Requisites

The Witch Doctor ~ Art Blakey and The Jazz Messengers | By Eddie Carter

In this morning’s discussion, I’m excited to share a remarkable release from the library with you by Art Blakey and The Jazz Messengers. Although it was recorded back in 1961, The Witch Doctor (Blue Note BST 84258) didn’t become available to the public until 1967. The Jazz Messengers were renowned for their evolving roster of exceptional musicians, and this particular album features one of the drummer’s most memorable ensembles. The group consists of Lee Morgan on trumpet, Wayne Shorter on tenor saxophone, Bobby Timmons on piano, and Jymie Merritt on bass. The copy of this album I own is the 2021 Worldwide Blue Note Tone Poet Series stereo audiophile reissue, using the original catalog number.

The title tune by Lee Morgan opens the album, and the ensemble’s visit to The Witch Doctor sets a friendly tone with its mid-tempo introduction and inviting melody. Bobby starts us off with a relaxing solo, then Wayne takes a few easy-flowing choruses. Lee then takes over to give the following interpretation before Bobby returns to add a few comments, continuing to swing joyfully with the front line into the ending theme and climax. Lee’s Afrique begins with the trio’s animal sounds before Shorter’s piercing horn leads into the quintet’s medium-paced melody. Shorter kicks off the first solo with confidence, then Morgan adds an intense, steadily burning energy. Timmons approaches the third statement effortlessly, and Blakey finishes with a strong punch before the melody’s reprise and fadeout.

Wayne Shorter’s Those Who Sit and Wait grabs your attention right away with Art’s lively introduction to the quintet’s spirited theme. Wayne launches into a rapid-fire opening statement, followed by Lee’s energetic reading. Bobby jumps in next, meeting the challenge with an excellent solo that paves the way for a heated exchange between Lee, Wayne, and Art, propelling the ensemble to an electrifying climax. Side Two commences with the rhythm section’s infectious introduction, smoothly segueing into the group’s melody of Bobby Timmons’ A Little Busy. Timmons gets right to work first. Shorter keeps the lively mood going next, followed by another solo from the pianist. Lee paves a road back to the closing chorus, which softly fades away.

Joelle by Wayne Shorter comes at you with the rhythm section’s introduction gradually increasing into the ensemble’s upbeat theme. Lee makes the initial entrance with a nimble opening solo. Wayne delivers a captivating stream of ideas in the following reading. Bobby anchors the tune with a driving swing, culminating in a return to the melody that slowly dissolves into nothingness. Lost and Found by Clifford Jordan opens at a fast gallop for the quintet’s theme. Timmons leads the charge with a high-spirited statement, then steps aside for Shorter, who romps through the following solo. Morgan pours intense emotion into the third performance next, then Art engages the front line in a quick, dynamic exchange before the ensemble races to the conclusion with a sudden, abrupt stop.

The original recording session of “The Witch Doctor” was produced by Alfred Lion, with Rudy Van Gelder serving as the recording engineer. For the reissue, Joe Harley oversaw production, and Kevin Gray handled mastering, working directly from the original master tapes at Cohearant Audio. The result is exceptional audio quality, delivering a rich soundstage that truly immerses the listener. For those who are already collectors of the Blue Note Tone Poet Series, you know firsthand the exceptional quality and attention to detail these reissues offer, everything from high-resolution gatefold images and outstanding cover design to the premium 180-gram Virgin Vinyl, with the music itself being the ultimate highlight. But if you haven’t experienced them yet and you love jazz, you’re in for an absolute treat!

In addition to its outstanding musical performances, “The Witch Doctor” by Art Blakey and The Jazz Messengers is a fantastic album from beginning to end, perfectly embodying the essence of hard bop through vibrant compositions and dynamic group interplay. I highly recommend this Blue Note Tone Poet audiophile reissue as a great addition to your jazz library. I’m sure that whether you’re already a fan of Art Blakey or just starting to explore his extensive discography, this album is sure to become a favorite on your turntable!

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Reginald Veal was born November 5, 1963 in New Orleans, Louisiana. Growing up he began piano lessons at a very early age and received a bass guitar as a gift from his father at the age of eight. He went on to later join his father’s gospel group as the bassist.

Veal studied with the legendary New Orleans bassist Walter Payton, attended Southern University, studying bass trombone with clarinetist Alvin Batiste. From 1985 to 1989 he toured with pianist and teacher Ellis Marsalis as his bassist. During this time he also worked with Pharoah Sanders, Elvin Jones, Charlie Rouse, Hamiet Bluiett, Harry Connick Jr., Terence Blanchard, Dakota Staton, Donald Harrison and Marcus Roberts.

