![\"Art](\"https:\/\/upload.wikimedia.org\/wikipedia\/commons\/thumb\/0\/02\/Art_Blakey.jpg\/220px-Art_Blakey.jpg\")
<\/td>\n<\/tr>\n\nPittsburgh, Pennsylvania, U.S.<\/span><\/td>\n<\/tr>\n
\nNew York City, New York, U.S.<\/span><\/td>\n<\/tr>\n
\nArbeit<\/span><\/th>\n
- \n
- Horace Silver<\/span><\/li>\n
- Freddie Hubbard<\/span><\/li>\n
- Benny Golson<\/span><\/li>\n
- Curtis Fuller<\/span><\/li>\n
- Cedar Walton<\/span><\/li>\n
- Wynton Marsalis<\/span><\/li>\n
- Chick Corea<\/span><\/li>\n
- Johnny Griffin<\/span><\/li>\n
- Kenny Dorham<\/span><\/li>\n
- Donald Byrd<\/span><\/li>\n
- Hank Mobley<\/span><\/li>\n
- Bobby Timmons<\/span><\/li>\n
- Lee Morgan<\/span><\/li>\n
- Ellis Marsalis Jr.<\/span><\/li>\n
- Wayne Shorter<\/span><\/li>\n
- Thelonious Monk<\/span><\/li>\n
- Dizzy Gillespie<\/span><\/li>\n<\/ul>\n<\/div>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n
Wikipedia EN<\/a><\/span><\/em><\/p>\n
\nArtist Biography by Chris Kelsey (allmusic)<\/span><\/a><\/h3>\n
\nIn the ’60s, when John Coltrane and Ornette Coleman were defining the concept of a jazz avant-garde, few knowledgeable observers would have guessed that in another 30 years the music’s mainstream would virtually bypass their innovations, in favor of the hard bop style that free jazz had apparently supplanted. As it turned out, many listeners who had come to love jazz as a sophisticated manifestation of popular music were unable to accept the extreme esotericism of the avant-garde; their tastes were rooted in the core elements of „swing“ and „blues,“ characteristics found in abundance in the music of The Jazz Messengers<\/strong>, the quintessential hard bop ensemble led by drummer Art Blakey<\/strong>. In the ’60s, ’70s, and ’80s, when artists on the cutting edge were attempting to transform the music, Blakey continued to play in more or less the same bag he had since the ’40s, when his cohorts included the likes of Charlie Parker, Miles Davis, and Fats Navarro. By the ’80s, the evolving mainstream consensus had reached a point of overwhelming approval in regard to hard bop: this is what jazz is, and Art Blakey — as its longest-lived and most eloquent exponent — was its master.<\/span><\/p>\n
The Jazz Messengers<\/strong> had always been an incubator for young talent. A list of the band’s alumni is a who’s who of straight-ahead jazz from the ’50s on —\u00a0Lee Morgan<\/strong>,\u00a0Wayne Shorter<\/strong>,\u00a0Freddie Hubbard<\/strong>,\u00a0Johnny Griffin<\/strong>,\u00a0Jackie McLean<\/strong>,\u00a0Donald Byrd<\/strong>,\u00a0Bobby Timmons<\/strong>,\u00a0Cedar Walton<\/strong>,\u00a0Benny Golson<\/strong>,\u00a0Joanne Brackeen<\/strong>,\u00a0Billy Harper<\/strong>,\u00a0Valery Ponomarev<\/strong>,\u00a0Bill Pierce<\/strong>,\u00a0Branford Marsalis<\/strong>,\u00a0James Williams<\/strong>,\u00a0Keith Jarrett<\/strong>, and\u00a0Chuck Mangione<\/strong>, to name several of the most well-known. In the ’80s, precocious graduates of\u00a0Blakey’s School for Swing would continue to number among jazz’s movers and shakers, foremost among them being trumpeter\u00a0Wynton Marsalis.\u00a0Marsalis\u00a0became the most visible symbol of the ’80s jazz mainstream; through him,\u00a0Blakey’s conservative ideals came to dominate the public’s perception of the music. At the time of his death in 1990, the Messenger aesthetic dominated jazz, and\u00a0Blakey\u00a0himself had arguably become the most influential jazz musician of the past 20 years.<\/span><\/p>\n
![\"A](\"https:\/\/rovimusic.rovicorp.com\/image.jpg?c=juSwIMGjiBEG0gH6zDLKuASijaXJlYnq0St31qpAJWo=&f=3\")
