Das ist wahrlich einer der großen Klassiker des Hardbop: Art Blakey führt seine wohl beste Jazz-Messengers-Besetzung durch ein treibendes Programm, das keinen Moment nachlässt. Tenorsaxophonist Benny Golson (dessen in der Folge zum Jazzklassiker gewordenes "Along Came Betty" hier zum ersten Mal zu hören ist), der brillante Trompeter Lee Morgan und der funky Pianist Bobby Timmons, der den Titelhit schrieb, spielen einige der besten Solos ihrer gro&ßen Karrieren, und Blakey selbst war niemals besser. Diese CD sollte in keiner Jazzsammlung fehlen. Sie bleibt einer der führenden Posten im Blue Note-Katalog und das mit Recht. Im Rahmen der 60-Jahr-Feier des Blue-Note-Labels 1999 hat Rudy Van Gelder, der Produzent der Originalaufnahme, einen Bombenjob mit dem Remix von "Moanin'" abgeliefert: Die Bässe sind wärmer geworden, das Gesamtspektrum farbiger. Das Booklet mit den alten Schwarzweiss-Fotos der Session ist wie ein LP-Klappcover zu öffnen.
(Skip Heller, aus der Amazon.de-Redaktion)
Renowned for his powerful, energetic style, Pittsburgh drummer Art Blakey had been leading The Jazz Messengers for five years when they released Moanin’, arguably the group’s definitive recording. Due to the many young, up-and-coming musicians that passed through the group’s ranks during its long history (1954-1990), the band was dubbed the “Hard Bop Academy”, and on Moanin’ Blakey’s new recruits included Philadelphia pianist Bobby Timmons, who wrote the album’s gospel-flavoured title tune, often cited as a quintessential example of the Blue Note sound. Also fresh in from Philly was tenor saxophonist Benny Golson, who composed three of the album’s other highlights – ‘Along Came Betty’, ‘The Drum Thunder Suite’ (a vehicle for Blakey’s polyrhythmic percussion prowess) and ‘Blues March’ – while teenage trumpet sensation Lee Morgan shone throughout with his precocious virtuosity. Though regarded as an archetypal hard bop session, the album’s title song, with its sanctified call-and-response cadences, anticipated the more immediate soul jazz style of the early 60s. Francis Wolff’s stark cover portrait of Blakey caps what is one of the greatest albums in Blue Note’s repertoire – one that no guide to Blue Note can be without.
(www.udiscovermusic.com)
Though regarded as the progenitors of hard bop, The Messengers helped to birth soul-jazz with this sensational album that premiered a new line-up of the band. Horn players Benny Golson and Lee Morgan together with pianist Bobby Timmons and bassist Jymie Merritt. Timmons wrote the catchy title tune, whose Amen-style call-and-response cadences referenced gospel music. The album also contained two other classic songs, both from Golson’s pen: “Blues March” and “Along Came Betty.” Blakey showcased his polyrhythmic prowess on an epic percussion-focused piece called “The Drum Thunder Suite.”
(www.udiscovermusic.com)
#959 Virgin/Colin Larkin(2000)
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