Back catalogue: Jazz

Review: Recorded during the same intense August 1960 sessions that produced another iconic album, this release showcases the brilliance of a hard-bop quintet, combining fiery improvisation with introspective ballads. The album opens with a standard tune that became a regular feature in the group's live sets, setting the stage for a collection of original compositions. Lee Morgan's 'Johnny Blue' stands out with its infectious blues line, while Wayne Shorter's compositionsiparticularly 'Sleeping Dancer Sleep On'ireveal his growing mastery of melody and complex chord changes. The track is a highlight, with lush, gospel-funky piano and a slow, stunning waltz rhythm. Shorter's 'Noise in the Attic' is a powerful drum showcase, allowing for blistering solos from the horns but placing special emphasis on the piano work. 'Giants', another Shorter composition, closes the album with a hard-bop anthem that keeps the energy high and steady throughout. While Blakey typically dominates with his high-energy drumming, here he takes a more restrained role, allowing the melodies to breathe. The synergy of the quintet is palpable, with Bobby Timmons' percussive piano providing a dynamic counterpoint to the horn lines.

Review: This 1981 jazz masterpiece showcases a remarkable ensemble performance, capturing the essence of both tradition and innovation. The album features a young, vibrant lineup, with standout contributions from trumpet, saxophone and piano, each player bringing a unique voice to the compositions. The interplay between the musicians is seamless, with the rhythm section providing a dynamic and supportive foundation, while the horns soar with bold, searing solos. The compositions are varied, with mid to up-tempo tracks that never feel repetitive, driven by intricate arrangements and vibrant melodies. The drumming is particularly exceptional, with complex rhythms that weave in offbeat syncopations and ghost notes, adding an extra layer of excitement to every track. The cohesion of the ensemble is palpable, as each player seems in tune with one another, creating a sense of unity that elevates the music. The solos are both lyrical and energetic, with moments of searching intensity that reflect the band's deep understanding of jazz language. While it's an updated take on the modern jazz sound, the album maintains the urgency and spontaneity of the genre's golden age.

Review: Roots and Herbs, recorded by Art Blakey and The Jazz Messengers in 1961, was finally released by Blue Note Records in 1970ialmost a decade later. Featuring compositions by Wayne Shorter, the album showcases Blakey's all-star lineup: Shorter on tenor sax, Lee Morgan on trumpet, Jymie Merritt on bass, with alternating pianists Bobby Timmons and Walter Davis Jr. Despite its hard bop energy, the album arrived at a time when fusion dominated jazz, leading to Roots and Herbs being somewhat overlooked. The album's vibrant performances and intricate solos highlight the Messengers' hard bop brilliance. Tracks like 'Ping Pong, 'Roots and Herbs', and 'Master Mind' capture the beauty of Blakey's dynamic leadership. Each musician delivers top-tier performances and Blakey's powerful swing provides the backbone throughout. Though delayed, Roots and Herbs is now being appreciated as one of Blakey's finest works, a testament to both the talent of the Messengers and the timelessness of hard bop. This reissue reaffirms the album's place as an essential piece of jazz history, now reaching a broader audience. This special edition comes on UHQ-CD.

Review: One of the finest line-ups of Art Blakey & The Jazz Messengers came together when saxophonist Wayne Shorter joined trumpeter Lee Morgan, pianist Bobby Timmons and bassist Jymie Merritt, as featured on this now newly reissued 1960 album A Night In Tunisia. The album kicks off with a blazing rendition of Dizzy Gillespie's iconic piece - which lends its name to the LP - while the rest of the set highlights original compositions from the new band members. This Blue Note Classic Vinyl Edition is a stereo, all-analogue release mastered by Kevin Gray from the original master tapes, so sounds superb.

Review: From the opening notes of the iconic 'Alamode,' this album bursts with beauty. It features the first sextet lineup of Art Blakey's Jazz Messengers and showcases a young Wayne Shorter on tenor saxophone, Lee Morgan on trumpet, Curtis Fuller on trombone, Bobby Timmons on piano, and Jymie Merritt on bass. The band relentlessly drives the pace with each track, making a powerful impact throughout and for that rowans it became one of many Art Blakey classics. This Verve By Request release is pressed on 180-gram vinyl at Third Man in Detroit, which as you will know means it sounds second to none.

Review: Art Blakey & The Jazz Messengers' Moanin' is a quintessential hard bop album that effortlessly stands out with its classic, distinctive sound. Released in 1958, this seminal record features a lineup of jazz luminaries, including pianist Bobby Timmons, saxophonist Benny Golson, trumpeter Lee Morgan, and bassist Jymie Merritt. Despite its adherence to traditional hard bop elements, the album shines with an exceptional blend of precision, enthusiasm, and depth. The title track, 'Moanin',' composed by Timmons, sets the tone with its infectious groove, while Golson's contributionsi'Along Came Betty,' 'Blues March,' and 'Are You Real?'iadd a range of emotions and rhythms, from lyrical to powerful. The standout 'The Drum Thunder Suite' shows Blakey's unparalleled drumming strength, combining dynamic rhythms and Latin influences. The album's meticulous craftsmanship ensures that every track maintains the listener's attention, offering a mix of accessible melodies and intricate musicianship. Blakey's leadership and the band's chemistry result in an album that is not only a highlight of hard bop but also a compelling entry point for jazz enthusiasts. Moanin' remains a timeless classic, celebrated for its masterful execution and enduring impact on the jazz genre.