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,[ 1 ][ 2 ][ 3 ] and ending when long-time leader and founding drummer Art Blakey died 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 ] 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 in 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 ]

<p style="box-sizing:border-box;margin-top:0px;margin-bottom:15px;">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.<span class="reference" id="cite_ref-nea_3-1" style="box-sizing:border-box;font-size:0.53em;line-height:0;position:relative;top:-0.5em;">[ 3 ]<span class="reference" id="cite_ref-bio_5-2" style="box-sizing:border-box;font-size:0.53em;line-height:0;position:relative;top:-0.5em;">[ 5 ]<span class="reference" id="cite_ref-allmusic_7-2" style="box-sizing:border-box;font-size:0.53em;line-height:0;position:relative;top:-0.5em;">[ 7 ] 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<span class="reference" id="cite_ref-Kids_10-0" style="box-sizing:border-box;font-size:0.53em;line-height:0;position:relative;top:-0.5em;">[ 10 ]<span class="reference" id="cite_ref-Gourse_Book_ABJM_11-0" style="box-sizing:border-box;font-size:0.53em;line-height:0;position:relative;top:-0.5em;">[ 11 ] are documented to have played in the Jazz Messengers but did not record with the group.

Origins
<p style="box-sizing:border-box;margin-top:0px;margin-bottom:15px;">On December 17, 1947, Blakey led a group known as "Art Blakey's Messengers" in his first recording session as a leader, for Blue Note Records. The records were released as 78s at the time and two of the songs were released on the New Sounds 10" LP compilation (BLP 5010). This octet included Kenny Dorham, Howard Bowe,Sahib Shihab, Musa Kaleem, Ernest Thompson, Walter Bishop, Jr., and LaVerne Barker.<span class="reference" id="cite_ref-jazzdisco_12-0" style="box-sizing:border-box;font-size:0.53em;line-height:0;position:relative;top:-0.5em;">[ 12 ]

<p style="box-sizing:border-box;margin-top:0px;margin-bottom:15px;">Around the same time—in 1947<span class="reference" id="cite_ref-feather_2-2" style="box-sizing:border-box;font-size:0.53em;line-height:0;position:relative;top:-0.5em;">[ 2 ]<span class="reference" id="cite_ref-pbs_6-2" style="box-sizing:border-box;font-size:0.53em;line-height:0;position:relative;top:-0.5em;">[ 6 ] or 1949<span class="reference" id="cite_ref-academy_4-1" style="box-sizing:border-box;font-size:0.53em;line-height:0;position:relative;top:-0.5em;">[ 4 ]<span class="reference" id="cite_ref-gourse_13-0" style="box-sizing:border-box;font-size:0.53em;line-height:0;position:relative;top:-0.5em;">[ 13 ]<span class="reference" style="box-sizing:border-box;font-size:0.53em;line-height:0;position:relative;top:-0.5em;white-space:nowrap;">:20 —Blakey led a big band called "Seventeen Messengers." The band proved be financially unstable and broke up soon after.<span class="reference" id="cite_ref-gourse_13-1" style="box-sizing:border-box;font-size:0.53em;line-height:0;position:relative;top:-0.5em;">[ 13 ]<span class="reference" style="box-sizing:border-box;font-size:0.53em;line-height:0;position:relative;top:-0.5em;white-space:nowrap;">:20  The Messengers name then went dormant for several years.

<p style="box-sizing:border-box;margin-top:0px;margin-bottom:15px;">Blakey and Horace Silver began working together in the early 1950s.<span class="reference" id="cite_ref-chronology_14-0" style="box-sizing:border-box;font-size:0.53em;line-height:0;position:relative;top:-0.5em;">[ 14 ] Some cite the group that included Blakey, Silver, Kenny Dorham, Lou Donaldson and Gene Ramey in 1953 as the original Jazz Messengers.<span class="reference" id="cite_ref-ramsay_1-1" style="box-sizing:border-box;font-size:0.53em;line-height:0;position:relative;top:-0.5em;">[ 1 ]<span class="reference" id="cite_ref-jazzdisco_12-1" style="box-sizing:border-box;font-size:0.53em;line-height:0;position:relative;top:-0.5em;">[ 12 ]<span class="reference" id="cite_ref-chronology_14-1" style="box-sizing:border-box;font-size:0.53em;line-height:0;position:relative;top:-0.5em;">[ 14 ]On February 21, 1954, a group billed as the "Art Blakey Quintet" produced the live set of records called A Night in Birdland The quintet included Horace Silver, Clifford Brown, Lou Donaldson and Curly Russell.<span class="reference" id="cite_ref-BirdlandVol1_15-0" style="box-sizing:border-box;font-size:0.53em;line-height:0;position:relative;top:-0.5em;">[ 15 ] These records were quite successful, and some cite this date as the beginning of the Jazz Messengers.<span class="reference" id="cite_ref-nea_3-2" style="box-sizing:border-box;font-size:0.53em;line-height:0;position:relative;top:-0.5em;">[ 3 ]<span class="reference" id="cite_ref-gourse_13-2" style="box-sizing:border-box;font-size:0.53em;line-height:0;position:relative;top:-0.5em;">[ 13 ]