<\/a>Blakey’s first musical education came in the form of piano lessons; he was playing professionally as a seventh grader, leading his own commercial band. He switched to drums shortly thereafter, learning to play in the hard-swinging style of\u00a0Chick Webb\u00a0and\u00a0Sid Catlett. In 1942, he played with pianist\u00a0Mary Lou Williams<\/strong>\u00a0in New York. He toured the South with\u00a0Fletcher Henderson’s band<\/strong> in 1943-1944. From there, he briefly led a Boston-based big band before joining\u00a0Billy Eckstine<\/strong>’s new group, with which he would remain from 1944-1947. Eckstine’s big band was the famous „cradle of modern jazz,“ and included (at different times) such major figures of the forthcoming bebop revolution as Dizzy Gillespie, Miles Davis, and Charlie Parker. When Eckstine’s group disbanded, Blakey started a rehearsal ensemble called the Seventeen Messengers. He also recorded with an octet, the first of his bands to be called The Jazz Messengers<\/strong>. In the early ’50s, Blakey began an association with Horace Silver<\/strong>, a particularly likeminded pianist with whom he recorded several times. In 1955, they formed a group with Hank Mobley<\/strong> and Kenny Dorham<\/strong>, calling themselves „Horace Silver and the Jazz Messengers<\/strong>.“ The Messengers typified the growing hard bop movement — hard, funky, and bluesy, the band emphasized the music’s primal rhythmic and harmonic essence. A year later, Silver left the band, and Blakey became its leader. From that point, the Messengers were Blakey’s primary vehicle, though he would continue to freelance in various contexts. Notable was A Jazz Message, a 1963 Impulse record date with McCoy Tyner<\/strong>, Sonny Stitt<\/strong>, and Art Davis<\/strong>; a 1971-1972 world tour with „The Giants of Jazz<\/strong>,“ an all-star venture with Thelonious Monk<\/strong>, Dizzy Gillespie<\/strong>, Sonny Stitt<\/strong>, and Al McKibbon<\/strong>; and an epochal drum battle with Max Roach<\/strong>, Elvin Jones<\/strong>, and Buddy Rich at the 1964 Newport JazzFestival. Blakey also frequently recorded as a sideman under the leadership of ex-Messengers.<\/span><\/p>\nBlakey’s influence as a bandleader could not have been nearly so great had he not been such a skilled instrumentalist. No drummer ever drove a band harder; none could generate more sheer momentum in the course of a tune; and probably no drummer had a lower boiling point —\u00a0Blakey\u00a0started every performance full-bore and went from there. His accompaniment style was relentless, and woe to the young saxophonist who couldn’t keep up, for\u00a0Blakey\u00a0would run him over like a fullback.\u00a0Blakey\u00a0differed from other bop drummers in that his style was almost wholly about the music’s physical attributes. Where his contemporary\u00a0Max Roach\u00a0dealt extensively with the drummer’s relationship to melody and timbre, for example,\u00a0Blakey\u00a0showed little interest in such matters. To him, jazz percussion wasn’t about tone color; it was about rhythm — first, last, and in between.\u00a0Blakey’s drum set was the engine that propelled the music. To the extent that he exhibited little conceptual development over the course of his long career, either as a player or as a bandleader,\u00a0Blakey\u00a0was limited. He was no visionary by any means. But\u00a0Blakey\u00a0did one thing exceedingly well, and he did it with genius, spirit, and generosity until the very end of his life.<\/span><\/p>\n<\/div>\n
\n\n\n\n\n\n![\"\"](\"https:\/\/upload.wikimedia.org\/wikipedia\/commons\/thumb\/8\/8a\/Art_Blakey_1973.jpg\/220px-Art_Blakey_1973.jpg\")
