Search - Art Blakey :: Indestructible

But not indispensable

Samuel Chell | Kenosha,, WI United States | 09/14/2006

(3 out of 5 stars)

"The Blue Note studio was especially hospitable to Art during the early sixties, and the cast assembled for this session seemed to strike a responsive chord with listeners over the course of a dozen or more albums, with the main variable being the trumpet chair, alternating between Freddie Hubbard and Lee Morgan. Frankly, I could hear this one in my head before I played it--the predictably confident playing of all the principals, the trendy modal harmonies of the arrangements, the punching textures of the 3-horn frontline, the backbeats and drum breaks, the Van Gelder sound. With nearly 50 Messenger recordings in my collection, I didn't need this one, but I'll confess I'm short on the Shorter groups, and Amazon is offering a number of these RVG editions at extremely attractive prices--and the photo of Art on the front cover, not to mention the title, is cool.



As for the sounds, the first tune, "The Egyptian," is a period piece, indistinguishable from hundreds of other A Dorian tunes (many written by college students) being played by combos in the '60's. It does feature perhaps Shorter's best solo turn on the album, demonstrating his indebtedness to Coltrane but also inviting comparisons that are not altogether flattering. I know that many listeners think of Coltrane's heated, incantatory altissimo solos as a form of protest music or even primal scream. But to listen to him for any length of time is to experience the "open-throated," effortless quality of his playing made possible by a complete mastery of embrochure and breathing. Hearing even his first note is like being connected with an unobstructed pipeline to the divine. By comparison, Wayne's sound is "close-throated," forced and pinched, capturing a far more limited expressive range that doesn't take long to become grating. At the same time, his composition "Mr. Jin" is the freshest, most engaging tune on the session (programming it first rather than last would have been a good move).



Compared to some other Messengers sessions from the early '60's, "Indestructible" to my ears doesn't measure up to "Three Blind Mice" or "Buhaina's Delight"--in terms of compositions, programming, or solo excitement. In fact, none of the recordings I've heard from this period compares favorably with either the Silver-Mobley-Golson, etc. ensembles that preceded them or the editions that would follow, especially the ones featuring Walter Davis Jr.'s challenging, strikingly original, even visionary writing (you'll need to expand your horizons beyond Blue Note and keep your old turntable in good working order to hear most of this music).



Both on record and in person, I never quite "got" Art's attraction to a third horn, regardless of who the trombonist or extra saxophonist was (maybe I'd have felt differently had it been J.J.). The extra instrument encroached on the playing time of the other soloists and, moreover, added little in the way of compositional interest or textural color. (Listen to "Art Blakey and the Jazz Messengers" on Columbia to hear how it's possible to make a mere two horns sound like a miniature big band, capable moreover of covering the whole dynamic spectrum.) Even in spacious Carnegie Hall, I once witnessed Bu's five-piece ensemble blow away the larger groups on an all-star program, giving me goose bumps in the process, while a six-piece group he brought into Joe Segal's room, The Jazz Showcase, seemed comparatively tame.



This is a solid album (3 stars is a positive rating) but one I'm unlikely to play beyond another time or two--at least not until I tire sufficiently of "At Birdland," "At the Jazz Corner of the World," "At the Cafe Bohemia," "Backgammon," "Gipsy Folk Tales," and "In My Prime" to make room for it (which is unlikely to happen in this lifetime--good thing it's indestructible)."

Essential hardbop at its best!

earl rlabaci | 03/07/2005

(5 out of 5 stars)

"There were two versions of the Messengers, a Quintet and Sextet. The Quintet of Shorter, Morgan, Timmons, Merrit, produced many great albums, but did not have the incredibly powerful drive that the later sextet sessions would produce. The Messengers classic sextet version yielded 7 or so studio albums 3 for the Prestige/riverside unit and four for Bluenote. The first for the sextet of Hubbard, Fuller, and Shorter, was "Mosaic", then Followed by "Buhainas delight". The group made three prestige albums "Caravan", "Ugetsu" recorded live at birdland, and "Kyoto". The Thunderous "Free for all" on bluenote was the 'new' sextets Bluenote Debut and featured Blakeys Volcanic playing. "Indestructable" was The Messengers last for bluenote and featured the same sextet except Lee Morgan went in for Freddie Hubbard. "Indestructable" is not as hard driving and volcanic as "Free For All" or "Mosaic" but is still a very prolific recording and the group is very solid. The material is all original, two each by Fuller and Shorter; and one each by Morgan and Walton. The opener, "Egyptian" by fuller, has a feeling that makes it "Indestructable". "Sortie" Also by fuller, features Lee Morgans bright, hip trumpet playing. "Calling miss Kadija" is a 3/4, 24 bar blues or 6/4, 12 bar blues by Morgan who has written many similar pieces. "When Love is New", a Walton tune, seems like the title of a standard but is a quite original ballad. The latter two tunes, "Mister Jin" and "It's a Long Way Down" are Shorter originals and have very unique Harmony and balance. Every single player is in top notch form and the only flaw is that the bass could have been recorded better. "Indestructable" lives upto it's title."

Solid!

Bomojaz | South Central PA, USA | 02/01/2007

(5 out of 5 stars)

"Some of the most ambitious hard bop albums of the 1950s-60s were produced by Art Blakey's Jazz Messengers; although perhaps not quite as good as some of his earlier albums, this release from 1964 offers some exciting and demanding hard bop performances. Blakey always managed to assemble the best players in his various Messenger bands, and Lee Morgan, Curtis Fuller, and Wayne Shorter are at the top of their game here. Trumpeter Morgan is especially fine. His solo on his own blues waltz CALLING MISS KHADIJA is superb, and the short solo he takes on the Wayne Shorter feature WHEN LOVE IS NEW almost steals the show from Shorter. The agitated theme on THE EGYPTIAN is reinforced by a relaxed 16-bar release that makes for very compelling music. Blakey, as usual, is solid on the drums and draws out the best from everyone. A most enjoyable set from Art Blakey and the Jazz Messengers."