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The Jazz Messengers

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Adapted from the English Wikipedia article The Jazz Messengers, available under CC BY-SA 4.0Updated 29 November 202514 sources
The Jazz Messengers
Company typeJazz ensemble
IndustryMusic
Founded1950s
FounderArt Blakey
Defunct1990
FateDisbanded following the death of Art Blakey
Key people
Art Blakey (leader and founding drummer)
ProductsJazz music performances and recordings

The Jazz Messengers was a jazz ensemble that remained active for more than thirty-five years, beginning in the early 1950s and continuing until the passing of its founding drummer and enduring leader, Art Blakey, in 1990. Throughout the group's entire existence, Blakey served as its leader or co-leader. Over time, the names "Art Blakey" and "Jazz Messengers" became virtually interchangeable, although Blakey also led projects outside the Messengers and contributed as a sideman.

The ensemble functioned as an important platform for nurturing up-and-coming jazz musicians. While some established artists occasionally rejoined, most rosters featured fresh, young talent. Membership in the Messengers became a significant endorsement within the jazz community.

Numerous alumni went on to achieve notable solo success, including Lee 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 Harrison, and Mulgrew Miller. Some musicians such as bassist Clarence Seay and Gregory Charles Royal are recognized as members but did not participate in any recordings with the group.

Origins

On December 17, 1947, Blakey conducted his first session as a bandleader with "Art Blakey's Messengers" for Blue Note Records. The octet featured Kenny Dorham, Howard Bowe, Sahib Shihab, Musa Kaleem, Ernest Thompson, Walter Bishop Jr., and LaVerne Barker. Two tracks from this session were included on the New Sounds 10" LP compilation (BLP 5010).

Between 1947 and 1949, Blakey led a large ensemble named "Seventeen Messengers," which struggled financially and soon dissolved. Subsequently, the Messengers name was inactive for several years.

In the early 1950s, Blakey began working closely with Horace Silver. Some sources regard the 1953 lineup—comprising Blakey, Silver, Kenny Dorham, Lou Donaldson, and Gene Ramey—as the initial incarnation of the Jazz Messengers. On February 21, 1954, the "Art Blakey Quintet," featuring Silver, Clifford Brown, Donaldson, and Curly Russell, recorded the acclaimed live album A Night at Birdland, frequently cited as marking the official beginning of the Jazz Messengers.

The Jazz Messengers (1954–56)

The formation of the Jazz Messengers is typically traced back to 1954 or 1955 when their earliest recordings were released. The group originated as a cooperative venture with leadership shared between Silver and Blakey. Blakey credits Silver with reviving the Messengers' name. Initial members included Kenny Dorham, Hank Mobley, and Doug Watkins. Their debut recordings under the Jazz Messengers title were live performances at the Café Bohemia in 1955. Previous sessions issued under Horace Silver Quintet were later rebranded as Horace Silver and the Jazz Messengers.

The founding lineup of Silver, Mobley, Dorham, Watkins, and Blakey distinguished themselves by emphasizing professionalism and moving beyond informal jam sessions.

In 1956, Dorham departed to focus on his solo career and was succeeded by Donald Byrd. This ensemble produced The Jazz Messengers released by Columbia Records. Later that year, although the original group dissolved, Blakey continued to use the Jazz Messengers name for subsequent formations.

The "Second" Messengers (1956–58)

In 1956, Donald Byrd briefly stayed on as a new ensemble was formed, featuring Kenny Drew, Wilbur Ware, and Ira Sullivan on tenor saxophone. Their sole recording consisted of two tracks accompanying vocalist Rita Reys on The Cool Voice of Rita Reys under Columbia Records.

Shortly thereafter, Blakey assembled a more consistent group including Jackie McLean, who had previously recorded with Miles Davis and Charles Mingus. The lineup was completed by Bill Hardman, Sam Dockery, and Jimmy "Spanky" DeBrest. Under The Jazz Messengers banner, they produced the album Hard Bop for Columbia and recorded for several other labels such as Vik, Pacific Jazz, Elektra, Cadet, Jubilee, Bethlehem, and Atlantic—collaborating with Thelonious Monk among others. Over time, the band’s branding shifted to emphasize Blakey’s role, appearing as "The Jazz Messengers, featuring Art Blakey," then "Art Blakey's Jazz Messengers," and later "Art Blakey and his Jazz Messengers" on different releases.

Art Blakey and the Jazz Messengers (1959–64)

In 1958, Blakey established a seminal lineup composed of Philadelphia musicians Lee Morgan, Benny Golson, Bobby Timmons, and Jymie Merritt. Returning to Blue Note Records, they launched the album Art Blakey and the Jazz Messengers, which included the hit "Moanin'" along with enduring tracks like "Blues March" and "Along Came Betty."