<span class="mw-headline" id="The_Jazz_Messengers_.281954.E2.80.9356.29" style="box-sizing:border-box;">The Jazz Messengers (1954–56)
<p style="box-sizing:border-box;margin-top:0px;margin-bottom:15px;">Most date the origin of the Jazz Messengers to 1954,<span class="reference" id="cite_ref-jazz.com_16-0" style="box-sizing:border-box;font-size:0.53em;line-height:0;position:relative;top:-0.5em;">[ 16 ]<span class="reference" id="cite_ref-oxford_17-0" style="box-sizing:border-box;font-size:0.53em;line-height:0;position:relative;top:-0.5em;">[ 17 ]<span class="reference" id="cite_ref-Britannica_18-0" style="box-sizing:border-box;font-size:0.53em;line-height:0;position:relative;top:-0.5em;">[ 18 ]<span class="reference" id="cite_ref-psu_19-0" style="box-sizing:border-box;font-size:0.53em;line-height:0;position:relative;top:-0.5em;">[ 19 ] or 1955,<span class="reference" id="cite_ref-feather_2-3" style="box-sizing:border-box;font-size:0.53em;line-height:0;position:relative;top:-0.5em;">[ 2 ]<span class="reference" id="cite_ref-allmusic_7-3" style="box-sizing:border-box;font-size:0.53em;line-height:0;position:relative;top:-0.5em;">[ 7 ]<span class="reference" id="cite_ref-allaboutjazz_20-0" style="box-sizing:border-box;font-size:0.53em;line-height:0;position:relative;top:-0.5em;">[ 20 ] when the first recordingsCREDITED to the band appeared.<span class="reference" id="cite_ref-pbs_6-3" style="box-sizing:border-box;font-size:0.53em;line-height:0;position:relative;top:-0.5em;">[ 6 ] The Jazz Messengers formed as a collective, nominally led by Silver or Blakey on various dates.<span class="reference" id="cite_ref-feather_2-4" style="box-sizing:border-box;font-size:0.53em;line-height:0;position:relative;top:-0.5em;">[ 2 ]<span class="reference" id="cite_ref-bio_5-3" style="box-sizing:border-box;font-size:0.53em;line-height:0;position:relative;top:-0.5em;">[ 5 ]<span class="reference" id="cite_ref-pbs_6-4" style="box-sizing:border-box;font-size:0.53em;line-height:0;position:relative;top:-0.5em;">[ 6 ] BlakeyCREDITS Silver with reviving the Messengers name for the group.<span class="reference" id="cite_ref-academy_4-2" style="box-sizing:border-box;font-size:0.53em;line-height:0;position:relative;top:-0.5em;">[ 4 ]<span class="reference" id="cite_ref-taylor_21-0" style="box-sizing:border-box;font-size:0.53em;line-height:0;position:relative;top:-0.5em;">[ 21 ]The other members included Kenny Dorham, Hank Mobley and Doug Watkins.<span class="reference" id="cite_ref-feather_2-5" style="box-sizing:border-box;font-size:0.53em;line-height:0;position:relative;top:-0.5em;">[ 2 ]<span class="reference" id="cite_ref-bio_5-4" style="box-sizing:border-box;font-size:0.53em;line-height:0;position:relative;top:-0.5em;">[ 5 ]<span class="reference" id="cite_ref-pbs_6-5" style="box-sizing:border-box;font-size:0.53em;line-height:0;position:relative;top:-0.5em;">[ 6 ] Their first recordings officially using the Jazz Messengers name were a pair of live dates, recorded at the Café Bohemia in 1955.<span class="reference" id="cite_ref-jazzdisco_12-2" style="box-sizing:border-box;font-size:0.53em;line-height:0;position:relative;top:-0.5em;">[ 12 ]<span class="reference" id="cite_ref-oxford_17-1" style="box-sizing:border-box;font-size:0.53em;line-height:0;position:relative;top:-0.5em;">[ 17 ]<span class="reference" id="cite_ref-CafeBohemia1_22-0" style="box-sizing:border-box;font-size:0.53em;line-height:0;position:relative;top:-0.5em;">[ 22 ]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 entitled Horace Silver and the Jazz Messengers.<span class="reference" id="cite_ref-oxford_17-2" style="box-sizing:border-box;font-size:0.53em;line-height:0;position:relative;top:-0.5em;">[ 17 ]<span class="reference" id="cite_ref-CafeBohemia1_22-1" style="box-sizing:border-box;font-size:0.53em;line-height:0;position:relative;top:-0.5em;">[ 22 ]<span class="reference" id="cite_ref-SilverJM_23-0" style="box-sizing:border-box;font-size:0.53em;line-height:0;position:relative;top:-0.5em;">[ 23 ]

<p style="box-sizing:border-box;margin-top:0px;margin-bottom:15px;">In 1956 Dorham left the band to go out on his own and was replaced by Donald Byrd.<span class="reference" id="cite_ref-gourse_13-3" style="box-sizing:border-box;font-size:0.53em;line-height:0;position:relative;top:-0.5em;">[ 13 ] This group releasedThe Jazz Messengers on Columbia Records.<span class="reference" id="cite_ref-jazzdisco_12-3" style="box-sizing:border-box;font-size:0.53em;line-height:0;position:relative;top:-0.5em;">[ 12 ]<span class="reference" id="cite_ref-JMColumbia_24-0" style="box-sizing:border-box;font-size:0.53em;line-height:0;position:relative;top:-0.5em;">[ 24 ] Later in the year, the original group all went their own ways, but Blakey retained the Jazz Messengers name for his future groups.<span class="reference" id="cite_ref-jazz.com_16-1" style="box-sizing:border-box;font-size:0.53em;line-height:0;position:relative;top:-0.5em;">[ 16 ]<span class="reference" id="cite_ref-oxford_17-3" style="box-sizing:border-box;font-size:0.53em;line-height:0;position:relative;top:-0.5em;">[ 17 ]<span class="reference" id="cite_ref-psu_19-1" style="box-sizing:border-box;font-size:0.53em;line-height:0;position:relative;top:-0.5em;">[ 19 ]

