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";s:4:"text";s:5499:"Also, the dates I provided pertain to the release dates of the albums in question, so even if that 1956 release contained music originally released in 1954, it’s still under the banner of 1956 for the purposes of this list. The most notable name, at the time, was In 1958 Blakey formed a new lineup with four Philadelphia natives: Lee Morgan, Benny Golson, Golson left the band in 1959 after a European tour (which produced live albums and a film soundtrack on In 1961 the group expanded to a sextet with the addition of In April 1964, the Jazz Messengers produced their final, new, recording for the Blue Note label: In September 1964, Wayne Shorter left the Messengers to form By January 1966 the band had completely turned over again. The disclaimer clearly states that this list only pertains to albums with “Art Blakey and the Jazz Messengers” on the sleeve. With several key Messengers having gone their separate ways, McLean, Hardman, Dockery, and DeBrest joined the group.While this transitional lineup doesn’t get as much ink as the ones before and after it, there’s plenty of must-haves to be found from this period.Hard Bop is exactly what it is — a paradigm of the subgenre featuring one enthused Hardman original (“Cranky Spanky”), two McLeans (“Stanley’s Stiff Chickens,” “Little Melonae”) and a revved-up version of the standard “Stella By Starlight.”With guest Monk on piano in lieu of Dockery, the Messengers got heavier and bluesier, and his off-center melodic stabs gave their sound an extra layer of grit.This set of five Monk standards (“Evidence,” “In Walked Bud,” “Blue Monk,” “I Mean You,” “Rhythm-a-Ning”) and one Griffin original (“Purple Shades”) hints at the elephantine swing of the next — and best — Messengers iteration.Renaming the group Art Blakey and the Jazz Messengers, Blakey turned over the lineup once more, this time with four Philly hotshots: Morgan, Golson, Timmons, and Merritt.“Bill Hardman was the one who got Lee Morgan,” Blakey later explained in a 1979 interview with journalist Tenor firebrand Golson was invited into the band for a more menial reason: McLean couldn’t get a cabaret card from the cops — hence, he couldn’t legally play in nightclubs.“[One day] in 1958, [the phone rang] and it was my hero,” Golson told journalist “Swing them to death,” Blakey used to tell his players before they walked onstage. The Jazz Messengers formed as a collective, nominally led by Silver or Blakey. Shorter was there as part of “Lee Morgan saw me from the bandstand,” Shorter remembered to Thus began an intrepid phase of the Messengers defined by the dynamic saxophonist — as well as trombonist Fuller and bassist Workman.While no other track rivals its intensity, Tunisia gives each young player the chance to make their mark, from Shorter’s hard-driving “Sincerely Diana” to Timmons’ bossa-blues “So Tired” to Morgan’s moonlit ballad “Yama.”In 1962, Merritt was replaced by Workman, an associate of John Coltrane who played on his 1961 albums The melee does let up with the bossa-flavored closer “Pensavita,” but if you prefer the more intense end of 1960s hard bop, skip the Dorham and Mobley albums and spring directly for Here, the Messengers mostly stick to strutting blues-based material, like Shorter’s “Tell It Like It Is” and “El Toro” and Morgan’s “Petty Larceny” and “Blue Lace.”Don’t call it more of the same, though: its title track features Blakey’s most astonishing drum solo on record and vaults Unfortunately, the Messengers’ last record with Shorter, 1966’s After the entire group left sans Fuller, Blakey enlisted In a strange intersection of musical spheres, the Jazz Messengers (then with “New” in their name) once included trumpeter Chuck Mangione, who would be later famous for his 1977 smooth-jazz smash hit “Feels So Good,” and pianist The only document of the Mangione-Jarrett lineup is By 1970, Coltrane was dead, Miles Davis had released the scorched-earth One thing to note about this Messengers dry spell: after decades of running a boys’ club, Blakey had finally hired a woman, pianist “I had four kids, so for me to go out was a big deal,” Brackeen remembered. Blakey made a name for himself in the 1940s in the big bands of Fletcher Henderson and Billy Eckstine. Playing were the current messengers, plus many special guests: Freddie Hubbard, Terence Blanchard, This final group recorded the final Messengers album, This article is about The Jazz Messengers group. Thanks for reading and I appreciate your enthusiasm and appreciation for the Messengers. Silver and Blakey worked together a fair bit, recording two 10″ LPs for Blue Note in 1952 as the Horace Silver Trio, and backing Miles on Vol. This same combo recorded The Jazz Message of Hank Mobley for Savoy. Then they broke up.Silver kept the band for a bit and recorded Silver’s Blue for Columbia and Six Pieces of Silver for Blue Note with Louis Hayes, Art Taylor, and Kenny Clarke in the drum chair, backing himself, Mobley, Watkins and Byrd. These are the original Jazz Messengers of 1955.This band recorded as the Jazz Messengers and under the leadership of the members, often with allusions in the title like “The Jazz Message of Hank Mobley.” But they broke up with Blakey keeping the name, which became Art Blakey and the Jazz Messengers.They first appeared on LP with Byrd’s Eye View on Transition. 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