Following Golson’s departure in 1959 after a European tour, Hank Mobley briefly took his place but missed a Canadian festival where Wayne Shorter joined the ensemble. This configuration produced key recordings including the album A Night in Tunisia.

By 1961, the group expanded into a sextet with trombonist Curtis Fuller. They recorded a self-titled album for Impulse! Records. Later that year saw Lee Morgan and Bobby Timmons exit the band; they were succeeded by Freddie Hubbard on trumpet and Cedar Walton on piano. This lineup recorded Three Blind Mice for United Artists as well as Blue Note albums Mosaic and Buhaina's Delight.

In 1962, Reggie Workman replaced Jymie Merritt on bass. This formation yielded three albums for Riverside—Caravan, Ugetsu, and Kyoto—in addition to Blue Note’s Free for All. The group maintained stability until March 1964 when Lee Morgan returned to replace Hubbard. During this period, they also recorded an album based on the musical Golden Boy for Colpix featuring an expanded roster that included both Hubbard and Morgan.

The final new Blue Note release from the Jazz Messengers came in April 1964 with the album Indestructible.

The "New" Messengers (1964–66)

In September 1964, Wayne Shorter departed from the Messengers to join Miles Davis's Second Great Quintet. Lee Morgan brought in John Gilmore from Sun Ra's Arkestra as a temporary substitute; Gilmore introduced fellow members Victor Sproles and pianist John Hicks to the group. This iteration experienced more rapid personnel changes than previous lineups.

The band signed with Quincy Jones’ new Mercury subsidiary Limelight Records, releasing their first album on the label titled 'S Make It, which still featured trombonist Curtis Fuller. After Fuller’s exit, alto saxophonist Gary Bartz replaced Gilmore. This quintet, augmented by guest trumpeter Freddie Hubbard, recorded Soul Finger for Limelight.

By January 1966, the ensemble underwent another transformation: Chuck Mangione joined on trumpet, Frank Mitchell on tenor saxophone, Keith Jarrett on piano, and Reggie Johnson on bass. This group captured the live album Buttercorn Lady under the name Art Blakey and the "New" Jazz Messengers. Although live performances continued afterward, this marked the last Messengers recording of that decade. In addition to this work, Blakey released one more non-Messengers record for Limelight in 1966: Hold On, I'm Coming.

The Quiet Period (1966–76)

During the late 1960s, the emergence of rock music alongside explorations into free jazz and fusion posed challenges to Blakey’s established sound. Maintaining a consistent lineup for the Messengers proved difficult; from 1966 to 1972, only one official album was released: Jazz Messengers '70, a live recording from Tokyo featuring Bill Hardman, Carlos Garnett, Joanne Brackeen, and Jan Arnet.

Blakey preserved the group’s international appeal, particularly in Europe and Japan, by employing flexible personnel arrangements dependent on musician availability. Between 1966 and 1972, trumpet players such as Woody Shaw and Randy Brecker contributed; saxophonists included Garnett, Mitchell, Billy Harper, and Ramon Morris; trombone parts were filled by Slide Hampton and Julian Priester. The piano chair saw frequent changes with artists like Mike Nock, Lonnie Liston Smith, Chick Corea, McCoy Tyner, Ronnie Mathews, George Cables, Joanne Brackeen, Albert Dailey, alongside veterans John Hicks, Cedar Walton, and Walter Davis Jr. Bassists during this era included Juni Booth, Buster Williams, Larry Evans, Scotty Holt, Arnet, and Mickey Bass.

In 1972, the Messengers signed with Prestige Records, leading to the production of three albums. Child's Dance combined two recording sessions featuring Woody Shaw; Ramon Morris; pianists John Hicks, Walter Davis Jr., George Cables; bassist Mickey Bass; as well as additional musicians such as Buddy Terry (soprano sax), Manny Boyd (flute), Stanley Clarke (electric bass), plus various percussionists.

The following year saw a more stable lineup with Woody Shaw, newcomer Carter Jefferson, Cedar Walton, and Mickey Bass recording two albums for Prestige: Anthenagin and Buhaina. The former included conga player Tony Waters while the latter featured trombonist Steve Turre.

Between 1973 and 1976 Blakey found it challenging to sustain creative momentum; only one album was recorded during this period—a 1975 collaboration with Sonny Stitt titled In Walked Sonny on Swedish Sonet Records. This project featured longtime trumpeter Bill Hardman; tenor saxophonist David Schnitter joined for an extended stay; Walter Davis Jr. returned on piano; bassist was Isao Suzuki. The group continued to enjoy popularity in Japan with annual tours. Other pianists involved during this timeframe were Albert Dailey and Mickey Tucker; bassists included Cameron Brown and Chris Amberger.