<span class="mw-headline" id="The_.22Second.22_Messengers_.281956.E2.80.9358.29" style="box-sizing:border-box;">The "Second" Messengers (1956–58)
<p style="box-sizing:border-box;margin-top:0px;margin-bottom:15px;">For a brief period in 1956 Donald Byrd stayed on as a new lineup was formed. It included Kenny Drew, Wilbur Ware, Ira Sullivan playing tenor sax in place of his more familiar trumpet. The only contemporary documentation of this version of the Messengers was two tracks backing up singer Rita Reys on The Cool Voice of Rita Reys on Columbia.<span class="reference" id="cite_ref-jazzdisco_12-4" style="box-sizing:border-box;font-size:0.53em;line-height:0;position:relative;top:-0.5em;">[ 12 ]<span class="reference" id="cite_ref-chronology_14-2" style="box-sizing:border-box;font-size:0.53em;line-height:0;position:relative;top:-0.5em;">[ 14 ]<span class="reference" id="cite_ref-RitaReys_25-0" style="box-sizing:border-box;font-size:0.53em;line-height:0;position:relative;top:-0.5em;">[ 25 ]

<p style="box-sizing:border-box;margin-top:0px;margin-bottom:15px;">Blakey then formed a new lineup that would prove to be much more stable. The most notable name, at the time, was Jackie McLean. He was only 25, but had already recorded with Miles Davis and Charles Mingus.<span class="reference" id="cite_ref-jazzdisco_12-5" style="box-sizing:border-box;font-size:0.53em;line-height:0;position:relative;top:-0.5em;">[ 12 ] Bill Hardman, Sam Dockery and Jimmy "Spanky" DeBrest filled out the group.<span class="reference" id="cite_ref-gourse_13-4" style="box-sizing:border-box;font-size:0.53em;line-height:0;position:relative;top:-0.5em;">[ 13 ]<span class="reference" style="box-sizing:border-box;font-size:0.53em;line-height:0;position:relative;top:-0.5em;white-space:nowrap;">:36 <span class="reference" id="cite_ref-chronology_14-3" style="box-sizing:border-box;font-size:0.53em;line-height:0;position:relative;top:-0.5em;">[ 14 ]

<p style="box-sizing:border-box;margin-top:0px;margin-bottom:15px;">They recorded another record for Columbia: Hard Bop—still under the collective's moniker The Jazz Messengers.<span class="reference" id="cite_ref-HardBop_26-0" style="box-sizing:border-box;font-size:0.53em;line-height:0;position:relative;top:-0.5em;">[ 26 ] They went on to record for several different labels including RCA subsidiary Vik Records,Pacific Jazz, Elektra, Cadet, Jubilee, Bethlehem and a date on Atlantic featuring Thelonious Monk. Over this time the band's name evolved to include Blakey's name, starting with "The Jazz Messengers, featuring Art Blakey" on Ritual,<span class="reference" id="cite_ref-Ritual_27-0" style="box-sizing:border-box;font-size:0.53em;line-height:0;position:relative;top:-0.5em;">[ 27 ] then "Art Blakey's Jazz Messengers" on several records,<span class="reference" id="cite_ref-HardDrive_28-0" style="box-sizing:border-box;font-size:0.53em;line-height:0;position:relative;top:-0.5em;">[ 28 ]<span class="reference" id="cite_ref-NightInTunisia1_29-0" style="box-sizing:border-box;font-size:0.53em;line-height:0;position:relative;top:-0.5em;">[ 29 ]<span class="reference" id="cite_ref-Monk_30-0" style="box-sizing:border-box;font-size:0.53em;line-height:0;position:relative;top:-0.5em;">[ 30 ] and also "Art Blakey and his Jazz Messengers" on Cu-Bop.<span class="reference" id="cite_ref-jazzdisco_12-6" style="box-sizing:border-box;font-size:0.53em;line-height:0;position:relative;top:-0.5em;">[ 12 ]<span class="reference" id="cite_ref-CuBop_31-0" style="box-sizing:border-box;font-size:0.53em;line-height:0;position:relative;top:-0.5em;">[ 31 ]

<span class="mw-headline" id="Art_Blakey_and_the_Jazz_Messengers_.281959.E2.80.9364.29" style="box-sizing:border-box;">Art Blakey and the Jazz Messengers (1959–64)
<p style="box-sizing:border-box;margin-top:0px;margin-bottom:15px;">In 1958 Blakey formed a new lineup with four Philadelphia natives: Lee Morgan, Benny Golson, Bobby Timmons and Jymie Merritt.<span class="reference" id="cite_ref-oxford_17-4" style="box-sizing:border-box;font-size:0.53em;line-height:0;position:relative;top:-0.5em;">[ 17 ] This marked the beginning of probably the most fruitful period of the Jazz Messengers. They returned to Blue Note and the first record—entitled simply Art Blakey and the Jazz Messengers—produced their biggest hit: "Moanin'".<span class="reference" id="cite_ref-gourse_13-5" style="box-sizing:border-box;font-size:0.53em;line-height:0;position:relative;top:-0.5em;">[ 13 ]<span class="reference" style="box-sizing:border-box;font-size:0.53em;line-height:0;position:relative;top:-0.5em;white-space:nowrap;">:47 <span class="reference" id="cite_ref-32" style="box-sizing:border-box;font-size:0.53em;line-height:0;position:relative;top:-0.5em;">[ 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.<span class="reference" id="cite_ref-academy_4-3" style="box-sizing:border-box;font-size:0.53em;line-height:0;position:relative;top:-0.5em;">[ 4 ]<span class="reference" id="cite_ref-oxford_17-6" style="box-sizing:border-box;font-size:0.53em;line-height:0;position:relative;top:-0.5em;">[ 17 ]<span class="reference" id="cite_ref-Moanin_33-0" style="box-sizing:border-box;font-size:0.53em;line-height:0;position:relative;top:-0.5em;">[ 32 ]

