"Moanin '" is still a classic in the world of jazz music. It is not only the ultimate inclusion in the career of Drummer Art Blakey , leader of the legendary group that created this work, it also such as the album "Kind Of Blue" by trumpeter Miles Davis, a transition into a new era of jazz music - the hard bop - It dar. So is a plate for jazz history and its consequences is of enormous importance was ist.Doch what exactly on that 30th October 1958 in Hackensack, New Jersey in neighboring New York in the small recording studio sound engineer Rudy Van Gelder and what makes this record so special and highlights them by others. It is the story of a masterpiece of jazz music, which sometimes did not receive the deserved accolade, but for jazz fans clearly one of the key jazz records.
In 1958, the jazz music at the height of its history. Although great musicians as the saxophonist Charlie Parker and trumpeter Clifford Brown already by both tragically lost their lives and the bebop of the late forties and early fifties, was already dead, so was the late fifties, just a major change of direction instead of in jazz. Masterpieces such as John Coltrane album "Blue Train" were already written, others such as Miles Davis' "Kind Of Blue" , Coltrane "Giant Steps" and "A Love Supreme" or Lee Morgan album "The Sidewinder" arrived yet. During the bebop took leave of him, followed by Hard Bop, brilliantly represented by the drummer Art Blakey and the Jazz split gradually into different directions, eg in modern jazz, the avant-garde or free jazz. "Moanin '" played a crucial role in all this, because it was one of the first albums, which ended this critical path of change and not stuck in time but was promoted the development. Instrumental in: drummer Art Blakey .
Art Blakey Born on 11 October 1919 in Pittsburgh, was one of the most important and most important drummers in jazz history. Starting as a pianist, but then by the legendary pianist Erroll Garner from his own band displaced, he screwed up later behind the drums, he went soon to America's greatest drummers, and with his in 1955, founded the band "The Jazz Messengers" was the way to the ultimate success and the emergence of this record cleared.
The recording was like almost all the panels of the label Blue Note Records in Hackensack, New Jersey place where the sound engineer Rudy Van Gelder , a very good friend of Alfred Lion and Francis Wolff, the two founders and owners of the label, recording studio in his small living room of his parents had. Even today, the left during the recording of photographer Francis Wolff shot pictures, the impressions, as in Van Gelder's first - in very small studio - appeared before in the same year a major recording studio in nearby Englewood Cliffs moved. In the background, various shutters, closets, or floor lamps can be seen. If you Heuet this little room still enters it seems almost inconceivable, as could occur in such a tight space so many jazz classics such as John Coltrane and album "Blue Train".
Not only Schlagzeuger Art Blakey alleine, Tontechniker Rudy Van Gelder oder auch die Präsenz von Alfred Lion und Francis Wolff beim Aufnahmetermin, die die Entstehung und Umsetzung der Platte vorantrieben, waren für den Erfolg bzw. das Entstehen der Platte verantwortlich, sondern vor allem die Mitmusiker Blakeys, eine völlig neu zusammen gewürfelte Band, die für den größten Teil des Materials und der Musik verantwortlich war. Es waren die neuen „Jazzmessengers“, die Blakeys Message in die Jazzwelt trugen.
Hier die Musiker, die „Moanin’“ entstehen ließen:
Lee Morgan - Trumpet
Benny Golson - tenor saxophone Bobby Timmons
- Piano
Jymie Merritt - Bass
Art Blakey - Drums
"Staying with the youngsters," has always been the credo of Art Blakey been. Just five years before recording this album was Blakey with a band of only younger people, for the record label Blue Note Records released the recording date, time for the Arrangement at Birdland, which resulted in two albums, "A Night at Birdland, Vol 1 & 2 ". And just as the trumpeter Miles Davis and later with his album "ESP" pretended to a completely new Band aus jungen Musikern vorstellte, so führte auch die neue, junge Band Blakeys dazu, dass nicht nur die „Jazzmessengers“ wieder auf einen erfolgreichen Kurs kamen, sondern auch neues und frisches Blut in eine neue Ära des Jazz gebracht wurde: den Hard Bop.
Bis auch Blakey selbst, der aus Pittsburgh stammt, bestand die ganze Band für die Aufnahme zu „Moanin’“ - und auch für wenige Aufnahmen danach noch - nur aus Musikern aus Philadelphia.