Revival of the Messengers (1976–90)

In 1976 the Messengers recorded Backgammon for Roulette Records with Hardman, Schnitter, Dailey, and Suzuki.[1][2] That same year Blakey began collaborating with Dutch promoter Wim Wigt of Timeless Records who arranged European bookings for the band.[3] A second album for Roulette followed featuring Schnitter, Walter Davis Jr., along with newcomers Valery Ponomarev, Bobby Watson, and Dennis Irwin.[1][4] From this point onward lineups became more stable with frequent performances.

Pianist James Williams joined in October 1977. This ensemble—comprising Ponomarev, Watson, Schnitter, Williams, and Irwin—recorded In My Prime Vol. 1 for Timeless in November 1977. Subsequent releases included In This Korner (Concord Jazz), In My Prime Vol. 2, and Reflections in Blue (Timeless). Early 1979 sessions produced Night in Tunisia for Philips followed by the live album One by One, recorded in Italy for Palcoscenico Records later that year.[1][3]

In 1979 Blakey assembled an 11-piece big band for a European tour in 1980 which featured two sets of brothers—Wynton and Branford Marsalis along with Robin and Kevin Eubanks—and guitarist Bobby Broom, Blakey’s first guitarist hire. Broom departed before the tour commenced; this period marked Valery Ponomarev's final appearances. Watson and Williams remained; Schnitter was replaced by Bill Pierce while Dennis Irwin was succeeded by Charles Fambrough. The ensemble also included a second drummer, John Ramsay.[5] The big band recorded Live at Montreux and Northsea during major jazz festivals.[6][7]

The sextet that evolved from this tour—Wynton Marsalis, Bobby Watson, Bill Pierce, James Williams, Charles Fambrough—produced albums such as Art Blakey in Sweden (Amigo), Album of the Year (Timeless), and Straight Ahead (Concord Jazz) in early 1981.[1]

After Branford Marsalis graduated from Berklee College of Music in 1981 he replaced Watson; Donald Brown took over piano duties from Williams. Wallace Roney briefly substituted during Wynton's summer absence.[3][8] In January 1982 this lineup recorded the live album Keystone 3 at Keystone Korner.[1][9]

Early in 1982 Wynton and Branford Marsalis departed to form their own ensemble,[3] while Donald Brown left due to arthritis.[3] The new front line featured Terence Blanchard and Donald Harrison with Johnny O'Neal on piano joining Pierce and Fambrough. This group recorded Oh-By the Way for Timeless in 1982.[3] Over the following year Pierce left to teach at Berklee College of Music and was replaced by Jean Toussaint; Fambrough was succeeded by Lonnie Plaxico; Mulgrew Miller took over piano duties from O'Neal in 1984.[6]

This consistent lineup—Blanchard, Harrison, Toussaint, Miller, Plaxico—recorded both New York Scene (1984) and Live at Kimball's (1985) for Concord Jazz; a live recording from London's Ronnie Scott's club was also released.[1][3]

Midway through 1986 Blanchard and Harrison formed their own group; Wallace Roney and Kenny Garrett stepped in as replacements. Trombonist Tim Williams joined as well. This ensemble produced the album Feeling Good released by Delos Records.[6][10]

By late 1987 further changes occurred: Philip Harper took over trumpet duties; Javon Jackson joined on tenor saxophone; Robin Eubanks returned on trombone; Benny Green played piano while Peter Washington handled bass responsibilities.[6] They recorded Not Yet and I Get a Kick Out of Bu (with Leon Lee Dorsey substituting for Washington) under Soul Note in 1988.[1][11]

The final iteration of the Jazz Messengers formed in 1989 featuring Brian Lynch on trumpet; Javon Jackson and Dale Barlow on tenor saxophones; trombone handled by Steve Davis or Frank Lacy; Geoff Keezer on piano; Essiet Okon Essiet on bass.[12] This lineup recorded the last Messengers album titled One for All (1990) released via A&M Records.[13] In October 1989 they marked Blakey’s seventieth birthday at Leverkusen Jazz Festival alongside numerous jazz greats including Freddie Hubbard and Wayne Shorter.[3][14]

Discography

Past Members


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 #id:Separator value:black legend:Separator
 id:Drums value:orange legend:Drums
 id:Trumpet value:yellow legend:Trumpet
 id:Alto    value:gray(0.75)  legend:Alto_Sax
 id:Tenor   value:gray(0.5)  legend:Tenor_Sax
 id:Trombone value:coral   legend:Trombone
 id:Piano    value:purple    legend:Piano
 id:Bass     value:blue   legend:Bass
 id:Guitar   value:green legend:Guitar