<p style="box-sizing:border-box;margin-top:0px;margin-bottom:15px;">Golson left the band in 1959 after a European tour (which produced live albums and a film soundtrack onFontana Records and French RCA)<span class="reference" id="cite_ref-ParisOlympia58_34-0" style="box-sizing:border-box;font-size:0.53em;line-height:0;position:relative;top:-0.5em;">[ 33 ]<span class="reference" id="cite_ref-desfemme_35-0" style="box-sizing:border-box;font-size:0.53em;line-height:0;position:relative;top:-0.5em;">[ 34 ]<span class="reference" id="cite_ref-stgermain_36-0" style="box-sizing:border-box;font-size:0.53em;line-height:0;position:relative;top:-0.5em;">[ 35 ] to be replaced, briefly, by Hank Mobley's return.<span class="reference" id="cite_ref-jazzdisco_12-8" style="box-sizing:border-box;font-size:0.53em;line-height:0;position:relative;top:-0.5em;">[ 12 ]<span class="reference" id="cite_ref-chronology_14-4" style="box-sizing:border-box;font-size:0.53em;line-height:0;position:relative;top:-0.5em;">[ 14 ] Mobley did not accompany the band to a Canadian jazz festival in 1959 for unknown reasons; Lee Morgan encountered Wayne Shorter at the festival, and he joined the band in Mobley's place.<span class="reference" id="cite_ref-academy_4-4" style="box-sizing:border-box;font-size:0.53em;line-height:0;position:relative;top:-0.5em;">[ 4 ]<span class="reference" id="cite_ref-chronology_14-5" style="box-sizing:border-box;font-size:0.53em;line-height:0;position:relative;top:-0.5em;">[ 14 ] This lineup produced several notable recordings including the second Messenger album entitled A Night in Tunisia.<span class="reference" id="cite_ref-jazzdisco_12-9" style="box-sizing:border-box;font-size:0.53em;line-height:0;position:relative;top:-0.5em;">[ 12 ]<span class="reference" id="cite_ref-NightInTunisia2_37-0" style="box-sizing:border-box;font-size:0.53em;line-height:0;position:relative;top:-0.5em;">[ 36 ]

<p style="box-sizing:border-box;margin-top:0px;margin-bottom:15px;">In 1961 the group expanded to a sextet with the addition of Curtis Fuller.<span class="reference" id="cite_ref-ramsay_1-2" style="box-sizing:border-box;font-size:0.53em;line-height:0;position:relative;top:-0.5em;">[ 1 ] This lineup produce the ''[https://www.wikiwand.com/en/Art_Blakey!!!!!_Jazz_Messengers!!!!! Art Blakey!!!!! Jazz Messengers!!!!!]'' album for the fledgling[https://www.wikiwand.com/en/Impulse! Impulse!] label.<span class="reference" id="cite_ref-gourse_13-6" style="box-sizing:border-box;font-size:0.53em;line-height:0;position:relative;top:-0.5em;">[ 13 ]<span class="reference" style="box-sizing:border-box;font-size:0.53em;line-height:0;position:relative;top:-0.5em;white-space:nowrap;">:62 <span class="reference" id="cite_ref-Impulse_38-0" style="box-sizing:border-box;font-size:0.53em;line-height:0;position:relative;top:-0.5em;">[ 37 ] At the end of that summer, Lee Morgan and Bobby Timmons left and were replaced by Freddie Hubbard and Cedar Walton respectively.<span class="reference" id="cite_ref-gourse_13-7" style="box-sizing:border-box;font-size:0.53em;line-height:0;position:relative;top:-0.5em;">[ 13 ]<span class="reference" style="box-sizing:border-box;font-size:0.53em;line-height:0;position:relative;top:-0.5em;white-space:nowrap;">:63  This lineup recorded Three Blind Mice for United Artists<span class="reference" id="cite_ref-3BlindMice_39-0" style="box-sizing:border-box;font-size:0.53em;line-height:0;position:relative;top:-0.5em;">[ 38 ] and two more Blue Notes: Mosaic and Buhaina's Delight.<span class="reference" id="cite_ref-jazzdisco_12-10" style="box-sizing:border-box;font-size:0.53em;line-height:0;position:relative;top:-0.5em;">[ 12 ]<span class="reference" id="cite_ref-Mosaic_40-0" style="box-sizing:border-box;font-size:0.53em;line-height:0;position:relative;top:-0.5em;">[ 39 ]<span class="reference" id="cite_ref-Buhainas_41-0" style="box-sizing:border-box;font-size:0.53em;line-height:0;position:relative;top:-0.5em;">[ 40 ]

<p style="box-sizing:border-box;margin-top:0px;margin-bottom:15px;">In mid-1962 Reggie Workman replaced long-time bassist Jymie Merritt, who wanted to settle down in Philadelphia.<span class="reference" id="cite_ref-gourse_13-8" style="box-sizing:border-box;font-size:0.53em;line-height:0;position:relative;top:-0.5em;">[ 13 ]<span class="reference" style="box-sizing:border-box;font-size:0.53em;line-height:0;position:relative;top:-0.5em;white-space:nowrap;">:66  This version of the group produced three records for Riverside<span class="reference" id="cite_ref-Caravan_42-0" style="box-sizing:border-box;font-size:0.53em;line-height:0;position:relative;top:-0.5em;">[ 41 ]<span class="reference" id="cite_ref-Ugetsu_43-0" style="box-sizing:border-box;font-size:0.53em;line-height:0;position:relative;top:-0.5em;">[ 42 ]<span class="reference" id="cite_ref-Kyoto_44-0" style="box-sizing:border-box;font-size:0.53em;line-height:0;position:relative;top:-0.5em;">[ 43 ] in addition to another Blue Note.<span class="reference" id="cite_ref-jazzdisco_12-11" style="box-sizing:border-box;font-size:0.53em;line-height:0;position:relative;top:-0.5em;">[ 12 ]<span class="reference" id="cite_ref-FreeForAll_45-0" style="box-sizing:border-box;font-size:0.53em;line-height:0;position:relative;top:-0.5em;">[ 44 ] This lineup stayed together until March 1964, when Lee Morgan rejoined in place of Freddie Hubbard.<span class="reference" id="cite_ref-chronology_14-6" style="box-sizing:border-box;font-size:0.53em;line-height:0;position:relative;top:-0.5em;">[ 14 ] Around this time—the precise recording date is unknown—the band produced an album of the music from the musical Golden Boy for theColpix label with an expanded lineup. This lineup included both Freddie Hubbard and Lee Morgan on trumpet, plus the addition of Charles Davis, Julius Watkins and Bill Barber.<span class="reference" id="cite_ref-jazzdisco_12-12" style="box-sizing:border-box;font-size:0.53em;line-height:0;position:relative;top:-0.5em;">[ 12 ]<span class="reference" id="cite_ref-gourse_13-9" style="box-sizing:border-box;font-size:0.53em;line-height:0;position:relative;top:-0.5em;">[ 13 ]<span class="reference" style="box-sizing:border-box;font-size:0.53em;line-height:0;position:relative;top:-0.5em;white-space:nowrap;">:71 <span class="reference" id="cite_ref-GoldenBoy_46-0" style="box-sizing:border-box;font-size:0.53em;line-height:0;position:relative;top:-0.5em;">[ 45 ]

