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The Jazz Messengers

(Redirected fromArt Blakey and the Jazz Messengers)
This article is about The Jazz Messengers group. For the album, seeThe Jazz Messengers (1956 album).
"Art Blakey and the Jazz Messengers" redirects here. For their self-titled albums, seeArt Blakey and the Jazz Messengers (disambiguation).

The Jazz Messengerswere a jazz combo that existed for over thirty-five years beginning in the early 1950s as a collective,[1][2][3]and ending when long-time leader and foundingdrummerArt Blakeydied in 1990.[4]Blakey led or co-led the group from the outset.[2]"Art Blakey" and "Jazz Messengers" became synonymous over the years, though Blakey did lead non-Messenger recording sessions and played as a sideman for other groups throughout his career.[5][6][7]

The Jazz Messengers
The Jazz Messengers in 1960. From left: Lee Morgan, Wayne Shorter (obscured), Jymie Merritt, and Art Blakey
The Jazz Messengers in 1960. From left:Lee Morgan,Wayne Shorter(obscured),Jymie Merritt,andArt Blakey
Background information
Genres
Years active1955(1955)–1990(1990)
Labels
Past membersSeeFormer members

"Yes sir, I'm gonna to stay with the youngsters. When these get too old, I'm gonna get some younger ones. Keeps the mind active."

— Art Blakey,A Night at Birdland, Vol. 2(CD)[8]

The group evolved into a proving ground for young jazz talent. While veterans occasionally re-appeared in the group, by and large, each iteration of the Messengers included a lineup of new young players. Having the Messengers on one's resume was a rite of passage in the jazz world, and conveyed immediate bona fides.[5][6][7][9]

Many former members of the Jazz Messengers established careers as solo musicians, such asLee Morgan,Benny Golson,Wayne Shorter,Freddie Hubbard,Bobby Timmons,Hank Mobley,Curtis Fuller,Cedar Walton,Billy Harper,Keith Jarrett,Joanne Brackeen,Woody Shaw,Chuck Mangione,Wynton Marsalis,Branford Marsalis,Terence Blanchard,Donald HarrisonandMulgrew Miller.[3][5][7]Some members, such as bassistClarence SeayandGregory Charles Royal,[10][11]are documented to have played in the Jazz Messengers but did not record with the group.

History

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Origins

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On December 17, 1947, Blakey led a group known as "Art Blakey's Messengers" in his first recording session as a leader, forBlue Note Records.The records were released as 78s at the time and two of the songs were released on theNew Sounds10 "LP compilation (BLP 5010). This octet includedKenny Dorham,Howard Bowe,Sahib Shihab,Musa Kaleem,Ernest Thompson,Walter Bishop Jr.,and LaVerne Barker.[12]

Around the same time—in 1947[2][6]or 1949[4][11]: 20 —Blakey led a big band called "Seventeen Messengers." The band proved to be financially unstable and broke up soon after.[11]: 20 The Messengers name then went dormant for several years.

BlakeyandHorace Silverbegan working together in the early 1950s.[13]Some cite the group that included Blakey, Silver, Kenny Dorham,Lou DonaldsonandGene Rameyin 1953 as the original Jazz Messengers.[1][12][13] On February 21, 1954, a group billed as the "Art Blakey Quintet" produced the live set of records calledA Night at Birdland.The quintet includedHorace Silver,Clifford Brown,Lou DonaldsonandCurly Russell.[14]These records were quite successful, and some cite this date as the beginning of the Jazz Messengers.[3][11]

The Jazz Messengers (1954–56)

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Most date the origin of the Jazz Messengers to 1954,[15][16][17]or 1955,[2][7][18]when the first recordings credited to the band appeared.[6]The Jazz Messengers formed as a collective, nominally led bySilveror Blakey on various dates.[2][5][6]Blakey credits Silver with reviving the Messengers name for the group.[4][19]The other members included Kenny Dorham,Hank MobleyandDoug Watkins.[2][5][6]Their first recordings officially using the Jazz Messengers name were a pair oflive dates,recorded at theCafé Bohemiain 1955.[12][15][20]A pair of earlier recordings from sessions in late 1954 and early 1955—released on Blue Note 10 "LPs as theHorace Silver Quintet, vol. 1 and vol. 2—were subsequently reissued as a 12 "LP entitledHorace Silver and the Jazz Messengers.[15][20][21]

The pioneering members of the Jazz Messengers (Horace Silver, Hank Mobley, Kenny Dorham, Doug Watkins, and of course Blakey) believed that the band needed a professional look, and they abandonedjam sessions.[22]