ScaleMajor = increment:5 start:1955 gridcolor:black ScaleMinor = increment:1 start:1955 Legend = orientation:horizontal left:220 top:30 BarData = 

  bar:Blakey   text:Art Blakey
  bar:Dorham   text:Kenny Dorham
  bar:Mobley   text:Hank Mobley
  bar:Silver   text:Horace Silver
  bar:Watkins  text:Doug Watkins
  bar:Byrd     text:Donald Byrd
  bar:Sullivan text:Ira Sullivan
  bar:Drew     text:Kenny Drew
  bar:Ware     text:Wilbur Ware
  bar:Hardman  text:Bill Hardman
  bar:McLean   text:Jackie McLean
  bar:Dockery  text:Sam Dockery
  bar:DeBrest  text:Spanky DeBrest
  bar:Griffin  text:Johnny Griffin
  bar:Mance    text:Junior Mance
  bar:GTucker  text:George Tucker
  bar:Golson   text:Benny Golson
  bar:Timmons  text:Bobby Timmons
  bar:Morgan   text:Lee Morgan
  bar:Merritt  text:Jymie Merritt
  bar:Shorter  text:Wayne Shorter
  bar:Davis    text:Walter Davis, Jr.
  bar:Fuller   text:Curtis Fuller
  bar:Hubbard  text:Freddie Hubbard
  bar:Walton   text:Cedar Walton
  bar:Workman  text:Reggie Workman
  bar:Hicks    text:John Hicks
  bar:Gilmore  text:John Gilmore
  bar:Sproles  text:Victor Sproles
  bar:Bartz    text:Gary Bartz
  bar:Mangione text:Chuck Mangione
  bar:Mitchell text:Frank Mitchell
  bar:Smith    text=Lonnie Liston Smith  
  bar=Johnson  text=Reggie Johnson  
  bar=Jarrett  text=Keith Jarrett  
  bar=Nock     text=Mike Nock  
  bar=Corea    text=Chick Corea  
  bar=Booth    text=Juni Booth  
  bar=Tyner    text=McCoy Tyner  
  bar=Harper   text=Bill Harper  
  bar=Hampton  text=Slide Hampton  
  bar=Priester text=Julian Priester  
  bar=Mathews  text=Ronnie Mathews  
  bar=Evans    text=Larry Evans  
  bar=Shaw     text=Woody Shaw  
  bar=Garnett  text=Carlos Garnett  
  bar=Cables   text=George Cables  
  bar=Holt     text=Scotty Holt  
  bar=Arnet    text=Jan Arnet  
  bar=Brackeen text=Joanne Brackeen  
  bar=Morris   text=Ramon Morris  
  bar=Clarke   text=Stanley Clarke  
  bar=Jeffersontext=Carter Jefferson  
  bar=Bass     text=Mickey Bass  
  bar=Hendersontext=Eddie Henderson 
  bar=Schnittertext=David Schnitter

</timeline>

References

  1. ↑ 1.0 1.1 1.2 1.3 1.4 1.5 1.6 Cite error: Invalid <ref> tag; no text was provided for refs named jazzdisco
  2. ↑ Cite error: Invalid <ref> tag; no text was provided for refs named backgammon
  3. ↑ 3.0 3.1 3.2 3.3 3.4 3.5 3.6 3.7 Cite error: Invalid <ref> tag; no text was provided for refs named gourse
  4. ↑ Cite error: Invalid <ref> tag; no text was provided for refs named gypsy
  5. ↑ Cite error: Invalid <ref> tag; no text was provided for refs named ramsay
  6. ↑ 6.0 6.1 6.2 6.3 Cite error: Invalid <ref> tag; no text was provided for refs named chronology
  7. ↑ Cite error: Invalid <ref> tag; no text was provided for refs named JMBigBand
  8. ↑ Cite error: Invalid <ref> tag; no text was provided for refs named Marsalis
  9. ↑ Cite error: Invalid <ref> tag; no text was provided for refs named keystone3
  10. ↑ Cite error: Invalid <ref> tag; no text was provided for refs named feeling_good
  11. ↑ Cite error: Invalid <ref> tag; no text was provided for refs named Kick
  12. ↑ Cite error: Invalid <ref> tag; no text was provided for refs named feather
  13. ↑ Cite error: Invalid <ref> tag; no text was provided for refs named OneForAll
  14. ↑ Cite error: Invalid <ref> tag; no text was provided for refs named ArtOfJazzReview

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