<p style="box-sizing:border-box;margin-top:0px;margin-bottom:15px;">In April 1964, the Jazz Messengers produced their final, new, recording for the Blue Note label: Indestructible.<span class="reference" id="cite_ref-jazzdisco_12-13" style="box-sizing:border-box;font-size:0.53em;line-height:0;position:relative;top:-0.5em;">[ 12 ]<span class="reference" id="cite_ref-gourse_13-10" style="box-sizing:border-box;font-size:0.53em;line-height:0;position:relative;top:-0.5em;">[ 13 ]<span class="reference" style="box-sizing:border-box;font-size:0.53em;line-height:0;position:relative;top:-0.5em;white-space:nowrap;">:71 <span class="reference" id="cite_ref-Indestructible_47-0" style="box-sizing:border-box;font-size:0.53em;line-height:0;position:relative;top:-0.5em;">[ 46 ]

<span class="mw-headline" id="The_.22New.22_Messengers_.281964.E2.80.9366.29" style="box-sizing:border-box;">The "New" Messengers (1964–66)
<p style="box-sizing:border-box;margin-top:0px;margin-bottom:15px;">In September 1964, Wayne Shorter left the Messengers to form Miles Davis' Second Great Quintet. Lee Morgan enlisted long-time Sun Ra tenor saxophonistJohn Gilmore to fill in—though it was understood he would return to Sun Ra after a time.<span class="reference" id="cite_ref-gourse_13-11" style="box-sizing:border-box;font-size:0.53em;line-height:0;position:relative;top:-0.5em;">[ 13 ]<span class="reference" style="box-sizing:border-box;font-size:0.53em;line-height:0;position:relative;top:-0.5em;white-space:nowrap;">:71  Gilmore brought along fellow Arkestra member Victor Sprolesand John Hicks joined on piano.<span class="reference" id="cite_ref-chronology_14-7" style="box-sizing:border-box;font-size:0.53em;line-height:0;position:relative;top:-0.5em;">[ 14 ] The edition of the Messengers would see more quick turnover of members than the previous.

<p style="box-sizing:border-box;margin-top:0px;margin-bottom:15px;">The band signed with Quincy Jones' new Mercury sub-label Limelight Records. This group—still including Curtis Fuller on trombone—recorded the first album for the label: 'S Make It.<span class="reference" id="cite_ref-SMakeIt_48-0" style="box-sizing:border-box;font-size:0.53em;line-height:0;position:relative;top:-0.5em;">[ 47 ] The band soon reverted to a quintet as Fuller departed. Alto saxophonist Gary Bartz replaced the departing John Gilmore and this quintet—with Freddie Hubbard sitting in alongside Morgan—recorded Soul Finger for Limelight.<span class="reference" id="cite_ref-gourse_13-12" style="box-sizing:border-box;font-size:0.53em;line-height:0;position:relative;top:-0.5em;">[ 13 ]<span class="reference" style="box-sizing:border-box;font-size:0.53em;line-height:0;position:relative;top:-0.5em;white-space:nowrap;">:73

<p style="box-sizing:border-box;margin-top:0px;margin-bottom:15px;">By January 1966 the band had completely turned over again. Now Chuck Mangione occupied the trumpet chair with Frank Mitchell on tenor sax, Keith Jarrett on piano and Reggie Johnson on bass. This lineup produced the live album Buttercorn Lady under the moniker Art Blakey and the "New" Jazz Messengers.<span class="reference" id="cite_ref-jazzdisco_12-14" style="box-sizing:border-box;font-size:0.53em;line-height:0;position:relative;top:-0.5em;">[ 12 ]<span class="reference" id="cite_ref-gourse_13-13" style="box-sizing:border-box;font-size:0.53em;line-height:0;position:relative;top:-0.5em;">[ 13 ]<span class="reference" style="box-sizing:border-box;font-size:0.53em;line-height:0;position:relative;top:-0.5em;white-space:nowrap;">:78 <span class="reference" id="cite_ref-Buttercorn_49-0" style="box-sizing:border-box;font-size:0.53em;line-height:0;position:relative;top:-0.5em;">[ 48 ] While the band continued to perform live, this would be the final Jazz Messengers recording of the decade.<span class="reference" id="cite_ref-jazzdisco_12-15" style="box-sizing:border-box;font-size:0.53em;line-height:0;position:relative;top:-0.5em;">[ 12 ]<span class="reference" id="cite_ref-51" style="box-sizing:border-box;font-size:0.53em;line-height:0;position:relative;top:-0.5em;">[ b ]

