CD-Charts Position 1
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Moanin': Remastered

by: Art Blakey

Release Date May 03, 1999
This is the sort of Jazz you'll hear in (coffee) bars. More emphasis on the (drum) beat than, for instance, in Miles Davis 'Kind of Blue'. Excellent playing, original compositions. Title track is one of the all time classic, instantly recognisable jazz tracks.
No freak rythms but big bouncy jazz. Classic album on par with the aforementioned. Better still, less 'cool' and less 'boring'(can one really say this?) than many of Miles late 50's and early 60's stuff. Recommended as an introduction or addition to the uniniated of jazz (like me). Can't be disappointing.

CD-Charts Position 2
Average Rating:

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A Night at Birdland Vol.2

by: Art Blakey

Release Date August 13, 2001
This is the sort of Jazz you'll hear in (coffee) bars. More emphasis on the (drum) beat than, for instance, in Miles Davis 'Kind of Blue'. Excellent playing, original compositions. Title track is one of the all time classic, instantly recognisable jazz tracks.
No freak rythms but big bouncy jazz. Classic album on par with the aforementioned. Better still, less 'cool' and less 'boring'(can one really say this?) than many of Miles late 50's and early 60's stuff. Recommended as an introduction or addition to the uniniated of jazz (like me). Can't be disappointing.

CD-Charts Position 3
Average Rating:

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Art Blakey's Jazz Messengers With Thelonious Monk

by: Art Blakey

Release Date September 23, 2002
This is the sort of Jazz you'll hear in (coffee) bars. More emphasis on the (drum) beat than, for instance, in Miles Davis 'Kind of Blue'. Excellent playing, original compositions. Title track is one of the all time classic, instantly recognisable jazz tracks.
No freak rythms but big bouncy jazz. Classic album on par with the aforementioned. Better still, less 'cool' and less 'boring'(can one really say this?) than many of Miles late 50's and early 60's stuff. Recommended as an introduction or addition to the uniniated of jazz (like me). Can't be disappointing.

CD-Charts Position 4
Average Rating:

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A Night in Tunisia

by: Art Blakey & the Jazz Messengers

Release Date February 15, 2005
This is the sort of Jazz you'll hear in (coffee) bars. More emphasis on the (drum) beat than, for instance, in Miles Davis 'Kind of Blue'. Excellent playing, original compositions. Title track is one of the all time classic, instantly recognisable jazz tracks.
No freak rythms but big bouncy jazz. Classic album on par with the aforementioned. Better still, less 'cool' and less 'boring'(can one really say this?) than many of Miles late 50's and early 60's stuff. Recommended as an introduction or addition to the uniniated of jazz (like me). Can't be disappointing.

CD-Charts Position 5
Average Rating:

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Roots and Herbs

by: Art Blakey

Release Date December 06, 1999
Wonderful album. And Wayne Shorter's solo on the title track is the most intense sax playing i have ever heard.

CD-Charts Position 6
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Indestructible: Rudy Van Gelder Remaster

by: Art Blakey & the Jazz Messengers

Release Date August 04, 2003
In the early '60s the Messengers were a sextet that was combining their own take on hard bop with modal innovations and some of the aggression of `the new thing'. There were a string of excellent albums with Wayne Shorter on tenor, Curtis Fuller on trombone and normally with Freddie Hubbard on trumpet. Recorded in April 1964 this actually features Lee Morgan on trumpet and, with the exception of Free For All recorded two months earlier, is probably the fiercest entry in the whole recording history of the Messengers. Tough, abrasive and very exciting.

CD-Charts Position 7
Average Rating:

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Art Blakey's Jazz Messengers - Tokyo 1961 And London 1965 [2007]

by: Art Blakey, Jazz Messengers

Release Date January 22, 2007
In the early '60s the Messengers were a sextet that was combining their own take on hard bop with modal innovations and some of the aggression of `the new thing'. There were a string of excellent albums with Wayne Shorter on tenor, Curtis Fuller on trombone and normally with Freddie Hubbard on trumpet. Recorded in April 1964 this actually features Lee Morgan on trumpet and, with the exception of Free For All recorded two months earlier, is probably the fiercest entry in the whole recording history of the Messengers. Tough, abrasive and very exciting.

CD-Charts Position 8
Average Rating:

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A Night in Tunisia: Remastered

by: Art Blakey

Release Date February 14, 2005
In the early '60s the Messengers were a sextet that was combining their own take on hard bop with modal innovations and some of the aggression of `the new thing'. There were a string of excellent albums with Wayne Shorter on tenor, Curtis Fuller on trombone and normally with Freddie Hubbard on trumpet. Recorded in April 1964 this actually features Lee Morgan on trumpet and, with the exception of Free For All recorded two months earlier, is probably the fiercest entry in the whole recording history of the Messengers. Tough, abrasive and very exciting.

CD-Charts Position 9
Average Rating:

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Jazz Icons - Art Blakey And The Jazz Messengers - Live in '58 [1958] (Region 1)(NTSC)

by: Art Blakey & Jazz Messengers

Release Date August 28, 2006
In the early '60s the Messengers were a sextet that was combining their own take on hard bop with modal innovations and some of the aggression of `the new thing'. There were a string of excellent albums with Wayne Shorter on tenor, Curtis Fuller on trombone and normally with Freddie Hubbard on trumpet. Recorded in April 1964 this actually features Lee Morgan on trumpet and, with the exception of Free For All recorded two months earlier, is probably the fiercest entry in the whole recording history of the Messengers. Tough, abrasive and very exciting.

CD-Charts Position 10
Average Rating:

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A Night at Birdland Vol.1

by: Art Blakey

Release Date August 13, 2001
From the very opening moments of these remarkable recordings, one is at once struck by the sense that a moment of historical importance is being witnessed all over again. Blue Note's Alfred Lion, in his unerring vision, decided to record Art Blakey's new band at Birdland in February 1954. He had rightly sensed that something new, something thrillingly new, was afoot. Though Charlie Parker was still a year from death, bop was demanding an invigorating lease of life to take it into a new dimension of expressiveness and vitality. The resulting transformation of the now hackneyed music into something raw, urgent and fizzing with energy was to be popularly called "hard bop", and was thrust into public consciousness on this record, and its ... Read More: