Moanin'

Moanin' is a jazz album by Art Blakey and the Jazz Messengers recorded in 1958.

Background

This was Blakey's first album for Blue Note in several years, after a period of recording for a miscellany of labels, and marked both a homecoming and a fresh start. Originally the LP was self-titled, but the instant popularity of the bluesy opening track "Moanin'" (by pianist Bobby Timmons) led to its becoming known by that title.

Music

The rest of the originals are by saxophonist Benny Golson (who was not with the Jazz Messengers for long; this being the only American album on which he is featured). "Are You Real?" is a propulsive thirty-two-bar piece with a four-bar tag, featuring two-part writing for Golson and trumpeter Lee Morgan. "Along Came Betty" is a more lyrical, long-lined piece, almost serving as the album's ballad. "The Drum Thunder Suite" is a feature for Blakey, in three movements: "Drum Thunder"; "Cry a Blue Tear"; and "Harlem's Disciples". "Blues March" calls on the feeling of the New Orleans marching bands, and the album finishes on its only standard, an unusually brisk reading of "Come Rain or Come Shine". Of the originals on the album, all but the "Drum Thunder Suite" became staples of the Messengers book, even after Timmons and Golson were gone. Recorded by Rudy Van Gelder in his meticulous Hackensack studios, this recording reflects the hallmark precision associated with that engineer – on the reissue there is a brief conversation between Lee Morgan and Rudy Van Gelder going over Morgan's solo.

Art Blakey

Art Blakey (Arthur Blakey; October 11, 1919 – October 16, 1990) was an American jazz drummer and bandleader. He was known as Abdullah Ibn Buhaina after he became a Muslim.

Blakey made a name for himself in the 1940s in the big bands of Fletcher Henderson and Billy Eckstine. He worked with bebop musicians Thelonious Monk, Charlie Parker and Dizzy Gillespie. In the mid-1950s Horace Silver and Blakey formed the Jazz Messengers, a group that the drummer was associated with for the next 35 years. The Messengers were formed as a collective of contemporaries, but over the years the band became known as an incubator for young talent, including Freddie Hubbard, Wayne Shorter and Wynton Marsalis. The Biographical Encyclopedia of Jazz calls the Jazz Messengers "the archetypal hard bop group of the late 50s".

He was inducted into the Down Beat Jazz Hall of Fame (in 1981), the Grammy Hall of Fame (in 1998 and 2001), and was awarded the Grammy Lifetime Achievement Award in 2005. He was inducted into the Modern Drummer Hall of Fame in 1991.

The Jazz Messengers

The Jazz Messengers were an influential jazz combo that existed for over thirty-five years beginning in the early 1950s as a collective, and ending when long-time leader and founding drummer Art Blakey died in 1990. Blakey led or co-led the group from the outset. "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.

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.

Many Messenger alumni went on to become jazz stars in their own right, such as: Lee Morgan, Benny Golson, Wayne Shorter, Freddie Hubbard, Bobby Timmons, Curtis Fuller, Cedar Walton, Chuck Mangione, Keith Jarrett, Joanne Brackeen, Woody Shaw, Wynton Marsalis, Branford Marsalis, Terence Blanchard, Donald Harrison and Mulgrew Miller. A more complete list of alumni can be found on the right column. Some members such as bassist Clarence Seay and then 16-year-old trombonist Gregory Charles Royal are documented to have played in the Jazz Messengers but did not record with the group.

Bobby Timmons

Robert Henry "Bobby" Timmons (December 19, 1935 – March 1, 1974) was an American jazz pianist and composer. He was a sideman in Art Blakey's Jazz Messengers for two periods (July 1958 to September 1959; February 1960 to June 1961), between which he was part of Cannonball Adderley's band. Several of Timmons' compositions written when part of these bands – including "Moanin'", "Dat Dere", and "This Here" – enjoyed commercial success and brought him more attention. In the early and mid-1960s he led a series of piano trios that toured and recorded extensively.

Timmons was strongly associated with the soul jazz style that he helped initiate; this link to apparently simple writing and playing, coupled with drug and alcohol addiction, led to a decline in his career. Timmons died, aged 38, from cirrhosis. His contribution to jazz remains undervalued.

Early life

Timmons was born in Philadelphia, Pennsylvania, the son of a minister. He had a sister, Eleanor. Both of his parents, and several aunts and uncles, played the piano. From an early age Timmons studied music with an uncle, Robert Habershaw, who also taught McCoy Tyner. Timmons first played at the church where his grandfather was minister; this influenced his later jazz playing. He grew up in the same area as other future musicians, including the Heath brothers, Jimmy, Percy, and Tootie. Timmons' first professional performances were in his local area, often as a trio that included Tootie Heath on drums. After graduating from high school Timmons was awarded a scholarship to study at the Philadelphia Musical Academy.

Charles Mingus

Charles Mingus Jr. (April 22, 1922 – January 5, 1979) was an American jazz double bassist, composer and bandleader. His compositions retained the hot and soulful feel of hard bop, drawing heavily from black gospel music and blues, while sometimes containing elements of Third Stream, free jazz, and classical music. He once cited Duke Ellington and church as his main influences.

Mingus espoused collective improvisation, similar to the old New Orleans jazz parades, paying particular attention to how each band member interacted with the group as a whole. In creating his bands, he looked not only at the skills of the available musicians, but also their personalities. Many musicians passed through his bands and later went on to impressive careers. He recruited talented and sometimes little-known artists, whom he utilized to assemble unconventional instrumental configurations. As a performer, Mingus was a pioneer in double bass technique, widely recognized as one of the instrument's most proficient players.