CD-1:
1.Now's The Time (13:17)
2.The Theme (6:48)
3.Moanin' (14:30)
4.Whisper Not (11:05)
5.Evidence (6:24)

CD-2:
1.I Remember Clifford (7:57)
2.Just By Myself (6:37)
3.Along Came Betty (10:52)
4.My Funny Valentine (6:30)
5.Come Rain Or Come Shine (8:46)
6.A Night In Tunisia (9:09)

Lee Morgan - trumpet
Benny Golson - tenor sax
Bobby Timmons - piano
Jymie Merritt - bass
Art Blakey - drums

Live At Volkshaus,Zurich,Switzerland,December 4,1958
All Track Previously Unissued

This CD release of Art Blakey and the Jazz Messengers is stunning. If you are an enthusiast for Blakey and his band, you undoubtedly know that the Messengers had many, many line-ups. The 1958 band, with Benny Golson on tenor, was one of the strongest. Unfortunately, it was short-lived. Golson stayed around for less than one year, made the European tour from which these concert recordings were culled, and left an indelible mark as musical director and chief composer for the group. In 1959, Wayne Shorter filled his chair and the group membership remained stable for several years. With Golson, the band was able to record only one studio album, Moanin', for Blue Note. Thankfully, several concerts from the 1958 tour have survived. But one is left wondering: how in the world could jazz this breath-taking have been left in the vaults for 52 years before release? Every note by these musicians deserves celebration. How could the world have been deprived of these performances by Lee Morgan for so long? Morgan was a twenty-year-old youth at the time of the concert, but he plays with all the assurance and erudition of a trumpeter who had played for decades. He caresses notes, stops on a dime, charges forth when necessary, and delivers solos bursting with ideas. The man could do no wrong. Stunning. And the band. Golson and Morgan were some front line. They play together as one over long, inspired passages which then introduce the most beautiful solos. Blakey is always pushing the band. Bobby Timmons on piano and Jymie Merritt on bass give magisterial performances. The sound quality of the concerts is very good for 1958. Golson's compositions litter the two-disc, two-set concert. A very strong version of Whisper Not is among my personal favorites. Timmons stretches out on an extended version of My Funny Valentine, and it's a joy to hear. Buy this set, listen to it, and be in awe. And if you need more from this line-up of the Messengers, find copies of the performances they made at the L'Olympia Theatre (on Fontana) and the Club Saint-Germain (on RCA) in Paris in the fall of 1958. You'll love those records, too. Highest recommendation. ---Marks, amazon.com

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1. Warm-up and dialogue between Lee and Rudy 0:35 
2. Moanin' Art Blakey 9:30 
3. Are You Real Art Blakey 4:47 
4. Along Came Betty Art Blakey 6:08 
5. The Drum Thunder Suite Art Blakey 7:30 
6. Blues March Art Blakey 6:13 
7. Come Rain Or Come Shine Art Blakey & The Jazz Messengers 5:45 
8. Moanin' (Alternate Take) Art Blakey 9:19

    Art Blakey – drums
    Lee Morgan – trumpet
    Benny Golson – tenor saxophone
    Bobby Timmons – piano
    Jymie Merritt – bass

Moanin' includes some of the greatest music Blakey produced in the studio with arguably his very best band. There are three tracks that are immortal and will always stand the test of time. The title selection is a pure tuneful melody stewed in a bluesy shuffle penned by pianist Bobby Timmons, while tenor saxophonist Benny Golson's classy, slowed "Along Came Betty" and the static, militaristic "Blues March" will always have a home in the repertoire of every student or professional jazz band. "Are You Real?" has the most subtle of melody lines, and "Drum Thunder Suite" has Blakey's quick blasting tom-tom-based rudiments reigning on high as the horns sigh, leading to hard bop. "Come Rain or Come Shine" is the piece that commands the most attention, a highly modified, lilting arrangement where the accompanying staggered, staccato rhythms contrast the light-hearted refrains. Certainly a complete and wholly satisfying album, Moanin' ranks with the very best of Blakey and what modern jazz offered in the late '50s and beyond. ---Michael G. Nastos, AllMusic Review

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1. Dance of the Infidels 12:27
2. Bouncing With Bud 11:38
3. The Midget 11:04
4. A Night In Tunisia 07:04

Alto Saxophone – Barney Wilen (tracks: 1, 2)
Bass – Jymie Merritt
Piano – Bud Powell (tracks: 1, 2), Walter Davis Jr. (tracks: 3, 4)
Tenor Saxophone – Wayne Shorter
Trumpet – Lee Morgan
Drums – Art Blakey

