Requisites
Indestructible! ~ Art Blakey and The Jazz Messengers | By Eddie Carter
For over three decades, Art Blakey made an indelible mark on jazz, both as a dynamic drummer and a visionary band leader. His creative drive propelled The Jazz Messengers to the forefront of the jazz world, earning them international acclaim as one of the genre’s premier ensembles. By 1964, the group was facing a turning point: Wayne Shorter was preparing to leave for the Miles Davis Quintet, and both Cedar Walton and Reggie Workman were set to embark on solo careers. This week’s featured album from the library is Indestructible (Blue Note BLP 4193/BST84193), Blakey’s final session for Blue Note. Intriguingly, the album wasn’t released until 1966, making its debut with a powerful, unforgettable presence.
Art is accompanied by Lee Morgan on trumpet, Curtis Fuller on trombone, Wayne Shorter on tenor sax, Cedar Walton on piano, and Reggie Workman on bass. My copy of the album is the 1985 Toshiba-EMI Limited Japanese stereo reissue utilizing the original catalog number. The Egyptian, by Curtis Fuller, which opens the first side, sets the tone with a relaxed, mid-tempo beat. The trio’s lengthy conversation leads to the front line’s irresistibly catchy melody. Curtis goes to work first, establishing a laid-back mood, then Wayne provides the song’s most dventurous solo, which nearly steals the spotlight. Lee injects a burst of energy into a swinging improvisation next. Finally, Cedar wraps up things with a superb statement, leading to the ensemble’s ending theme and fadeout.
Curtis Fuller’s Sortie opens with a blues-inspired introduction, drawing the ensemble into a smooth, medium-tempo melody. Lee begins the opening solo impressively, then Wayne executes a soulful, down-home statement. Curtis steps in with a lively, toe-tapping reading next, after which Cedar presents his ideas on the final performance perfectly until the group comes to a graceful closing chorus and gentle fade. On the second side, Calling Miss Khadija by Lee Morgan starts with Reggie, Cedar, and Art, setting the lively mood for the track’s vivacious theme. Lee ignites the opening statement with his energetic playing. Wayne continues the momentum with swinging, expressive lines. Curtis then delivers a solo rooted in blues, leading into Cedar’s scintillating reading, followed by Art’s brief but memorable presentation, before the ensemble’s closing chorus softly dissolves.
When Love Is New by Cedar Walton is a gorgeous ballad that begins with the ensemble’s unified introduction, then gives way for Wayne to shape the beautiful melody and a sprightly, breezy lead solo. Lee follows with an easy swing in his tone and a steady sureness until the saxophonist returns to pilot the group back to the closing chorus and a soft summation. Mr. Jin by Wayne Shorter showcases his knack for weaving an intricate, adventurous melody with an
Oriental flavor. Art sets the tone for the ensemble’s precise interplay, then Wayne steps up first with ample room to stretch out on the opening statement. Lee responds to the saxophonist with bright, lively phrases, leading back to the sextet’s theme reprise and the trio’s slow fadeout.
The chemistry among the musicians on Indestructible is truly remarkable. Art Blakey created a space where creativity flourishes and daring improvisation thrives. This approach yields performances with vibrant energy, yet remains disciplined and refined. Every member of the ensemble is given room to shine individually without ever losing their unmistakable coherence. Lee Morgan’s trumpet stands out with vibrant flair, while Curtis Fuller’s trombone adds a rich, soulful layer. Wayne Shorter’s tenor saxophone brings an alluring, mysterious edge. At the heart of the ensemble, Cedar Walton and Reggie Workman provide a steadfast and fluid foundation of rhythms and harmonies, completing what stands as one of the finest incarnations of the Jazz Messengers under Art’s leadership.
Alfred Lion produced the album, and Rudy Van Gelder was behind the recording console. The sound quality of this Toshiba-EMI reissue is absolutely stunning, with a superb soundstage that transports the listener to the studio as the musicians play. If you’re already a fan of Art Blakey and The Jazz Messengers, or simply in the mood for some hard bop to unwind after a long day, I highly recommend checking out Indestructible on your next record-shopping trip. It’s an outstanding album that promises countless hours of rewarding listening. Additionally, as Art Blakey’s swan song for the label and the three departing members, it is sure to be cherished by both newcomers and seasoned fans alike!