In 1987 he began playing in the Wynton Marsalis Quintet, which became the Wynton Marsalis Septet in 1988. He is the original bassist for the Lincoln Center Jazz Orchestra. Reginald has worked with Ahmad Jamal, McCoy Tyner, Branford Marsalis, Cassandra Wilson, Courtney Pine, Yusuf Lateef, Nicholas Payton, Eric Reed, Dianne Reeves, Junko Onishi, Mark Whitfield and Greg Tardy.

Bassist and multi-instrumentalist Reginald Veal resides on the West Coast where he continues to record and tour.

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Eduardo Puperi was born in Porto Alegre, Rio Grande do Sul, Brazil on October 25, 1969. From 1986 to 1991 he studied music at CLAM, a school directed by Zimbo Trio in São Paulo, Brazil with teachers Fernando Corrêa and Conrado Paulino. He graduated in composition and directing in 1993 from the University of Music and Arts Alcântara Machado (FAAM).

The next year Puperi formed the Ludi & Tiné Quartet with guitarrist Paulo Tiné. The instrumental group that lasted until 1999 and released an album called “Vento Leste” in 1997. He was musical director at Cultura Inglesa in São Paulo from 1996 to 2000, directing the musicals Guys and Dolls, Bye Bye Birdie, Hair, All that Jazz and Fame. From 1991 to 2004 he directed the big bands FAAM Jazz Band, Orquestralha and Swinging Sounds.

His groups have been Aura Tropical and the Edu Puperi Trio, the latter which became a quartet in 2005 with bassist Luis Passos, drummer Humberto Zigler, and tenor and soprano saxophonist and flutist Chiquinho de Almeida. Both groups have released albums.

In 2001 he began teaching piano, guitar and performing practice at Casa de Música Luiz Chaves. Pianist Edu Puperi continues teaching, performing and recording.

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Edgardo “Dado” Moroni was born October 20, 1962 in Genoa, Italy and started playing piano at age four. A self-taught musician, by his mid-teens he was playing professionally around Italy and by age 17 had recorded his first album.

Throughout the 1980s Dado worked mostly in Europe and played a long stint as part of former Duke Ellington bassist Jimmy Woode’s trio at Widder Bar in Zurich, Switzerland. At 25,  in 1987 he served as a juror at the prestigious Thelonious Monk International Piano Competition.

He moved to the U.S. in 1991 and became part of the New York jazz scene. He appeared regularly as a leader and sideman at Blue Note, Birdland, and the Village Vanguard. During this period he recorded several CDs.

Moroni has played with Freddie Hubbard, Clark Terry, Zoot Sims, Harry “Sweets” Edison, Ray Brown, Ron Carter, Oscar Peterson, Ahmad Jamal, Hank Jones, Niels-Henning Ørsted Pedersen and Alvin Queen.

Based in Italy, Dado continues to perform worldwide. In 2007 he won the Italian Jazz Awards as Best Jazz Act. 2009 had him named Best Italian Jazz Pianist in the Top Jazz referendum sponsored by Musica Jazz magazine. The following year he was appointed Professor of Jazz Piano at Giuseppe Verdi Conservatory of Music in Turin, Italy.

Pianist, composer and educator Dado Moroni continues to perform, record and teach.

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Gregory Charles Royal was born on October 10, 1961 IN Washington, D.C. As a student at Howard University he received the 1982 DownBeat Magazine Student Music Award for Jazz Vocal Group and Graduate College Outstanding Performance in the Jazz Instrumental Soloist Category. He graduated from Howard University with a Master of Music in Jazz Studies.

Royal went on to play with the Duke Ellington Orchestra for a decade beginning in 1989, then with Art Blakey and The Jazz Messengers, Slide Hampton and his World of Trombones, and Howard University Jazz Ensemble. He has appeared onstage as a trombonist with the Broadway shows Five Guys Named Moe and Jelly’s Last Jam.

He has written and appeared in a play God Doesn’t Mean You Get To Live Forever, which was presented at the Baruch Performing Arts Center. and at Theatre Row on 42nd Street in New York. Royal also wrote and appeared in the short film World’s Not for Me. The film won the Harlem Spotlight Best Narrative Short Award at the Harlem International Film Festival in 2016.

Trombonist, composer, writer Chuck Royal, who is the co-founder of The BeBop Channel Corporation, the former parent owner of JazzTimes, continues to pursue his career in music.

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