In 1956 Dorham left the band to go out on his own and was replaced byDonald Byrd.[11]This group releasedThe Jazz MessengersonColumbia Records.[12][23]Later in the year, the original group disbanded, but Blakey retained the Jazz Messengers name for his future groups.[15][17]

The "Second" Messengers (1956–58)

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For a brief period in 1956 Donald Byrd stayed on as a new lineup was formed. It includedKenny Drew,Wilbur Ware,andIra Sullivanplaying tenor sax rather than his main instrument, trumpet. The only recording of this version of the Messengers was two tracks backing up singerRita ReysonThe Cool Voice of Rita Reyson Columbia.[12][13][24]

Blakey then formed a new lineup that would prove to be much more stable. The most notable name, at the time, wasJackie McLean.He was only 25, but had already recorded withMiles DavisandCharles Mingus.[12]Bill Hardman,Sam DockeryandJimmy "Spanky" DeBrestcomplete the group.[11]: 36 [13]

They recorded another record forColumbia:Hard Bop—still under the collective's moniker The Jazz Messengers.[25]They went on to record for several different labels including RCA subsidiaryVik Records,Pacific Jazz,Elektra,Cadet,Jubilee,Bethlehemand a date onAtlanticfeaturingThelonious Monk.Over this time the band's name evolved to include Blakey's name, starting with "The Jazz Messengers, featuring Art Blakey" onRitual,[26]then "Art Blakey's Jazz Messengers" on several records,[27][28][29]and also "Art Blakey and his Jazz Messengers" onCu-Bop.[12][30]

Art Blakey and the Jazz Messengers (1959–64)

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In 1958 Blakey formed a new lineup with four Philadelphia natives:Lee Morgan,Benny Golson,Bobby Timmons,andJymie Merritt.[15]This marked the beginning of perhaps the most fruitful period of the Jazz Messengers. They returned toBlue Noteand the first record—entitled simplyArt Blakey and the Jazz Messengers—produced their biggest hit: "Moanin'".[11]: 47 [a]It featured two more songs which would become Messengers classics, and jazz classics as well: "Blues March"and" Along Came Betty "by Benny Golson.[4][15][31]

Golson left the band in 1959 after a European tour (which produced live albums and a film soundtrack onFontana Recordsand FrenchRCA)[32][33][34]to be replaced, briefly, byHank Mobley.[12][13]Mobley did not accompany the band to a Canadian jazz festival in 1959; Lee Morgan encounteredWayne Shorterat the festival, and he joined the band in Mobley's place.[4][13]This lineup produced several notable recordings, including the second Messenger album,A Night in Tunisia.[12][35]

In 1961 the group expanded to a sextet with the addition ofCurtis Fuller.[1]This lineup produceda self-titled albumforImpulse! Records.[11]: 62 [36]At the end of that summer, Lee Morgan andBobby Timmonsleft and were replaced byFreddie HubbardandCedar Waltonrespectively.[11]: 63 This lineup recordedThree Blind MiceforUnited Artists[37]and two albums for Blue Note:MosaicandBuhaina's Delight.[12][38][39]

In mid-1962Reggie Workmanreplaced long-time double bassistJymie Merritt,who wanted to settle down in Philadelphia.[11]: 66 This version of the group produced three albums forRiverside:[40][41][42]Caravan,Ugetsu,andKyoto;in addition to anotherBlue Note[12][43]under the nameFree for All.This lineup stayed together until March 1964, when Lee Morgan rejoined in place of Freddie Hubbard.[13]Around this time—the recording date is unknown—the band produced an album from the musicalGolden Boyfor theColpixlabel with an expanded lineup. This lineup included both Freddie Hubbard and Lee Morgan on trumpet, plusCharles Davis,Julius Watkins,andBill Barber.[12][11]: 71 [44]

In April 1964, the Jazz Messengers produced their final, new, recording for the Blue Note label:Indestructible.[12][11]: 71 [45]

The "New" Messengers (1964–66)

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In September 1964, Wayne Shorter left the Messengers to join theMiles Davisband that was later called theSecond Great Quintet.Lee Morgan enlisted long-timeSun Ratenor saxophonistJohn Gilmoreto fill in—though it was understood he would return to Sun Ra after a time.[11]: 71 Gilmore brought along fellowArkestramemberVictor SprolesandJohn Hicksjoined onpiano.[13]The edition of the Messengers would see more quick turnover of members than the previous.