This 1959 concert in Paris by Art Blakey's Jazz Messengers has been sporadically available on various labels, but this reissue in Verve's Jazz in Paris series is the best sounding and best packaged of the lot. Blakey's group of this period (Lee Morgan, Wayne Shorter, Jymie Merritt, and Walter Davis, Jr.) is in great form during an extended workout of Morgan's intense blues "The Midget," and Dizzy Gillespie's timeless "A Night in Tunisia" is kicked off by Blakey's an electrifying solo. But it is the addition of some special guests for the first two numbers that proves to be extra special. Bud Powell, sitting in for Davis, and French saxophonist Barney Wilen, on alto rather than his normal tenor sax, are both added to the band for inspired versions of Powell's "Dance of the Infidels" and "Bouncing with Bud." Morgan's trumpet playing is outstanding throughout the concert. This is one of the essential live dates in Art Blakey's rather extensive discography. --- Ken Dryden, Rovi

The Jazz Messengers were widely recorded during their stay in Paris... Paris Jam Session is a live album by Art Blakey & the Jazz Messengers with guest appearances by Bud Powell and Barney Wilen, recorded at the Theâtre des Champs Elysées in Paris on December the 18th, 1959. It was originally released by Fontana in 1961, and subsequently by Verve as part of their Jazz in Paris series. It ends with one of the most stunning versions of the Dizzy Gillespie standard Night in Tunisia, the perfect vehicle for the explosive drummer to demonstrate his exceptional talents. --- loshermnosbrothers.blogspot.com

Wayne Shorter describes this show in his biography "Footprints:"

[Bud Powell's friend and helper Francis] Paudras invited Bud to the Messengers show that night, unaware that his friend was actually already on the bill. In the middle of the show, Walt Davis, Jr., the Messengers' pianist, stepped up to the mike and asked Bud to come onstage. Bud wasn't exactly eager to play. He sank down into his chair and tried in vain to use his trademark beret and overcoat for camouflage, but his fans picked him out right away. Paudras prodded him, the audience clamored, and finally Art enticed him onstage. "All I could think was, we're playing with Bud Powell now, this is Bud Powell onstage," Wayne said. "I was thinking of his music, and what he always played himself, and how to respond to that." The Messengers honored their guest pianist by calling two of his tunes: "Bouncing With Bud" and "Dance of the Infidels."

The Champs-Elysees audience caught Bud on a good night. With concentration, he shunned inspiration and played straight, giving a crowd-pleasing performance - though no matter how Bud Played, he was bound to be the night's sentimental favorite. More impressive musicianship actually came from the Messengers' two horn players. Only a few months into Wayne's tenure with the band, he and Lee Morgan had settled into the front line as comfortably as an old married couple: They formed a striking contrast, a musical yin and yang.

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01-The Feast 
02-Aghano 
03-Lamento Africano 
04-Mirage 
05-O’Tinde 
06-Swingin’ Kilts 
07-Dinga 
08-Reflection

    Art Blakey - drums, chanting
    Donald Byrd - trumpet (tracks 1, 4, 6 & 8)
    Ray Bryant - piano
    Wendell Marshall - bass
    Art Taylor - drums
    Philly Joe Jones - drums, chanting, vocals
    Ray Barretto, Victor Gonzales, Julio Martinez, Sabu Martinez, Chonguito Vincente - bongos, congas
    Fred Pagani - timbales
    Andy Delannoy - maracas
    Austin Cromer, Hal Rasheed – chanting

Art Blakey, who visited Africa several times, has been cited as saying jazz couldn't have happened there, that it could only have happened in America when and where it did, but Blakey was also fully aware of where those polyphonic rhythms and call-and-response patterns that underscore all of jazz came from. In the mid-'50s he began experimenting with large drum ensembles that slid African and Latin rhythms beneath hard bop horn and piano structures, resulting in a kind of worldbeat jazz hybrid years before the idea of worldbeat became codified as a musical concept. Holiday for Skins has an even larger drum ensemble than the one that Blakey used for 1956's similar Drum Suite, consisting this time around of three jazz drummers (Philly Joe Jones, Art Taylor, and Blakey himself) and a host of Latin and African percussionists, including Ray Barretto and Sabú Martínez, as well as Donald Byrd on trumpet and Ray Bryant on piano. With the exception of Bryant's two compositions, "Swingin' Kilts" and "Reflection," all the tracks were worked out during one long studio session which ran from 11 p.m. until 5 a.m. the next morning. The end result sounds very joyous, tribal, and ceremonial, helped along in that regard by interspersed vocal chants, yelps, howls, and whistles with occasional bursts of straight jazz texture from Byrd or Bryant. [The lengthy session was originally released by Blue Note as two separate LPs labeled Volume 1 and Volume 2, and this CD reissue combines both into one seamless sequence running a little over an hour in length. As one might suspect, there isn't a whole lot of melody or harmony being worked on here, but the rhythms are extraordinarily interesting, with the various bongos, congas, and trap kit formations constantly responding to each other in ever expanding and overlapping circles. It may not be everyone's idea of jazz, but jazz it most certainly is, and many of the rhythm experiments Blakey was trying out at the time in albums like this one, Drum Suite, and 1962's African Beat are now standard approaches in contemporary jazz and pop, which is why all three of these drum-centric releases sound so eerily current years later.] ---Steve Leggett, Rovi

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