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A Night in Tunisia (180 gram vinyl)

   Artist: Art Blakey and The Jazz Messengers
Label: BMG
Orig. Released: 1958
Catalog No.: LPBMG12041H
Condition: Sealed-Reissue
Format: LP (1.3)

Retail Price: $ 11.99 (4 available)
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Description

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Wikipedia

This description is from Wikipedia, the user-contributed encyclopedia. It may not have been reviewed by professional editors and is licensed under the GNU Free Documentation License. Any changes made to the Wikipedia article will not be immediately reflected here.


Track Titles

A1. A Night in Tunisia Dizzy Gillespie; Leeds Music, ASCAP 2:50
A2. Off the Wall Johnny Griffin; Perry Music, BMI. Time: 7:12

B1. Theory of Art Bill Hardman; Perry Music, BMI. Time: 9:45
B2. Couldn't It Be You? Art Blakey-Jackie McLean; Time 8:05
B3. Evans Sonny Rollins; Perry Music, BMI. Time: 5:45


 

Liner Notes
THE JAZZ MESSENGERS ARE A RELENTLESS STRIKING FORCE UNDER THE COMMAND OF ART BLAKEY WITH A CREDO COMPOUNDED OF THE JAZZ LANGUAGE ACCORDING TO CHARLIE PARKER AND LATER DIRECT DESCENDANTS OF BIRD; A HARD-DRIVING BEAT; AND THE BLUES, WHICH BLAKEY HAS DESCRIBED AS "THE BASIS OF JAZZ." AS A UNIT, THE MESSENGERS ARE CONCERNED WITH CONSIDERABLY LESS OF A FULLY COHESIVE GROUP EXPRESSION THAN ORGANIZATIONS LIKE THE MODERN JAZZ QUARTET OR THE JIMMY GIUFFRE THREE. THE MESSENGERS ARE INDIVIDUALLY MOST INVOLVED WITH JAZZ AS HOTLY SPONTANEOUS IMPROVISATION, AND THE UNWRITTEN COMPACT AMONG THEMSELVES AS MEMBERS OF THIS COMBO ALLOWS EACH CLOSE TO MAXIMUM FREEDOM (WITHIN THE CONTEXT OF THE NUMBER) IN HIS SOLOS. WHAT ORIGINAL LINES AND HARMONIC PATTERNS ARE WRITTEN BY AND FOR THE MESSENGERS ARE USUALLY LIMITED IN TERMS OF ENSEMBLE EXECUTION TO THE OPENING AND CLOSE OF THE NUMBER, AND THE LAND IN BETWEEN IS DIVIDED INTO AMPLE SOLO SPACE FOR THESE FIERCE FREE ENTERPRISERS. ART BLAKEY IS A DRUMMER WHO IN MUSICAL IMPACT AND TEMPERAMENT CONNOTES TO SOME A LIGHTNING-SPLIT THUNDER STORM CONSTANTLY REPLENISHING ITSELF WITH LARGER AND LONGER BOLTS. SINCE HIS PITTSBURGH APPRENTICESHIP, BLAKEY, WHO WAS BORN THERE IN 1919, HAS WORKED WITH SCORES OF UNITS FROM FLETCHER HENDERSON AND MARY LOU WILLIAMS TO THE BLAZING BILLY ECKSTINE BAND OF 1944-47 WITH CHARLIE PARKER AND DIZZY GILLESPIE AMONG THE SIDEMEN. IN A DISCUSSION OF THE JAZZ RHYTHM SECTION WITH BILL COSS IN A RECENT JAZZ TODAY, TRUMPETER JOE NEWMAN OF THE COUNT BASIE BAND WAS ASKED TO COMMENT ON THE STRONG VIEW OF CLASSICAL