The band signed withQuincy Jones' newMercurysub-labelLimelight Records.This group—still including Curtis Fuller on trombone—recorded the first album for the label:'S Make It.[46]The band soon reverted to a quintet as Fuller departed. Alto saxophonistGary Bartzreplaced the departing John Gilmore and this quintet—withFreddie Hubbardsitting in alongside Morgan—recordedSoul Fingerfor Limelight.[11]: 73 

By January 1966 the band had completely turned over again. NowChuck Mangioneoccupied the trumpet chair withFrank Mitchellon tenor sax,Keith Jarretton piano andReggie Johnsonon bass. This lineup produced the live albumButtercorn Ladyunder the monikerArt Blakey and the "New" Jazz Messengers.[12][11]: 78 [47]While the band continued to perform live, this would be the final Jazz Messengers recording of the decade.[12][b]

The Fallow Decade (1966–76)

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The late 1960s saw the ascendance of rock music in popular culture, and the jazz world was experimenting withfree jazzandjazz fusion,styles Blakey did not care for.[9][11]: 91–93 It was difficult for Blakey to maintain a steady lineup for the Messengers, during this period, and even more difficult to produce recordings. Between 1966 and 1972, the Messengers produced only a single official record:Jazz Messengers '70,a live date inTokyo.This particular lineup included Bill Hardman,Carlos Garnett,Joanne BrackeenandJan Arnet.[12]

Blakey kept the Messengers working during this period—particularly abroad in Europe and Japan where they maintained their popularity. But the lineups were fluid, with several musicians rotating through based on who was available for the particular engagement. In various combinations, between 1966 and 1972 the band included trumpet playersWoody ShawandRandy Brecker[c]in addition to Hardman; saxophonists Garnett, Mitchell,Billy HarperandRamon Morris;and trombonistsSlide HamptonandJulian Priester.The piano chair saw the greatest turnover. After Jarrett, pianists includedMike Nock,Lonnie Liston Smith,Chick Corea,McCoy Tyner,Ronnie Mathews,George Cables,Joanne Brackeen,Albert Dailey,plus occasionally veterans John Hicks, Cedar Walton, andWalter Davis Jr.Bassists includedJuni Booth,Buster Williams,Larry Evans,Scotty Holt,Arnet, andMickey Bass.[2][12][13]

In 1972 the Messengers were signed toPrestige Recordsand produced three albums.Child's Dancefeatured pieces from two recording sessions on 1972, with different, expanded, and somewhat overlapping lineups. The regular Messengers on the album were Woody Shaw; Ramon Morris; John Hicks, Walter Davis Jr. andGeorge Cableson both acoustic and electric pianos; and Mickey Bass. The band was augmented byBuddy Terry(soprano sax), Manny Boyd (flute), Michael Howard (guitar),Stanley Clarke(electric bass), and percussionists Nathaniel Bettis, Sonny Morgan, Pablo Landrum, Emmanuel Rahim and Ray Mantilla for different tunes across the two sessions.[12][49]

In 1973, a regular lineup of Woody Shaw, newcomerCarter Jefferson,Cedar Walton, and Mickey Bass recorded two morePrestigealbums:AnthenaginandBuhaina.Congaplayer Tony Waters appears onAnthenaginand trombonistSteve Turreappears onBuhaina.[12][50][51]

Blakey struggled to keep the band going the next three years. Only one recording—a 1975 collaboration withSonny StittcalledIn Walked Sonnyon the SwedishSonetlabel—was produced between 1973 and 1976. That album included long time trumpet stalwart Bill Hardman again occupying the trumpet chair.David Schnitterwas now on tenor sax and would stay with the Messengers for some time to come. Walter Davis Jr. was back on piano, and the new bassist wasIsao Suzuki.The Messengers were still popular in Japan, and travelled there annually. Hardman and Schnitter were constants throughout this period. Pianists also included Albert Dailey andMickey Tuckerand bassists after Suzuki includedCameron BrownandChris Amberger.[12][11]: 200–202 [13]

Messengers rejuvenation (1976–90)

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In 1985.

In 1976 the Messengers recorded a record forRoulette–Backgammon—featuring Hardman, Schnitter, Dailey and Suzuki.[12][52]In that year Blakey began a professional relationship withWim Wigt,a Dutch music booker and owner of theTimelesslabel. Wigt booked the Messengers throughout Europe.[11]: 202 A second record forRoulettefollowed, featuring Schnitter,Walter Davis Jr.and newcomersValery Ponomarev,Bobby Watson,andDennis Irwin.[12][53]From this point the lineups began to stabilize as the band worked more regularly.