<\/a><\/p>\n\nArt Blakey, 1973 in Hamburg<\/span><\/div>\n<\/div>\n<\/div>\n<\/div>\nLeben<\/span><\/strong><\/h3>\n
<\/span>Anf\u00e4nge<\/span><\/span><\/h4>\n
Art Blakey arbeitete zun\u00e4chst im Bergbau. Musikalisch begann er als autodidaktischer Pianist, bis er in seiner eigenen Band von\u00a0Erroll Garner\u00a0abgel\u00f6st wurde. Daraufhin wandte er sich dem Schlagzeug zu. In den 1940er Jahren war Art Blakey Schlagzeuger in den Bands von\u00a0Mary Lou Williams\u00a0und\u00a0Fletcher Henderson.<\/span><\/p>\n
Billy Eckstine und Miles Davis<\/span><\/span><\/h4>\n
Im Jahr 1944 schloss sich Art Blakey der neugegr\u00fcndeten Bigband von\u00a0Billy Eckstine<\/strong>\u00a0an. Im Sommer 1944 spielten\u00a0Billy Eckstine and His Orchestra<\/strong>\u00a0in\u00a0East St. Louis, Illinois, wo sie in der Besetzung\u00a0Charlie \u201eYardbird\u201c Parker<\/strong>,\u00a0Dizzy Gillespie<\/strong>,\u00a0Buddy Anderson<\/strong>,\u00a0Gene Ammons<\/strong>,\u00a0Lucky Thompson<\/strong>\u00a0und Art Blakey auftraten. Ihr Zusammenspiel begeisterte den gerade erst 18-j\u00e4hrigen\u00a0Miles Davis<\/strong>\u00a0so sehr, dass er fortan nichts anderes mehr h\u00f6ren wollte.<\/sup>\u00a0W\u00e4hrend seiner Zeit bei Billy Eckstine herrschte ein\u00a0Aufnahmeboykott\u00a0seitens der Musikergewerkschaften, weshalb fr\u00fche Aufnahmen aus dieser Zeit rar sind. Das gilt f\u00fcr alle\u00a0Bopper.<\/span><\/p>\n
Als Billy Eckstine seine Band 1947 aufl\u00f6ste, reiste Art Blakey nach Afrika, wo er die n\u00e4chsten zwei Jahre verbrachte. W\u00e4hrend seiner Afrikareise konvertierte er zum Islam, wurde Anh\u00e4nger der\u00a0Ahmadiyya Muslim Gemeinde\u00a0und nahm f\u00fcr einige Zeit den muslimischen Namen\u00a0Abdullah Ibn Buhaina<\/i><\/strong>\u00a0an. Art Blakeys musikalische Erfahrungen in Afrika schlugen sich sp\u00e4ter in St\u00fccken wie\u00a0Message from Kenya<\/i>,\u00a0Abdallah’s Delight<\/i>\u00a0und seinen polyrhythmischen Schlagzeugsoli nieder. Weitere Beispiele sind die Alben\u00a0Holiday for Skins Vol. 1<\/i>\u00a0und\u00a0Holiday for Skins Vol. 2<\/i>.<\/span><\/p>\n
Nach seiner R\u00fcckkehr in die USA spielte Art Blakey in vielen Bands und als\u00a0Begleiter\u00a0herausragender Solisten, zum Beispiel von\u00a0Fats Navarro<\/strong>,\u00a0Thelonious Monk<\/strong>\u00a0und Miles Davis<\/strong>. Zusammen mit\u00a0Sonny Rollins<\/strong>,\u00a0Kenny Drew<\/strong>,\u00a0Percy Heath<\/strong>\u00a0und\u00a0Jackie McLean<\/strong>\u00a0spielte Art Blakey 1951 im\u00a0Birdland\u00a0in der Band von Miles Davis, wovon die Plattenaufnahme\u00a0Miles Davis At Birdland 1951<\/i>\u00a0zeugt.<\/sup>\u00a0Ebenfalls f\u00fcr Miles Davis entstand das\u00a0Blue Note-Album\u00a0Miles Davis Volume 2\u00a0(BLP 5022), f\u00fcr das Art Blakey w\u00e4hrend einer Session 1953 einen jungen und unbekannten Pianisten hinzuzog:\u00a0Horace Silver<\/strong>.<\/span><\/p>\n
Ab 1949 geh\u00f6rte Blakey zur sogenannten\u00a0Sugar-Hill-Harlem-Clique<\/i>, die sich um den Tenorsaxophonisten Sonny Rollins gebildet hatte. In diesem Umfeld und unter dem Eindruck von Charlie Parker,\u00a0Fats Navarro\u00a0und\u00a0Freddie Webster\u00a0wurde Art Blakey\u00a0heroinabh\u00e4ngig. Miles Davis dazu in seiner Autobiographie: \u201eEin paar von den j\u00fcngeren Typen wie\u00a0Dexter Gordon,\u00a0Tadd Dameron, Art Blakey,\u00a0J. J. Johnson,\u00a0Sonny Rollins,\u00a0Jackie McLean\u00a0und ich selbst fingen ungef\u00e4hr zur selben Zeit an, schwer auf Heroin abzufahren.\u201c<\/sup><\/span><\/p>\n
<\/span>Art Blakey & the Jazz Messengers<\/span><\/strong><\/span><\/span><\/h4>\n
