Search - Art Blakey :: Caravan: Keepnews Collection

Keepnews Corrals Blakey's Messengers

Samuel Chell | Kenosha,, WI United States | 09/10/2007

(4 out of 5 stars)

"No need to steer clear of this date by Blakey's highly regarded Shorter-anchored sextet simply because it's a Riverside session. The approach to recording the group differs significantly from Van Gelder's, resulting in a new perspective on the group's ensemble and solo sound. Blakey's press rolls, ride cymbal, and hi hat aren't nearly as loud, occasionally blending into the mix to allow the soloists to be heard without boosts or enhancement. The piano's sonorities are natural, reflecting the overtones of the cabinetry and acoustic space that are part of the instrument's true sound. Blakey's "vocalizing" during his solos has never been more fully captured and is a revelation, allowing us to feel the living presence of the man himself as he distributes cymbal sounds that come equally from all speakers. Rather than bring the sound to the listener, the approach is the opposite--more transparent, passive and natural--a documentation rather than a construction of the sound. It's not necessarily better, but it's a fascinating, even edifying, change of perspective.



As for the musicianship and program, rate both a high five. By now Hubbard is beginning to make listeners forget about Lee Morgan and even starting to take the spotlight away from Shorter. On both his and Shorter's originals, the band plays sforzando phrases that positively swell from ppp to ffff, unlike the limited dynamic range on most of the group's recordings. Hubbard's ballad feature, "Skylark," is nearly equaled by Curtis Fuller's solo feature on "Wee Small Hours." The two out-takes are played well, but most listeners will find their money well spent without them. All in all, another essential recording by the early '60s Messengers.



(I'd be happy to refund the dissenter's money or give the album 5 stars. But systematically stamping negatives--or even, for that matter, positives--to one writer's string of reviews demonstrates that the review itself isn't the issue. And I'm in a position to know better than you that it isn't me who's the issue. So that leaves... guess who? Have you considered consulting a professional about your prob--ah, "issue"?)"

Grab Caravan, then call 911

Thomas P. Hughes | 07/04/2009

(5 out of 5 stars)

"This album currently holds the "House Is On Fire And I Can Only Save One CD" award for me. Though not the first Jazz Messengers CD that I bought (that being "Free For All," another great album), it has definitely kept me coming back. The compositions are captivating, particularly as they are orchestrated on these tracks; I go all day with Thermo or Sweet 'n' Sour stuck in my head until I have to listen to the album again. But beyond this, the way the soloists flesh out the themes sends shivers down my spine. Shorter, Hubbard, and Walton are all fantastic, but I have to wonder how Curtis Fuller can riff as fast as he does on an instrument so seemingly cumbersome, at least to an outside observer, as the trombone. And then we come to Art Blakey. I must admit that in the past I have felt that there was something indulgent about drum solos. I would politely put up with them until the real music resumed. Blakey has put an end to that for me. His expansive polyrhythmic solos (yes, more than one) on the title track viscerally captivate me. And even when he's not soloing, he is clearly the accelerant for everything else happening on the album. My only criticism is that Reggie Workman never really gets the spotlight. He adds more than a mere walking-bass line, but you kind of think that a percussionist band leader would have showcased all members of the rhythm section. All in all, though, this album is positively incendiary; keep a potholder handy to rescue it from your house fire, but be careful: it might be the thing that started the blaze in the first place!"