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

More Posts: choice,classic,collectible,collector,drums,history,instrumental,jazz,music

OSCAR PETERSON CENTENNIAL CELEBRATION

August 15, 2025 marks the occasion of the “Maharajah of the Keyboard” Oscar Peterson’s 100th birthday. For the occasion of his centennial and to commemorate his long history with Birdland, there will be celebrations for Peterson’s birthday week both at Birdland Jazz Club and the Birdland Theater.

More Posts: bandleader,bass,club,drums,genius,jazz,music,piano,preserving,travel

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.

More Posts: adventure,club,drums,genius,jazz,museum,music,preserving,travel,vocal

Daily Dose Of Jazz…

Jeno Beamter was born on August 7, 1912 in Budapest, Hungary. Graduating from high school in 1930 he was already trained as a drummer at the age of seven, although he was taught to play the violin. He completed his musical studies privately. From 1930 , he was taught to play the drums by Vilmos Roubal, a member of the Opera House. He soon began to play the vibraphone.

From 1933 he played in various bands, Bubi Vibraphone Ensemble, Solymossy–Beamter Duo, Ernő Vécsey Ensemble, Martiny Band, and Szabó–Beamter Duo. He made his first recordings with the Smiling Boys band.

The various jazz formations of Jenő Horváth’s Radiola Band, the Herrer band, the Durium band, Tabányi and its soloists, János Gaál Gyulai’s small band, and the Deák Big Band were the prominent bands in which he played. He made guest appearances in Austria, Switzerland, the GDR, England, and Yugoslavia.

In the 1970s, he performed with Barbra Streisand and Frank Sinatra in a joint show at the Kennedy Center. Jeno performed live with Tabányi on Hungarian Radio for fifteen years, almost every Sunday.

Drummer, vibraphonist, composer and educator Jeno Beamter, who performed in the traditional, modern and was one of the legendary figures of Hungarian swing music, died on January 11, 1984 in the city of his birth.

More Posts: composer,drums,educator,history,instrumental,jazz,music,vibraphone

Daily Dose Of Jazz…

Charlie Harrington ws born on August 1, 1972 in  child prodigy, he has played drums since the age of 5 and performed professionally since the age of 15. He studied with and became the protégé of jazz drumming legend Ray Bauduc. He went on to study with classical percussionist Tim Tull. His drumming influences include Buddy Rich, Louie Bellson, Ed Shaughnessy, Joe Morello, and Peter Erskine.

Additionally he leads his own band, Charlie Harrington and the Jazz Express. He has shared the stage with Woody Herman, Freddie Green, Stan Mark, Kirk Whalem, Larry Coryell, Kurt Elling, John Scofield, Benny Golson, Barbara Streisand, Dave Brubeck, Richie Cole, Tony Bennett, Ira Sullivan, Carly Simon, Ari Brown, Junko Onishi and Eddie “Cleanhead” vinson.

As a bluesman he performed with Joe “Guitar” Hughes, and Stevie Ray Vaughan. He has taken master classes with Ed Soph, Louie Bellson, Jack DeJohnette, Donny Osborne, Johnny Rabb, Clayton Cameron, Butch Miles, Steve Smith, Joe Morello, Jeff Hamilton, Bill Stewart, Steve Gadd, Billy Cobham, Jeff Tain Watts, Peter Erskine, and Ed Shaughnessy.

The highly inventive and skilled drummer Charlie Harrington, who has yet to record as a leader or sideman, continues to build a body of work and performs in trio, small group settings and big band ensembles.

More Posts: bandleader,drums,history,instrumental,jazz,music