Art Blakey & The Jazz Messengers - Just Coolin'
Prix habituel
€35,00
NOUS NE POUVONS PAS NOUS ENGAGER SUR UNE DATE DE LIVRAISON POUR LES VINYLES & CD/SACD EN PRE-COMMANDE
Les Labels prennent parfois plusieurs mois pour livrer les vinlyes & CD/SACD en pré-commande
La TVA est incluse dans le prix pour les pays de l'Union Européenne, et ajustée sur la base du pays de destination au moment du paiement.
L'expédition est gratuite au sein de l'Union Européenne au dessus de 99€ d'achat, sauf pour certaines destinations, et jusqu'à 50kg. Au dessus de 50kg, frais d'expédition sur demande à contact@audiosounmusic.com. Il n'y a pas de politique de retour pour les pays hors Union Européenne.
Drums: Art Blakey [click here to see more vinyl/SACD featuring Art Blakey]
The jazz Messengers: [click here to see more Vinyl/SACD featuring The Jazz Messengers]
Trumpet: Lee Morgan [click here to see more Vinyl/SACD featuring Lee Morgan]
Tenor Saxophone: Hank Mobley [click here to see more vinyl/SACD featuring Hank Mobley]
Piano: Bobby Timmons
Bass: Jymie Merritt
Written by Hank Mobley (A1, A3, B1-2), Bernice Petkere (A2), Lee Morgan (B3)
1 LP, standard sleeve
Original analog Master tape : YES
Heavy Press : 180g
Record color : black
Speed : 33RPM
Size : 12”
Stereo
Studio
Record Press : unspecified
Label : Blue Note
Original Label : Blue Note
Recorded in March 8, 1959, Van Gelder Studio, Hackensack, NJ
Engineered by Rudy Van Gelder
Produced by Alfred Lion
Mastered by Kevin Gray at Cohearent Audio
Cover design by Todd Gallopo
Photography by Francis Wolff
Liner Notes by Bob Blumenthal
Originally Released in July 2020
Reissued in 2025
Tracks :
Side A:
- Hipsippy Blues
- Close Your Eyes
- Jimerick
Side B:
- Quick Trick
- M&M
- Just Coolin'
Review :
"Drummer Art Blakey was a core member of Blue Note's stable between 1947 and 1967. His ever-evolving Jazz Messengers hosted and showcased a constant influx of great musicians on more than 20 albums, most of whom have become legends. The discovery of a finished album from 1959 is enough to raise any jazz fan's blood pressure in anticipation. Just Coolin' was cut at Rudy Van Gelder's studio five weeks before the Birdland concerts that became the two-volume At the Jazz Corner of the World. The live dates reprise four of these six tunes.
Though short-lived, the lineup here is, as one would expect from this period, top tier: Blakey is accompanied by tenorist Hank Mobley (a founding Jazz Messenger in 1954), trumpeter Lee Morgan, pianist Bobby Timmons, and bassist Jymie Merritt. The recording immediately prior to this was 1958's immortal Moanin' with Benny Golson on tenor. After Golson left, Blakey asked Mobley to rejoin for this March session. (Three months later, the saxophonist skipped a gig in Canada and Blakey hired Wayne Shorter.) Mobley brought three tunes: "Hipsippy Blues," "M&M," and "Just Coolin'." Of the remainder, Timmons contributed "Quick Trick."
While there is an uncharacteristic looseness revealed in the group-played thematic statements, the interplay between soloists and rhythm section is inspired and fluid. While opener "Hipsippy Blues" commences with the trademark blues feel redolent of Blakey's musical vernacular, Mobley's solo stretches them to the breaking point with its relaxed sophistication, while Morgan follows with an understated break, that transforms itself into jazz fire. The Jazz Messengers understood their group sound implicitly. Check the chart in Tin Pan Alley songwriting queen Bernice Petkere's "Close Your Eyes"; if you didn't already know, you'd swear it was penned by Mobley or Timmons. The trumpeter's solo reaches for the sky in just a couple of choruses, while Mobley digs a bluesy furrow in his. The uncredited "Jimerick" is a scorching exercise in bebop with Blakey and Timmons dueling for dominance. Mobley gets extremely playful as he quotes from "Cheek to Cheek" and other pop tunes and balances the energy. Timmons' "Quick Trick" is the only known version of the tune. An exercise in free and easy, it contains wonderful solos from the pianist and Morgan. Mobley's "M&M" is titled for the horn players and initially offered at a slightly more relaxed tempo than the Birdland take. That said, its more sophisticated chart creates an abundant space for all three soloists to challenge and complement one another. The title cut first appeared on Mobley's 1955 Blue Note debut (Blakey was its drummer). It starts at midtempo, but Mobley's swinging entrance increases the tension almost immediately. Morgan's soulful, dazzling solo is easily his best here. Merritt and Blakey also offer hard-grooving statements together and separately. Just Coolin' may not be a Holy Grail, but it's well worth the wait as it reveals a band in transition firing on all cylinders.” AllMusic Review by Thom Jurek
Rating:
AllMusic 3.5 / 5 ; Discogs 4.54 / 5