<span class="mw-headline" id="The_dark_years_.281966.E2.80.9376.29" style="box-sizing:border-box;">The dark years (1966–76)
<p style="box-sizing:border-box;margin-top:0px;margin-bottom:15px;">The late 1960s saw the ascendance of rock music in popular culture, and the jazz world was experimenting with free jazz and jazz fusion, styles Blakey did not care for.<span class="reference" id="cite_ref-drummerworld_9-1" style="box-sizing:border-box;font-size:0.53em;line-height:0;position:relative;top:-0.5em;">[ 9 ]<span class="reference" id="cite_ref-gourse_13-14" style="box-sizing:border-box;font-size:0.53em;line-height:0;position:relative;top:-0.5em;">[ 13 ]<span class="reference" style="box-sizing:border-box;font-size:0.53em;line-height:0;position:relative;top:-0.5em;white-space:nowrap;">: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 in Tokyo. This particular lineup included Bill Hardman, Carlos Garnett, Joanne Brackeen and Jan Arnet.<span class="reference" id="cite_ref-jazzdisco_12-17" style="box-sizing:border-box;font-size:0.53em;line-height:0;position:relative;top:-0.5em;">[ 12 ]

<p style="box-sizing:border-box;margin-top:0px;margin-bottom:15px;">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 players Woody Shaw and Randy Brecker<span class="reference" id="cite_ref-52" style="box-sizing:border-box;font-size:0.53em;line-height:0;position:relative;top:-0.5em;">[ c ] in addition to Hardman; saxophonists Garnett, Mitchell, Billy Harper and Ramon Morris; and trombonists Slide Hampton and Julian Priester. The piano chair saw the greatest turnover. After Jarrett, pianists included Mike Nock, Lonnie Liston Smith, Chick Corea, McCoy Tyner, Ronnie Mathews, George Cables, Brackeen, Albert Dailey, plus occasionally veterans John Hicks, Cedar Walton, and[https://www.wikiwand.com/en/Walter_Davis,_Jr. Walter Davis, Jr.]. Bassists included Juni Booth, Buster Williams, Larry Evans, Scotty Holt, Arnet, and Mickey Bass.<span class="reference" id="cite_ref-feather_2-6" style="box-sizing:border-box;font-size:0.53em;line-height:0;position:relative;top:-0.5em;">[ 2 ]<span class="reference" id="cite_ref-jazzdisco_12-18" style="box-sizing:border-box;font-size:0.53em;line-height:0;position:relative;top:-0.5em;">[ 12 ]<span class="reference" id="cite_ref-chronology_14-9" style="box-sizing:border-box;font-size:0.53em;line-height:0;position:relative;top:-0.5em;">[ 14 ]

<p style="box-sizing:border-box;margin-top:0px;margin-bottom:15px;">In 1972 the Messengers were signed to Prestige Records and produced three albums. Child's Dance featured 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. and George Cables on both acoustic and electric pianos; and Mickey Bass. The band was augmented by Buddy 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.<span class="reference" id="cite_ref-jazzdisco_12-19" style="box-sizing:border-box;font-size:0.53em;line-height:0;position:relative;top:-0.5em;">[ 12 ]<span class="reference" id="cite_ref-childsdance_53-0" style="box-sizing:border-box;font-size:0.53em;line-height:0;position:relative;top:-0.5em;">[ 50 ]

<p style="box-sizing:border-box;margin-top:0px;margin-bottom:15px;">In 1973, a regular lineup of Woody Shaw, newcomer Carter Jefferson, Cedar Walton, and Mickey Bass recorded two more Prestige albums: Anthenagin andBuhaina. Conga player Tony Waters appears on Anthenaginfak and trombonist Steve Turre appears on Buhaina.<span class="reference" id="cite_ref-jazzdisco_12-20" style="box-sizing:border-box;font-size:0.53em;line-height:0;position:relative;top:-0.5em;">[ 12 ]<span class="reference" id="cite_ref-anthenagin_54-0" style="box-sizing:border-box;font-size:0.53em;line-height:0;position:relative;top:-0.5em;">[ 51 ]<span class="reference" id="cite_ref-buhaina_55-0" style="box-sizing:border-box;font-size:0.53em;line-height:0;position:relative;top:-0.5em;">[ 52 ]

<p style="box-sizing:border-box;margin-top:0px;margin-bottom:15px;">Blakey struggled to keep the band going the next three years. Only one recording—a 1975 collaboration with Sonny Stitt called In Walked Sonny on the Swedish Sonet label—was produced between 1973 and 1976. That album included long time trumpet stalwart Bill Hardman again occupying the trumpet chair. David Schnitter was 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 was Yoshio 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 and Mickey Tucker and bassists after Suzuki included Cameron Brown and Chris Amberger.<span class="reference" id="cite_ref-jazzdisco_12-21" style="box-sizing:border-box;font-size:0.53em;line-height:0;position:relative;top:-0.5em;">[ 12 ]<span class="reference" id="cite_ref-gourse_13-16" style="box-sizing:border-box;font-size:0.53em;line-height:0;position:relative;top:-0.5em;">[ 13 ]<span class="reference" style="box-sizing:border-box;font-size:0.53em;line-height:0;position:relative;top:-0.5em;white-space:nowrap;">:200–202 <span class="reference" id="cite_ref-chronology_14-10" style="box-sizing:border-box;font-size:0.53em;line-height:0;position:relative;top:-0.5em;">[ 14 ]