COMPOSER-CONDUCTOR DAVID BROEKMAN THAT THE JAZZ RHYTHM SECTION IS MUCH TOO LIMITED, "THAT JAZZ MUSICIANS ARE LOSING MANY CHANCES FOR VARIETY AND EXCITEMENT BY USING ONLY ONE SET OF DRUMS. HE THINKS THAT THERE SHOULD BE THREE OR FOUR OR MAYBE MORE, SO THAT THE BEAT CAN CONSTANTLY BE VARIED..."TAKE A DRUMMER LIKE ART BLAKEY," JOE NEWMAN, SKEPTICAL OF THE NECESSITY AND WISDOM OF MORE THAN ONE DRUMMER, ANSWERED: "IF YOU'VE HEARD HIM PLAY WHEN HE'S WORKING, THERE ARE TIMES WHEN HE DOES KEEP SEVERAL RHYTHMS GOING AT ONE TIME: ONE WITH HIS SOCK CYMBAL, ONE WITH HIS FOOT PEDAL AND EACH HAND IS DOING SOMETHING ELSE." ART'S POLYRHYTHMIC CAPACITY IS INDEED ONE OF HIS MORE INTOXICATING ASSETS. ANOTHER IDENTIFYING CHARACTERISTIC OF BLAKEY IS HIS SURGING ENVELOPING FORCE, A MOMENTUM THAT CATCHES UP HORNMEN AND RHYTHM SECTION COLLEAGUES ALIKE AND WILL NOT ALLOW THEM SURCEASE UNTIL THE COURSE HAS BEEN RUN. CONSEQUENTLY, A HORN MAN WITH BLAKEY MUST BE ESPECIALLY ANCHORED IN CONFIDENCE IN HIS OWN IMPROVISATORY STAMINA, SOUND POWER AND RHYTHM ROOTS. I'VE HEARD QUITE GIFTED BUT RATHER INTROVERTED HORN PLAYERS SWEPT AWAY BY BLAKEY IN THE COURSE OF A NUMBER AND SO THAT IT SUDDENLY APPEARED THAT THEY WERE PRESENT MORE AS DECORATIVE COLLEAGUES OF HIS THAN AS ACTIVE PARTICIPANTS IN THE COMBO. BEING IN THE BLAKEY BAND IS NO VOCATION FOR A SOFT SPEAKER WITH PENCHANT FOR QUALIFYING PHRASES AND SHELTERED INTERLUDES. WITH BLAKEY, THE COOKING STARTS INSTANTLY AND THE OVEN IS ALWAYS INTENSELY HOT. AMONG THE YOUNGER JAZZMEN TEMPERED BY THE BLAKEY HEAT IN THIS SET IS THE URGENT CHICAGO TENOR, JOHNNY GRIFFIN, WHOSE ARRIVAL IN NEW YORK SEVERAL MONTHS AGO IGNITED THE INTEREST AND ADMIRATION OF SEVERAL ESTABLISHED JAZZMEN. HIS SELF-LISTED INFLUENCES ARE COLEMAN HAWKINS, DON BYAS, LESTER YOUNG, CHARLIE PARKER, FATS NAVARRO, BUD POWELL, DIZZY GILLESPIE, DEXTER GORDON AND THELONIOUS MONK. FERRIS BENDER, A NOM-DE-CIRCUMSTANCE, IS AN INCISIVE YOUNG ALTOIST WHO GREW UP WITH SONNY ROLLINS AND KENNY DREW, AND WAS ENCOURAGED WHILE QUITE YOUNG BY BUD POWELL AND MILES DAVIS. TRUMPETER BILL HARDMAN IS ORIGINALLY FROM CLEVELAND, AND LIKE BENDER, WAS BORN IN 1932. HIS INFLUENCES HAVE BEEN MILES DAVIS, CLIFFORD BROWN AND BENNY BAILEY, ONCE A TRUMPET PLAYER WITH LIONEL HAMPTON. BEFORE JOINING BLAKEY'S PROSELYTIZING CARAVAN, BILL SERVED WITH CHARLES MINGUS' JAZZ WORKSHOP, A JAZZ EQUIVALENT, AND THE COMPARISON IS MEANT TO BE LAUDATORY ON BOTH ENDS OF THE EQUATION OF THE ACTOR'S STUDIO. ALONGSIDE BLAKEY IN THE HURTLING RHYTHM SECTION ARE BASSIST SPANKY DE BREST, TWENTY, AND PIANIST