In October 1977 Blakey hired a new, regular, pianist:James Williams.This group (Ponomarev, Watson, Schnitter, Willams and Irwin) recordedIn My Prime Vol. 1in November 1977 for Wigt's Timeless label. In 1978 they recordedIn This KornerforConcord JazzandIn My Prime Vol. 2andReflections in Bluefor Timeless. In February 1979, they recorded the third Messengers album entitledNight in TunisiaforPhilips.In November 1979 they recordedOne by One,a live album inItaly,for the ItalianPalcoscenicolabel.[12][11]: 104–106 

In 1979 Blakey decided to assemble an 11-piece "big band" to take on a European tour in 1980. This band was unique in that it included two sets of brothers:WyntonandBranford MarsalisandRobinandKevin Eubanks,and that the group had the first guitarist that Blakey ever hired,Bobby Broom.The young musicians were cultivated by playing in the smaller Jazz Messengers combo around New York City through 1979. Broom left the group before the 1980 tour. These would bePonomarev's last appearances with the Messengers. WhileWatsonand Williams continued with the Messengers, David Schnitter was replaced byBill PierceandDennis Irwinwas replaced byCharles Fambrough.This band also featured a second drummer: John Ramsay.[1]Live at Montreux and Northseaby the Jazz Messengers Big Band was recorded at the Northsea and Montreux Jazz Festivals by Timeless.[13][54]

The regular working sextet that emerged from this European tour now includedWynton Marsalis,Bobby Watson,Bill Pierce, James Williams andCharles Fambrough.This group producedArt Blakey in Swedenon theAmigolabel,Album of the Yearon Timeless andStraight Aheadon the Concord Jazz imprint—all in early 1981.[12]

WhenBranford Marsalisgraduated from theBerklee College of Musicin 1981, he joined his brother in place ofBobby Watson.Donald Brownreplaced James Williams at this time as well.[d]In January 1982 this lineup producedKeystone 3,the third live album recorded by the band atKeystone KornerinSan Francisco.[12][56]

Wynton Marsalis' star was rising quickly. He and hisbrotherleft to form their own band in early 1982.[11]: 136 Due to Donald Brown's struggles with arthritis, he left the band at this time as well.[11]: 137 [13]The new lineup wasTerence BlanchardandDonald Harrisonon the front line, andJohnny O'Nealon piano, joining Pierce and Fambrough. This lineup recordedOh-By the Wayfor Timeless in 1982.[11]: 137 The band turned over gradually over the next year. Pierce left to begin teaching at Berklee in September 1982. He was replaced byJean Toussaint.Fambrough left in mid-1983 to be replaced byLonnie Plaxico.AndMulgrew Millertook over forJohnny O'Nealin 1984.[13]

This new lineup –Blanchard,Harrison,Toussaint, Miller, and Plaxico—stayed together throughout 1985, into 1986. They recordedNew York Scenein 1984 andLive at Kimball'sin 1985, both for Concord Jazz. A live date fromRonnie Scott'sinLondonalso appeared.[12][11]: 139, 147 

Blanchard andHarrisonformed their own band in mid-1986. They were replaced byWallace RoneyandKenny Garrett,respectively.Tim Williamswas also added ontrombone.This group recorded theFeeling Goodalbum forDelos.[13][57]

By the end of 1987 the band had turned over once again.Philip Harperwas the newtrumpetplayer,Javon Jacksonjoined on tenor, andRobin Eubanksreturned on trombone. The new pianist wasBenny GreenandPeter Washingtonwas the bassist.[13]

This lineup recordedNot YetandI Get a Kick Out of Bu(withLeon DorseyreplacingWashingtonon bass), both forSoul Notein 1988.[12][58]

In 1989, what became the final Jazz Messengers lineup was established:Brian Lynchon trumpet,Javon JacksonandDale Barlowon tenors,Steve Davisand/orFrank Lacyon trombone,Geoff Keezeron piano andEssiet Okon Essieton bass.[2]

A concert at the Leverkusen Jazz Festival in Germany commemorated in October 1989 commemorated Blakey's 70th birthday. Playing were the current messengers, plus many special guests: Freddie Hubbard, Terence Blanchard,Donald Harrison,Jackie McLean,Wayne Shorter, Benny Golson, Curtis Fuller, Walter Davis Jr.,Buster Williams,Roy Haynes,andMichele Hendrickssinging a song composed for the occasion by Horace Silver.[11]: 151 [59]