<span class="mw-headline" id="Messengers_rejuvenation_.281976.E2.80.9390.29" style="box-sizing:border-box;">Messengers rejuvenation (1976–90)
<p style="box-sizing:border-box;margin-top:0px;margin-bottom:15px;">In 1976 the Messengers recorded a record for Roulette – Backgammon—featuring Hardman, Schnitter, Dailey and Suzuki.<span class="reference" id="cite_ref-jazzdisco_12-22" style="box-sizing:border-box;font-size:0.53em;line-height:0;position:relative;top:-0.5em;">[ 12 ]<span class="reference" id="cite_ref-backgammon_56-0" style="box-sizing:border-box;font-size:0.53em;line-height:0;position:relative;top:-0.5em;">[ 53 ] In that year Blakey began a professional relationship with Wim Wigt, a Dutch music booker and owner of the Timeless label. Wigt booked the Messengers throughout Europe.<span class="reference" id="cite_ref-gourse_13-17" style="box-sizing:border-box;font-size:0.53em;line-height:0;position:relative;top:-0.5em;">[ 13 ]<span class="reference" style="box-sizing:border-box;font-size:0.53em;line-height:0;position:relative;top:-0.5em;white-space:nowrap;">:202  A second record for Roulette followed, featuring Schnitter, [https://www.wikiwand.com/en/Walter_Davis,_Jr. Walter Davis, Jr.] and newcomers Valery Ponomarev, Bobby Watson, and Dennis Irwin.<span class="reference" id="cite_ref-jazzdisco_12-23" style="box-sizing:border-box;font-size:0.53em;line-height:0;position:relative;top:-0.5em;">[ 12 ]<span class="reference" id="cite_ref-gypsy_57-0" style="box-sizing:border-box;font-size:0.53em;line-height:0;position:relative;top:-0.5em;">[ 54 ] From this point the lineups began to stabilize as the band worked more regularly.

<p style="box-sizing:border-box;margin-top:0px;margin-bottom:15px;">In October 1977 Blakey hired a new, regular, pianist: James Williams. This group (Ponomarev, Watson, Schnitter, Willams and Irwin) recorded In My Prime Vol. 1 on November 1977 for Wigt's Timeless label. In 1978 they recorded In This Korner for Concord Jazz and In My Prime Vol. 2 and Reflections in Blue for Timeless. In February 1979, they recorded the third Messengers album entitled Night in Tunisia for Philips. In November 1979 they recorded One by One, a live album in Italy, for the Italian Palcoscenico label.<span class="reference" id="cite_ref-jazzdisco_12-24" style="box-sizing:border-box;font-size:0.53em;line-height:0;position:relative;top:-0.5em;">[ 12 ]<span class="reference" id="cite_ref-gourse_13-18" style="box-sizing:border-box;font-size:0.53em;line-height:0;position:relative;top:-0.5em;">[ 13 ]<span class="reference" style="box-sizing:border-box;font-size:0.53em;line-height:0;position:relative;top:-0.5em;white-space:nowrap;">:104–106

<p style="box-sizing:border-box;margin-top:0px;margin-bottom:15px;">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:Wynton and Branford Marsalis and Robin and Kevin Eubanks, and that the group had the only guitarist that Blakey ever hired, Bobby Broom.<span class="reference" id="cite_ref-58" style="box-sizing:border-box;font-size:0.53em;line-height:0;position:relative;top:-0.5em;">[ 55 ] 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 be Ponomarev's last appearances with the Messengers. While Watson and Williams continued with the Messengers, David Schnitter was replaced by Bill Pierce and Dennis Irwin was replaced by Charles Fambrough. This band also featured a second drummer: John Ramsay.<span class="reference" id="cite_ref-ramsay_1-3" style="box-sizing:border-box;font-size:0.53em;line-height:0;position:relative;top:-0.5em;">[ 1 ] Live at Montreux and Northsea by the Jazz Messengers Big Band was recorded at the Northsea and Montreux Jazz Festivals by Timeless.<span class="reference" id="cite_ref-chronology_14-11" style="box-sizing:border-box;font-size:0.53em;line-height:0;position:relative;top:-0.5em;">[ 14 ]<span class="reference" id="cite_ref-JMBigBand_59-0" style="box-sizing:border-box;font-size:0.53em;line-height:0;position:relative;top:-0.5em;">[ 56 ]

<p style="box-sizing:border-box;margin-top:0px;margin-bottom:15px;">The regular working sextet that emerged from this European tour now included Wynton Marsalis, Bobby Watson, Bill Pierce, James Williams and Charles Fambrough. This group produced Art Blakey in Sweden on the Amigo label, Album of the Year on Timeless and Straight Ahead on the Concord Jazz imprint—all in early 1981.<span class="reference" id="cite_ref-jazzdisco_12-25" style="box-sizing:border-box;font-size:0.53em;line-height:0;position:relative;top:-0.5em;">[ 12 ]

<p style="box-sizing:border-box;margin-top:0px;margin-bottom:15px;">When Branford Marsalis graduated from the Berklee College of Music in 1981, he joined his brother in place of Bobby Watson. Donald Brown replaced James Williams at this time as well.<span class="reference" id="cite_ref-61" style="box-sizing:border-box;font-size:0.53em;line-height:0;position:relative;top:-0.5em;">[ d ] In January 1982 this lineup produced Keystone 3, the third live album recorded by the band at Keystone Korner in San Francisco.<span class="reference" id="cite_ref-jazzdisco_12-26" style="box-sizing:border-box;font-size:0.53em;line-height:0;position:relative;top:-0.5em;">[ 12 ]<span class="reference" id="cite_ref-keystone3_62-0" style="box-sizing:border-box;font-size:0.53em;line-height:0;position:relative;top:-0.5em;">[ 58 ]

