ART BLAKEY'S JAZZ MESSENGERS WITH THELONIOUS MONK
Atlantic R2 670841
Art Blakey (drums); Thelonious Monk (piano); Johnny Griffin (tenor saxophone); Bill Hardman (trumpet); Spanky DeBrest (bass)
Recorded 14 & 15 May, 1957
Quite simply this is an indispensable Jazz Messengers album, and for that matter for anyone interested in Monk's output of the time, and can be ranked with the classic Art Blakey albums A Night At Birdland Volumes 1 & 2 (1954) featuring Clifford Brown, Lou Donaldson and Horace Silver and At The Café Bohemia Volumes 1 & 2 (1955) with Silver, Hank Mobley and Kenny Dorham.
The album lifts off with Blakey's opening drum intro that positively launches 'Evidence'. Trumpeter Bill Hardman solos first with a fleet solo predominantly taking his cue from the accompaniment of bass and drums. Johny Griffin takes flight relishing in Monk's accompaniment, and Blakey keeps things moving with a thunderous solo.
'In Walked Bud' has now well truly entered the standard repertoire, and it is refreshing to revisit this version here. Griffin's solo again shows his complete grasp of Monk's concept and music. Monk's own solo sticks remarkably close to the melody yet retains its air of unpredictability as does much of the pianist's output. Another Monk staple, 'Blue Monk', is handled with a laconic edge to the blues inflected theme, and this is continued throughout Griffin's laid back tenor excursion. Monk's playing again is pretty close to perfection, and bassist Spanky DeBrest acquits himself well with a well thought out solo.
Monk is all over 'Rhythm-A-Ning' in a typically arhythmic and quirky solo, to be followed by DeBrest's bass feature . Monk's piano returns to accompany Hardman's solo and it is the pianist's contribution (before laying out) that gives the trumpeter his impetus. Griffin needs no such assistance and once again his solo is a model of invention. This time without his often-heard machine gun attack the saxophonist works his way around the chord sequence of the tune in a most agreeable if unpredictable outing. It is much to the credit of DeBrest, Hardman and Griffin that they do not allow themselves to be dominated by Monk and Blakey who totally own this music. The relationship between drummer and pianist is wonderful to hear.
The odd tune out of the set is Griffin's 'Purple Shades' and it is a mystery why was it was deemed fit for inclusion. A perfectly acceptable vehicle for the any other Jazz Messenger's line up, this was not Monk's bag, and the whole piece lacks the invention and vitality heard in Monk's compositions. Hardman's solo is at best insipid and even Blakey sounds as though he has lost interest. Ironically even Griffin fails to lift the track above the mediocre.
Disc two of this re-issue presents alternative complete takes of all the tracks on the original issue, all of which had been previously on the Art Blakey's Jazz Messenger With Thelonious Monk (Deluxe Edition) on Rhino with the exception of 'I Mean You - Take 3'. As always with music of this calibre it is a welcome bonus to hear the process involved a round the tracks that were deemed best for release. Having said that 'Purples Shades' still fails to ignite and raises the question whether this particular track should have been left in the vaults. I'm sure there was another Monk tune that could have been introduced instead. Either way, this is still essential listening.
Reviewed by Nick Lea
Atlantic R2 670841
Art Blakey (drums); Thelonious Monk (piano); Johnny Griffin (tenor saxophone); Bill Hardman (trumpet); Spanky DeBrest (bass)
Recorded 14 & 15 May, 1957
Quite simply this is an indispensable Jazz Messengers album, and for that matter for anyone interested in Monk's output of the time, and can be ranked with the classic Art Blakey albums A Night At Birdland Volumes 1 & 2 (1954) featuring Clifford Brown, Lou Donaldson and Horace Silver and At The Café Bohemia Volumes 1 & 2 (1955) with Silver, Hank Mobley and Kenny Dorham.
The album lifts off with Blakey's opening drum intro that positively launches 'Evidence'. Trumpeter Bill Hardman solos first with a fleet solo predominantly taking his cue from the accompaniment of bass and drums. Johny Griffin takes flight relishing in Monk's accompaniment, and Blakey keeps things moving with a thunderous solo.
'In Walked Bud' has now well truly entered the standard repertoire, and it is refreshing to revisit this version here. Griffin's solo again shows his complete grasp of Monk's concept and music. Monk's own solo sticks remarkably close to the melody yet retains its air of unpredictability as does much of the pianist's output. Another Monk staple, 'Blue Monk', is handled with a laconic edge to the blues inflected theme, and this is continued throughout Griffin's laid back tenor excursion. Monk's playing again is pretty close to perfection, and bassist Spanky DeBrest acquits himself well with a well thought out solo.
Monk is all over 'Rhythm-A-Ning' in a typically arhythmic and quirky solo, to be followed by DeBrest's bass feature . Monk's piano returns to accompany Hardman's solo and it is the pianist's contribution (before laying out) that gives the trumpeter his impetus. Griffin needs no such assistance and once again his solo is a model of invention. This time without his often-heard machine gun attack the saxophonist works his way around the chord sequence of the tune in a most agreeable if unpredictable outing. It is much to the credit of DeBrest, Hardman and Griffin that they do not allow themselves to be dominated by Monk and Blakey who totally own this music. The relationship between drummer and pianist is wonderful to hear.
The odd tune out of the set is Griffin's 'Purple Shades' and it is a mystery why was it was deemed fit for inclusion. A perfectly acceptable vehicle for the any other Jazz Messenger's line up, this was not Monk's bag, and the whole piece lacks the invention and vitality heard in Monk's compositions. Hardman's solo is at best insipid and even Blakey sounds as though he has lost interest. Ironically even Griffin fails to lift the track above the mediocre.
Disc two of this re-issue presents alternative complete takes of all the tracks on the original issue, all of which had been previously on the Art Blakey's Jazz Messenger With Thelonious Monk (Deluxe Edition) on Rhino with the exception of 'I Mean You - Take 3'. As always with music of this calibre it is a welcome bonus to hear the process involved a round the tracks that were deemed best for release. Having said that 'Purples Shades' still fails to ignite and raises the question whether this particular track should have been left in the vaults. I'm sure there was another Monk tune that could have been introduced instead. Either way, this is still essential listening.
Reviewed by Nick Lea