© 2025 by Edward Thomas Carter
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Daily Dose Of Jazz…
Marguerita Page was born on August 10, 1950 in Clarksville, Tennessee and first sang in church. At the same time, absorbing the sounds of the blues and R&B, her saxophonist father introduced her to jazz.
Marguerita’s mature style blends her gospel and blues roots with jazz in an elegant original way. She has written lyrics to the works of Charlie Parker and Wes Montgomery. Her 1995 debut release All My Friends features saxophonist Charles McPherson.
Moving to California, Page performed as soloist and director of the One Human Family Community Choir, at the Idyllwyld Jazz Festival and at On Broadway in San Diego. She has been featured on television, is writing music to some of the sacred scriptures of the Baha’i Faith and recording a soundtrack for an interactive autobiography titled The Dawn At My Back by San Diego State University professor Carroll Blue.
Back in Tennessee, Marguerita’s current projects and performances feature pianist/songwriter Will Barrow. Vocalist, composer, voice teacher, and choir director Marguerita Page continues to perform and record.
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Daily Dose Of Jazz…
D C DowDell was born on August 9, 1951 in Southern California and studied Music Education at UCLA and earned a Masters of Music Composition at University of North Texas. He has been influenced by Bill Evans, Keith Jarrett, Kenny Baron and Herbie Hancock. His style and piano technique blends the fine inner voicings of modal with the highly energetic impressions of the avante garde.
He has appeared with Bobby Vinton, Marilyn McCoo and Rosemary Clooney just to name a few. His passion for jazz led him to composing and arranging charts for top vocalists, solo instrumental artists and orchestra. His influences are Gil Evans, Bob Florence and George Russell.
Pianist D C DowDell moved to Ocean Beach, California where he continually plays locally with jazz ensembles and teaches jazz theory and composition at A Passion for Jazz! Music Studios. He first published his Basic Musicianship in 1993, a primary music reference and theory text.
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Daily Dose Of Jazz…
Vinnie Dean was born Vincent Nicholas diVittorio on August 8, 1929 in Mount Vernon, New York. He was primarily an alto saxophonist, but also played flute and piccolo.
After World War II he played in New York City with Shorty Sherock and Johnny Bothwell, and recorded with Charlie Spivak and Charlie Barnet in the late 1940s. The 1950s saw him playing with Elliot Lawrence, Stan Kenton, Ralph Burns, and Eddie Bert, recording with all of them.
He was less active from the late-1950s, but still performed or recorded later in his career with Hal McKusick, Ray McKinley, Urbie Green, Sal Salvador, and Benny Goodman, as well as returning to play with Lawrence and Barnet.
From the 1960s onward he was involved in the music business, operating a publishing outlet, a booking agency, a recording studio, and a vinyl shop. Alto saxophonist Vinnie Dean died in Danbury, Connecticut on September 14, 2010 at the age of 81.
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The Jazz Voyager
Having taken off from JFK in New York, this Jazz Voyager is nine hours into the fourteen hour flight to Tokyo, Japan. Give or take should be landing around one in the afternoon at Haneda Airport with a short drive to the center of the city and one of the moderate hotels within walking distance of the Blue Note Tokyo. First time in the city exploration is on the menu and learning to get around while seeing the sights and sounds alter from day to night is rewarding.
This evening, four-time Grammy-winning drummer Terri Lyne Carrington and Grammy-nominated vocalist Christie Dashiell resurrects Max Roach’s 1960 We Insist release and reimagines his timeless anthem Freedom Day. The single highlights Carrington’s lifelong mission to champion jazz and advocate for inclusivity and raise the voice of women, hence Dashiell supplanting Abbey Lincoln voice.
With a cover of ¥ 10,000 | $67.32, the evening is eagerly anticipated to see how these two ladies update the classic suite.
Blue Note Tokyo is located at 6 Chome-3-16 Minamiaoyama Minato City 107-0062. For more information contact the venue at https://www.bluenote.co.jp/jp.
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