This final group recorded the final Messengers album,One for All,onA&M Records.[60]

Discography

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Main article:The Jazz Messengers discography

Former members

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Jazz Messengers Timeline

Notes

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  1. ^The album is commonly calledMoanin,and reissues used that title.[12][15]
  2. ^Blakey would produce one more, non-Messengers, album for the Limelight label in 1966:Hold On, I'm Coming (album).[12][48]
  3. ^While Brecker's tenure is confirmed by multiple sources, it must have been quite short; likely a few months in 1969.[11]: 82 [13]
  4. ^Wallace Roney filled in on trumpet while Wynton Marsalis took a leave of absence in the summer of 1981.[11]: 131 [55]

References

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  2. ^abcdefghFeather, Leonard; Gitler, Ira (1999).The Biographical Encyclopedia of Jazz.Oxford University Press. p.65.ISBN9780199729074.
  3. ^abc"Art Blakey".National Endowment for the Arts.RetrievedSeptember 16,2014.
  4. ^abcdeGoldsher, Alan (2008).Hard Bop Academy: The Sidemen of Art Blakey and the Jazz Messengers(1 ed.). Milwaukee, Wisconsin: Hal Leonard. pp. 2–5.ISBN9780634037931.
  5. ^abcde"Art Blakey Biography".Biography.RetrievedSeptember 16,2014.
  6. ^abcdef"Art Blakey".PBS.RetrievedSeptember 16,2014.
  7. ^abcdKelsey, Chris."Art Blakey".AllMusic.RetrievedSeptember 16,2014.
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  9. ^ab"Art Blakey".DrummerWorld.RetrievedSeptember 16,2014.
  10. ^Bock, Gordon (10 January 1979)."The Telegraph – Google News Archive Search".Google News.Retrieved25 July2017.
  11. ^abcdefghijklmnopqrstuvwxyzGourse, Leslie (2002).Art Blakey: Jazz Messenger.New York: Schirmer Trade Books.ISBN978-0825672729.
  12. ^abcdefghijklmnopqrstuvwxyzaaabac"Art Blakey Discography".JazzDisco.org].RetrievedSeptember 17,2014.
  13. ^abcdefghijklmnopSchwartz, Steve; Fitzgerald, Michael."Chronology of Art Blakey (and the Jazz Messengers)".Jazz Discography.RetrievedSeptember 16,2014.
  14. ^Art Blakey Quintet (1954).A Night at Birdland Vol. 1(10 "LP record). BLP 5037.Blue Note Records.
  15. ^abcdefgKirchner, Bill, ed. (2005).The Oxford Companion to jazz(Pbk ed.). New York: Oxford University Press. pp. 376–381.ISBN0195183592.
  16. ^"Art Blakey".Encyclopædia Britannica.RetrievedSeptember 16,2014.
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  20. ^abFeather, Leonard (1955).At the Cafe Bohemia, Vol. 1(liner notes). BLP 1508. The Jazz Messengers. Blue Note Records.
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  22. ^Rosenthal, David H.; Blakey, Art (1986)."The Big Beat!".The Black Perspective in Music.14(3): 267–289.doi:10.2307/1215067.ISSN0090-7790.JSTOR1215067.
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  24. ^Avakian, George (1956).The Cool Voice of Rita Reys(liner notes). CL 903. Reys, Rita, The Wes Ilcken Combo, The Jazz Messengers. Columbia Records.
  25. ^Hentoff, Nat (1956).Hard Bop(liner notes). CL 1040. The Jazz Messengers. Columbia Records.
  26. ^Michel, Ed (1957).Ritual: The Jazz Messengers featuring Art Blakey(liner notes). PJM 402. The Jazz Messengers; Blakey, Art.Pacific Jazz Records.
  27. ^Hentoff, Nat (1957).Hard Drive(liner notes). BCP 6023. Art Blakey's Jazz Messengers.Bethlehem Records.
  28. ^Hentoff, Nat (1958).A Night in Tunisia(liner notes). LAX 1115. Art Blakey's Jazz Messengers.Vik Records.
  29. ^Williams, Martin (1958).Art Blakey's Jazz Messengers with Thelonious Monk(liner notes). 1278. Art Blakey's Jazz Messengers; Monk, Thelonious.Atlantic Records.
  30. ^Hentoff, Nat (1957).Cu-Bop(liner notes). JLP 1049. Art Blakey and his Jazz Messengers; Sabu.Jubilee Records.