Angeführt vom Tenor Saxophonisten Benny Golson. Der 30-jährige Saxophonist aus Philadelphia und außerdem auch ein guter Freund vom anderen begabten Saxophonisten aus Philly, John Coltrane, zeigte sich als musikalischer Leiter the band and the main responsibility for most compositions in addition to Blakey as the most important part of the still very new group. Just the four compositions, "Are You Real?", "Along Came Betty," "Blues March" and a feature track for Art Blakey, "The Drum Thunder Suite" are all from Golson hands and it helps not only Art Blakey and his group "The Jazz Messengers" to success, but they also create his time with Blakey and even the breakthrough as a hip saxophone in the jazz scene of New York City.
"It was Golson who recruited his fellow Philadelphians for service with Blakey overthe course of 1958; and while the sanctified Timmons composition “Moanin’” became the album’s runaway hit, it was Golson who was responsible for the majority of the material.”
Die andere wichtige Hauptperson ist der - mit 22 Jahren fast halb so alte wie Art Blakey – Pianist Bobby Timmons. Seine Komposition „Moanin’“ ist das Titelstück des Albums und außerdem der Ohrwurm in der Jazzmusik schlechthin. Mittlerweile schon wie Blakey ein Teil der Blue Note Familie, seit seinem Café Bohemia Auftritt mit Trompeter Kenny Dorham, setzt der Jungspund am Klavier seine ganz persönlichen Akzente für die Platte.
Trompeter Lee Morgan , mittlerweile schon längst nicht mehr nur als junger Teenager abgestempelt, sondern schon ein recht erfolgreicher Musiker beim Label, spielt sich auf dieser Platte nun endlich aus dem Schatten von Dizzy Gillespie, in dessen Big Band er anfing, als er aus Philadelphia nach New York kam. Sein energievolles Spiel an der Trompete und Jymie Merritts fassettenreiches Spiel am Bass beeinflussen die Kompositionen und die Stimmung während der Aufnahme sehr.
Zusammen ergibt diese Formation der „Jazzmessengers“, die genauso geschichtsreich wie ihre Musik ist, den Grundstock für die Aufnahme zu „Moanin’“. Der Weg ins Neue, eine neue Ära des Jazz und einem großen Erfolg für Blakey und seine Mitmusiker.
Hier die Zusammenfassung der Titel:
„Moanin’“
Mit dem gleichnamigen Titelstück beginnt „Moanin’“. Mit dem funkigen Thema, begonnen durch Bobby Timmons am Klavier - der auch der Komponist des Stückes ist - und danach erweitert durch den Bläsersatz, bestehend aus Benny Golson am Tenor Saxophon und Lee Morgan an der Trompete. Das Thema ist sehr eigentlich sehr einfach aufgebaut und basiert auf einem klassischen call-and-response Pattern, auf dem Timmons simple Phrasen spielt und Golson Morgan and respond to it with two chords, Bb and F.
The solos are built on a simple chord progression, Bbm7, Ab7, G7b9 and C7 # 5 (# 9). If, however, such as times viewed as simply Morgan's solo begins on trumpet, and yet quite certain tension is created, you realize what's behind all of this first gospel-like composition. After Morgan followed for two choruses of solos of Golson on saxophone, Timmons on piano, and finally Merritt on bass.
"Moanin '" is up to Blakey's death is always the showpiece of the "Jazz Messengers" in the changing line until the early nineties, his band, always filled with new, talented musicians remains. Even later Blakey does always come back to this one composition, which paved the way to the 1958 success of the band.
"Are You Real?"
"Are You Real?", The first of four compositions by saxophonist Benny Golson, is a 32-stroke long theme, played by the horns, the same by a long Chorus Solo Benny Golson follows itself. According to Lee Morgan and Bobby Timmons then, finally for once to Art Blakey solo, after which he at first piece "Moanin '" still played much in the background. According to his breaks (Fours), played alternately by him and a soloist follows at the end of a solo Jymie Merritt on bass.
