
Alan Kirkby
Saw / heard, this Quintet, Free Trade Hall, Manchester, England, UK, !961.( Thelonious Monk, other half of the concert)
Still love this Hard Bop, after all these years.
Gave this message ( 11-05, pm, 26 May 2022 )
Peace to all!!
Ramses Stafford
RIP Wayne Shorter ๐๐ฝ
BANDA 357
O LEGAL ร QUE O GRUPO SE CHAMA Art Blakey & The Jazz Messengers E ELE ร O QUE MENOS APARECE NO VIDEO
Angelo Abbo
Quando ho iniziato a studiare musica e percussioni molti anni Fa grazie ,al mio maestro Roberto Paglieri (batterista conosciuto nel Jazzaitaliano) grazie a lui dicevo Art รจ stato il primo batterista jazz che ho conosciuto ,suonando alcuni dei suoi brani
Angelo(Sanremo ITALIA)