<p style="box-sizing:border-box;margin-top:0px;margin-bottom:15px;">Wynton Marsalis' star was rising quickly. He and his brother left to form their own band in early 1982.<span class="reference" id="cite_ref-gourse_13-20" style="box-sizing:border-box;font-size:0.53em;line-height:0;position:relative;top:-0.5em;">[ 13 ]<span class="reference" style="box-sizing:border-box;font-size:0.53em;line-height:0;position:relative;top:-0.5em;white-space:nowrap;">:136  Due to Donald Brown's struggles with arthritis, he left the band at this time as well.<span class="reference" id="cite_ref-gourse_13-21" style="box-sizing:border-box;font-size:0.53em;line-height:0;position:relative;top:-0.5em;">[ 13 ]<span class="reference" style="box-sizing:border-box;font-size:0.53em;line-height:0;position:relative;top:-0.5em;white-space:nowrap;">:137 <span class="reference" id="cite_ref-chronology_14-12" style="box-sizing:border-box;font-size:0.53em;line-height:0;position:relative;top:-0.5em;">[ 14 ] The new lineup was Terence Blanchard and Donald Harrison on the front line, and Johnny O'Neal on piano, joining Pierce and Fambrough. This lineup recorded Oh-By the Way for Timeless in 1982.<span class="reference" id="cite_ref-gourse_13-22" style="box-sizing:border-box;font-size:0.53em;line-height:0;position:relative;top:-0.5em;">[ 13 ]<span class="reference" style="box-sizing:border-box;font-size:0.53em;line-height:0;position:relative;top:-0.5em;white-space:nowrap;">:137  The band turned over gradually over the next year. Pierce left to begin teaching at Berklee in September 1892. He was replaced by Jean Toussaint. Fambrough left in mid-1983 to be replaced by Lonnie Plaxico. And Mulgrew Millertook over for Johnny O'Neal in 1984.<span class="reference" id="cite_ref-chronology_14-13" style="box-sizing:border-box;font-size:0.53em;line-height:0;position:relative;top:-0.5em;">[ 14 ]

<p style="box-sizing:border-box;margin-top:0px;margin-bottom:15px;">This new lineup – Blanchard, Harrison, Toussaint, Miller, and Plaxico—stayed together throughout 1985, into 1986. They recorded New York Scene in 1984 andLive at Kimball's in 1985, both for Concord Jazz. A live date from Ronnie Scott's in London also appeared.<span class="reference" id="cite_ref-jazzdisco_12-27" style="box-sizing:border-box;font-size:0.53em;line-height:0;position:relative;top:-0.5em;">[ 12 ]<span class="reference" id="cite_ref-gourse_13-23" style="box-sizing:border-box;font-size:0.53em;line-height:0;position:relative;top:-0.5em;">[ 13 ]<span class="reference" style="box-sizing:border-box;font-size:0.53em;line-height:0;position:relative;top:-0.5em;white-space:nowrap;">:139,147

<p style="box-sizing:border-box;margin-top:0px;margin-bottom:15px;">Blanchard and Harrison formed their own band in mid-1986. They were replaced by Wallace Roney and Kenny Garrett, respectively. Tim Williams was also added on trombone. This group recorded the Feeling Good CD for Delos.<span class="reference" id="cite_ref-chronology_14-14" style="box-sizing:border-box;font-size:0.53em;line-height:0;position:relative;top:-0.5em;">[ 14 ]<span class="reference" id="cite_ref-feeling_good_63-0" style="box-sizing:border-box;font-size:0.53em;line-height:0;position:relative;top:-0.5em;">[ 59 ]

<p style="box-sizing:border-box;margin-top:0px;margin-bottom:15px;">By the end of 1987 the band had turned over once again. Philip Harper was the new trumpet player, Javon Jackson joined on tenor, and Robin Eubanksreturned on trombone. The new pianist was Benny Green and Peter Washington was the bassist.<span class="reference" id="cite_ref-chronology_14-15" style="box-sizing:border-box;font-size:0.53em;line-height:0;position:relative;top:-0.5em;">[ 14 ]

<p style="box-sizing:border-box;margin-top:0px;margin-bottom:15px;">This lineup recorded Not Yet and I Get a Kick Out of Bu (with Leon Dorsey replacing Washington on bass), both for Soul Note in 1988.<span class="reference" id="cite_ref-jazzdisco_12-28" style="box-sizing:border-box;font-size:0.53em;line-height:0;position:relative;top:-0.5em;">[ 12 ]<span class="reference" id="cite_ref-Kick_64-0" style="box-sizing:border-box;font-size:0.53em;line-height:0;position:relative;top:-0.5em;">[ 60 ]

<p style="box-sizing:border-box;margin-top:0px;margin-bottom:15px;">In 1989, what became the final Jazz Messengers lineup was established: Brian Lynch on trumpet, Javon Jackson and Dale Barlow on tenors, Steve Davisand/or Frank Lacy on trombone, Geoff Keezer on piano and Essiet Okon Essiet on bass.<span class="reference" id="cite_ref-feather_2-7" style="box-sizing:border-box;font-size:0.53em;line-height:0;position:relative;top:-0.5em;">[ 2 ]

<p style="box-sizing:border-box;margin-top:0px;margin-bottom:15px;">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, and Michele Hendricks singing a song composed for the occasion by Horace Silver.<span class="reference" id="cite_ref-gourse_13-24" style="box-sizing:border-box;font-size:0.53em;line-height:0;position:relative;top:-0.5em;">[ 13 ]<span class="reference" style="box-sizing:border-box;font-size:0.53em;line-height:0;position:relative;top:-0.5em;white-space:nowrap;">:151 <span class="reference" id="cite_ref-ArtOfJazzReview_65-0" style="box-sizing:border-box;font-size:0.53em;line-height:0;position:relative;top:-0.5em;">[ 61 ]

<p style="box-sizing:border-box;margin-top:0px;margin-bottom:15px;">This final group recorded the final Messengers album, One for All, on A&M Records.<span class="reference" id="cite_ref-OneForAll_66-0" style="box-sizing:border-box;font-size:0.53em;line-height:0;position:relative;top:-0.5em;">[ 62 ]