What is striking in this piece in particular is how careful each soloist organized in only a chorus so intent and play well and so in a rather small space many notes and ideas fast. Above all, Morgan's solo shows how much he has learned since his time at Gillespie when he was just a young, inexperienced or trumpeter. Although the piece only lasts less than 4 minutes, which is rather unusual for a jazz piece, especially from the era of hard bop in the late fifties and early sixties.
"Along Came Betty"
The second composition of this Golson Album, "Along Came Betty," is a beautiful ballad, but very beginning moves into mid-tempo. Not any particular personality Golson close circle of awareness, but simply the life style of a young lady named Betty Golson inspired to write this number, which is the topic again converted by the two horns.
The order of the soloists is almost the same as "Are You Real?" Already. Lee Morgan starts, followed by Benny Golson, Art Blakey and Bobby Timmons. As with the first number Golson, each only a chorus of charge but gets the most, sometimes with very simple means and little sounds, like Morgan in the past acht Takten seines Solos, heraus.
“The Drum Thunder Suite”
Diese Nummer ist eine der interessantesten und auch abwechselungsreichsten Stücke der Platte. Ebenfalls von Benny Golson komponiert ist es jedoch kein herkömmliches Stück, sondern eine eindeutige Feature-Nummer für den Schlagzeuger der Messengers, Art Blakey.
Die „Suite“ besteht aus drei Teilen, dem ersten Teil „Drum Thunder“, dem zweiten Teil „Cry A Blue Tear“ und dem dritten Teil „Harlem Disciples“. Ganz klar und ohne Frage steht in allen drei Teilen das Schlagzeug im Mittelpunkt. Die Teile bestehen hauptsächlich aus Schlagzeugsoli, wobei However, from time to time by inserting between sections of the brass section and follow even a few small sections of solos by other musicians such as Timmons and Golson.
The first part, "Drum Thunder", which mainly includes the melody lines, which can be defined not just as the topic on which the band but returned at the end of the suite again, and then introduce the end.
The second part, "Cry A Blue Tear" is a number, written in Latin feel, which is based mainly been on the melody lines of the entire band.
follows Finally, then the third part, "Harlem Disciples," the final of the number consisting of a blue scheme. The band returns back to top melody accompanied by Blakey's solos.
"Blues March"
The fourth and final composition Golson on this album is "Blues March", a play that both from the title, as well as by the rhythm and the melody is reminiscent of a marching band from New Orleans.
The focus of the piece is quite clear on the drums and also played on Blakey himself both the theme and the solos by Morgan, Golson and Timmons accompany the drummer and driving force of the group with a heavy, earthy 4/4-Rhythmus that pushes the band forward.
"Blue March" should like "Moanin '" auch schon, ein unvergessener Ohrwurm und Paradestück der „Jazzmessengers“ werden und auch auf dieses Stück greift Blakey auch später immer wieder zurück und spielt es in den verschiedensten Formationen neu ein.
“Come Rain Or Come Shine”
“Come Rain Or Come Shine” ist die einzige Komposition auf dem Album, die nicht von einem der Bandmitglieder selbst stammt, sondern ein Jazzstandard von den Songwritern Harold Arlen und Johnny Mercer ist.
In einem typisch dem Hard Bop verfallenen Spielstil fängt nach dem Thema gleich Bobby Timmons am Klavier an ein Solo von der Länge eines Chorus zu spielen, worauf ihm Golson am Saxophon, Morgan follow on trumpet and Merritt on bass. It's the end of the disc once again a finale with jazz material that the overall appearance of this plate a little rounds.
Shortly after the recording of "Moanin '" was followed for Art Blakey and his Jazz Messengers, "an extended tour to Europe, as the main objective Paris in France, that at this time had the most vibrant jazz scenes outside the U.S.. The performances were a great success and up to Timmons, was replaced by Walter Davis Jr. and Benny Golson, Wayne Shorter took the band were also all members to the already participated in this recording. The trip was a great success and made Blakey and his band also known in distant Europe.
The album "Moanin '" was thus the beginning of a success that should last for decades, and though Art Blakey in the following years until his death from time to time had ups and downs, but almost always with first-rate new formations of his band at the start was (as in the eighties, for example, with Wynton and Branford Marsalis), that was formed in October of 1958 album by the pioneer of this ongoing success. Blakey "groaned" and the jazz world listened - until today at a not too often achieved success.
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