1955 gr\u00fcndete Blakey zusammen mit Horace Silver<\/strong> eine eigene Combo, die\u00a0Hard-Bop-Band\u00a0The Jazz Messengers<\/strong>. Blakey und Silver blieben aber auch weiterhin als Begleitmusiker aktiv und spielten beispielsweise auf\u00a0Kenny Dorham<\/strong>s\u00a0Album\u00a0Afro-Cuban<\/i>\u00a0und dem Deb\u00fctalbum des Trompeters\u00a0Clark Terry<\/strong>. Silver stieg bereits 1956 wieder aus und \u00fcberlie\u00df Blakey den Bandnamen, so dass aus \u201eHorace Silver & the Jazz Messengers\u201c nun \u201eArt Blakey & the Jazz Messengers<\/strong>\u201c wurden.<\/span><\/p>\n
Art Blakey erwartete von seinen jeweiligen Bandmitgliedern, dass sie ihren Beitrag zum Repertoire der Gruppe leisteten. So stammen die bekanntesten Messengers-St\u00fccke\u00a0Moanin‘<\/i>\u00a0und\u00a0Dat Dere<\/i>\u00a0aus der Feder des Pianisten\u00a0Bobby Timmons.<\/span><\/p>\n
1959 spielte Blakey mit den Jazz-Messengers (Bobby Timmons<\/strong>, Jymie Merritt<\/strong>, Barney Wilen<\/strong>, Lee Morgan<\/strong>) die Musik zu dem Film\u00a0Les Liaisons dangereuses<\/i><\/strong>\u00a0von\u00a0Roger Vadim\u00a0ein.<\/span><\/p>\n
Einen Gro\u00dfteil seiner Alben als Einzelk\u00fcnstler oder mit den Jazz Messengers ver\u00f6ffentlichte Art Blakey auf Blue Note Records. Um die Alben zu promoten brachte Blue Note g\u00e4ngige Titel gern in zwei Teile gesplittet als 45er-Singles heraus. Diese wurden zwar selten im Radio gespielt, aber fanden durch die\u00a0Jukebox\u00a0landesweit Verbreitung. So gelangten einige Jazz-Nummern in die R&B-Charts. Art Blakey geh\u00f6rte neben dem Organisten\u00a0Jimmy Smith<\/strong>, dem Trompeter\u00a0Donald Byrd<\/strong>\u00a0und dem Saxophonisten\u00a0Lou Donaldson<\/strong>\u00a0dank der Singles zu den eintr\u00e4glichsten K\u00fcnstlern des Plattenlabels. Art Blakey: \u201eDie allererste 45er-Single<\/a>, die\u00a0Alfred\u00a0herausbrachte, war eine von meinen Aufnahmen (Nothing But Soul\/Message From Kenya<\/i>). Sie ver\u00f6ffentlichten auch so einiges von den Jazz Messengers. Beinahe alles vom\u00a0Big Beat<\/i>-Album kam als Single raus (…)\u00a0Dat Dere<\/i>\u00a0ist sicherlich die Nummer, an die sich die meisten erinnern werden. So kam ich rum in der Welt… Paris… Tokio… Berlin.\u201c<\/sup><\/span><\/p>\n
Die geschlossensten Formationen aus dieser Zeit (sp\u00e4te 50er\/ fr\u00fche 60er) waren diejenigen mit den Trompetern\u00a0Lee Morgan<\/strong>\u00a0und\u00a0Freddie Hubbard<\/strong>, den Tenorsaxophonisten\u00a0Benny Golson<\/strong>\u00a0(Blues March<\/i>) und\u00a0Wayne Shorter<\/strong>, den Pianisten\u00a0Horace Silver<\/strong>,\u00a0Bobby Timmons<\/strong>\u00a0(Moanin<\/i>) und Cedar Walton<\/strong>. Zu Beginn der 1960er Jahre wurden die Messengers au\u00dferdem durch die Hinzunahme des Posaunisten\u00a0Curtis Fuller<\/strong>\u00a0gelegentlich zum Sextett erweitert.<\/span><\/p>\n
In den 1970ern gab es die innovative Kombination mit\u00a0Valery Ponomarev<\/strong>,\u00a0Bobby Watson<\/strong>\u00a0und\u00a0Walter Davis Jr.<\/strong>, die nicht gut dokumentiert ist (Jodi<\/i>) (Roulette). Die 1980er brachten die letzte Phase der Band, mit auch sp\u00e4ter sehr umtriebigen Mitgliedern. Das sind\u00a0Wynton Marsalis<\/strong>,\u00a0Terence Blanchard<\/strong>,\u00a0Jean Toussaint<\/strong>,\u00a0Bill Pierce<\/strong>,\u00a0Donald Harrison<\/strong>,\u00a0James Williams<\/strong>,\u00a0Geoff Keezer<\/strong>,\u00a0Mulgrew Miller,<\/strong>\u00a0Lonnie Plaxico<\/strong>.<\/span><\/p>\n
Blakey starb 1990 an\u00a0Lungenkrebs.<\/span><\/p>\n
Stil<\/span><\/span><\/strong><\/span><\/h3>\n
- Freddie Hubbard<\/span><\/li>\n
![\"\"](\"https:\/\/upload.wikimedia.org\/wikipedia\/commons\/thumb\/e\/e7\/Art_Blakey08.JPG\/220px-Art_Blakey08.JPG\")
<\/a><\/span>