  31. ^Feather, Leonard (1958).Art Blakey and the Jazz Messengers(liner notes). BLP 4003. Art Blakey and the Jazz Messengers. Blue Note Records.
  32. ^Romano, Marcel (1959).Olympia Concert(liner notes). 680 202. Art Blakey's Jazz Messengers.Fontana Records.
  33. ^des femmes disparaissent(liner notes). 660 224. The Jazz Messengers.Fontana Records.1959.{{cite AV media notes}}:CS1 maint: others in cite AV media (notes) (link)
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  35. ^Gardner, Barbara J. (1960).A Night in Tunisia(liner notes). BLP 4049. Art Blakey and the Jazz Messengers. Blue Note Records.
  36. ^Katz, Dick (1961).Art Blakey and the Jazz Messengers(liner notes). A 7. Art Blakey and the Jazz Messengers.Impulse! Records.
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  38. ^Feather, Leonard (1961).Mosaic(liner notes). BLP 4090. Art Blakey and the Jazz Messengers. Blue Note Records.
  39. ^Feather, Leonard (1961).Buhaina's Delight(liner notes). BLP 4104. Art Blakey and the Jazz Messengers. Blue Note Records.
  40. ^Gitler, Ira (1962).Caravan(liner notes). RLP 438. Art Blakey and the Jazz Messengers.Riverside Records.
  41. ^Sherman, Ed (1963).Ugetsu(liner notes). RLP 464. Art Blakey's Jazz Messengers. Riverside Records.
  42. ^Gitler, Ira (1964).Kyoto(liner notes). RLP 493. Art Blakey and the Jazz Messengers. Riverside Records.
  43. ^Hentoff, Nat (1964).Free for All(liner notes). BLP 4170. Art Blakey and the Jazz Messengers. Blue Note Records.
  44. ^Taylor, Billy (1964).Play Selections from the new Musical Golden Boy(liner notes). CP 478. Art Blakey and the Jazz Messengers.Colpix Records.
  45. ^Feather, Leonoard (1964).Indestructible(liner notes). BLP 4193. Art Blakey and the Jazz Messengers. Blue Note Records.
  46. ^Feather, Leonard; Blakey, Art (1965).'S Make It(liner notes). LM 82001. Art Blakey and the Jazz Messengers.Limelight Records.
  47. ^Buttercorn Lady(liner notes). LM 82034. Art Blakey and the New Jazz Messengers. Limelight Records. 1966.{{cite AV media notes}}:CS1 maint: others in cite AV media (notes) (link)
  48. ^Cerulli, Dom (1966).Hold On, I'm Comin'(liner notes). LM 82038. Blakey, Art. Limelight Records.
  49. ^Child's Dance(liner notes). PR 10076. Art Blakey and the Jazz Messengers.Prestige Records.1972.{{cite AV media notes}}:CS1 maint: others in cite AV media (notes) (link)
  50. ^Anthenagin(liner notes). PR 10076. Art Blakey and the Jazz Messengers. Prestige Records. 1973.{{cite AV media notes}}:CS1 maint: others in cite AV media (notes) (link)
  51. ^Buhaina(liner notes). PR 10067. Art Blakey and the Jazz Messengers. Prestige Records. 1973.{{cite AV media notes}}:CS1 maint: others in cite AV media (notes) (link)
  52. ^Cuscuna, Michael (1976).Backgammon(liner notes). 5003. Art Blakey and the Jazz Messengers.Roulette Records.
  53. ^Gypsy Folk Tales(liner notes). 5008. Art Blakey and the Jazz Messengers. Roulette Records. 1977.{{cite AV media notes}}:CS1 maint: others in cite AV media (notes) (link)
  54. ^Watson, Bobby (1981).Live at Montreux and Northsea(liner notes). SJP 150. Art Blakey and the Jazz Messengers Big Band.Timeless Records.
  55. ^Crouch, Stanley (1982).Wynton Marsalis(liner notes). FC 37574.Marsalis, Wynton.Columbia Records.
  56. ^Dorritie, Frank (1982).Keystone 3(liner notes). CJ 196. Art Blakey and the Jazz Messengers.Concord Jazz.
  57. ^Feeling Good(liner notes). DE 4007. Art Blakey and the Jazz Messengers.Delos Records.1986.{{cite AV media notes}}:CS1 maint: others in cite AV media (notes) (link)
  58. ^Hennessey, Mike(1990).I Get a Kick Out of Bu(liner notes). 121 155. Art Blakey and the Jazz Messengers.Soul Note Records.
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