SAM DOCKERY, TWENTY-SEVEN. DE BREST IS FROM PHILADELPHIA, GAINED EARLY PROFESSIONAL EXPERIENCE WITH TRUMPETER LEE MORGAN, NOW WITH DIZZY GILLESPIE, AND WITH THE COLLEGE COMBO HEADED BY JIMMY DE PRIEST. AMONG HIS CONTEMPORARIES ON HIS INSTRUMENT, HE LISTS RAY BROWN, OSCAR PETTIFORD, PERCY HEATH AND WILBUR WARE AS HIS FAVORITES. DOCKERY'S CREDITS INCLUDE A STAY WITH THE MERCURIAL BUDDY RICH AND CONSIDERABLE WORK AROUND CAMDEN, NEW JERSEY, WHERE HE WAS RAISED. OF THE SELECTIONS IN THIS RECITAL, THE LONGEST AND MOST RHYTHMICALLY CHALLENGING IS THE TWELVE MINUTE FIFTY-SECOND PLUNGE THROUGH DIZZY GILLESPIE'S A NIGHT IN TUNISIA, DURING THE COURSE OF WHICH THERE ARE EUPHORICALLY POLYRHYTHMIC PASSAGES THAT MIGHT INTRIGUE THE AFOREMENTIONED MR. BROEKMAN, FOR IN THESE SECTIONS, ALL THE MEMBERS OF THE BAND JOIN THE RHYTHM SECTION, SWITCHING TO TIMBALES, BONGO DRUMS AND OTHER INSTRUMENTS OF PERSUASION. THE OTHER TRACKS, ORIGINALS ALL, ILLUSTRATE THE PREVIOUSLY CITED PREFERENCE OF THIS GROUP TO WAIL INDIVIDUALLY WITHIN A LOOSE FRAMEWORK. TO BE SURE, THE APPROACH OF BLAKEY AND HIS CAVALRY IS ONLY ONE DIRECTION IN MODERN JAZZ; AND IF THE BLAKEY CREDO IS DELIBERATELY WARY OF SOFTENING LYRICISM OF MORE DEVELOPED COMPOSITION AND OF OTHER QUITE VALID AND VARYING WAYS OF EXPRESSION BY OTHER KINDS OF TEMPERAMENTS, THE BLAKEY ROAD WILL IMMEDIATELY APPEAL TO THOSE LISTENERS MOST QUICKENED BY THAT ASPECT OF JAZZ WHICH IS MOST INSTANTANEOUSLY SENSATE AND UNPREDICTABLY PIERCING. THE KIND OF JAZZ REPRESENTED ON THIS RECORD IS ALSO RECOGNIZED, I FEEL, BY MOST CATHOLIC LISTENERS WHOSE TASTES VARY ACCORDING TO THE VARIABLE STATUS OF THEIR OWN TEMPERAMENTS, AS AN IMPORTANT AID IN THE CONTINUATION OF THE ROARING ART OF MODERN MAINSTREAM JAZZ IMPROVISATION, A FRUCTIFYING SOURCE OF STIMULATION FOR PRESENT AND FUTURE DLAYERS AND EVEN FOR THOSE WRITERS AND PLAYERS WHO DO NOT CHOOSE TO FOLLOW DIRECTLY ALONG. ART BLAKEY AND THE MESSENGERS, WHILE PREACHING, IN ONE SENSE, A SECTARIAN MESSAGE, ARE ALSO AT BASE, WORKING FOR THE GREATER FULFILLMENT OF JAZZ AS A WHOLE, AND OF COURSE, OF THEMSELVES. --NAT HENTOFF (NAT HENTOFF IS CO-EDITOR OF HEAR ME TALKIN' TO YA AND THE JAZZ MAKERS (RINEHART))
Musicians
PERSONNEL: ART BLAKEY(DRUMS), SAM DOCKERY(PIANO), JOHN GRIFFIN(TENOR), FERRIS BENDER(ALTO), BILL HARDMAN(TRUMPET), JIMMY BREST(BASS). PRODUCED AND DIRECTED BY BOB ROLONTZ. ARRANGED AND CONDUCTED BY ART BLAKEY. RECORDED IN STUDIO NO. 3, NEW YORK CITY ON APRIL 2 AND 8, 1957. ORIGINALLY RELEASED IN 1958 ON VIK #LX-1115.
 
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