Jazz Drummer Art Blakey Formed His Jazz Messengers to Who

American jazz band

"Art Blakey and the Jazz Messengers" redirects hither. For the album originally titled Art Blakey and the Jazz Messengers, encounter Moanin'.

The Jazz Messengers
Art Blakey, bandleader
Background information
Genres	Jazz difficult bop bebop
Years active	1955 (1955)–1990 (1990)
Labels	A&One thousand Atlantic Bethlehem Soul Note Blue Notation Cadet Catalyst Colpix Columbia Concord Jazz Amigo Delos Elektra Fontana Impulse! Jubilee Limelight Pacific Jazz Palcoscenico Philips Prestige Vik Riverside Roulette Sonet Timeless United Artists
Past members	Dale Barlow Mickey Bass Art Blakey Terence Blanchard Joanne Brackeen Cameron Dark-brown Donald Chocolate-brown Bobby Broom Donald Byrd George Cables Buck Clarke Chick Corea Steve Davis Walter Davis, Jr. Spanky DeBrest Sam Dockery Kenny Dorham Robin Eubanks Charles Fambrough Curtis Fuller Carlos Garnett Kenny Garrett John Gilmore Benny Golson Benny Green Johnny Griffin Bill Hardman Donald Harrison Billy Harper Philip Harper John Hicks Freddie Hubbard Dennis Irwin Javon Jackson Keith Jarrett Carter Jefferson Geoffrey Keezer Frank Lacy Brian Lynch Chuck Mangione Wynton Marsalis Branford Marsalis Jackie McLean Jymie Merritt Mulgrew Miller Hank Mobley Lee Morgan Essiet Okon Essiet Billy Pierce Lonnie Plaxico Valery Ponomarev Wallace Roney Gregory Charles Royal David Schnitter Woody Shaw Clarence Seay Wayne Shorter Horace Silver Victor Sproles Bobby Timmons Jean Toussaint McCoy Tyner Cedar Walton Peter Washington Doug Watkins Bobby Watson James Williams Reggie Workman

The Jazz Messengers were a jazz philharmonic that existed for over xxx-five years beginning in the early 1950s as a commonage,^{[one] [2] [3]} and catastrophe when long-time leader and founding drummer Art Blakey died in 1990.^[4] Blakey led or co-led the group from the showtime.^[2] "Art Blakey" and "Jazz Messengers" became synonymous over the years, though Blakey did lead non-Messenger recording sessions and played every bit a sideman for other groups throughout his career.^{[5] [vi] [7]}

"Yep sir, I'thou gonna to stay with the youngsters. When these become too onetime, I'yard gonna get some younger ones. Keeps the mind active."

—Art Blakey, A Night at 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 big, 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] [seven] [9]}

Many former members of the Jazz Messengers established careers as solo musicians, such every bit Lee Morgan, Benny Golson, Wayne Shorter, Freddie Hubbard, Bobby Timmons, Curtis Fuller, Cedar Walton, Keith Jarrett, Joanne Brackeen, Woody Shaw, Chuck Mangione, Wynton Marsalis, Branford Marsalis, Terence Blanchard, Donald Harrison and Mulgrew Miller.^{[3] [5] [7]} Some members, such equally bassist Clarence Seay and Gregory Charles Majestic,^{[10] [xi]} are documented to take played in the Jazz Messengers but did not record with the grouping.

History [edit]

Origins [edit]

On December 17, 1947, Blakey led a group known every bit "Art Blakey'south Messengers" in his first recording session equally a leader, for Blue Note Records. The records were released as 78s at the fourth dimension and 2 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.^[12]

Around the same time—in 1947^{[2] [6]} or 1949^{[four] [11] : 20} —Blakey led a large band chosen "Seventeen Messengers." The band proved to be financially unstable and broke upward before long later.^{[11] : 20} The Messengers name and then went dormant for several years.

Blakey and Horace Silver began working together in the early 1950s.^[xiii] Some cite the group that included Blakey, Silvery, Kenny Dorham, Lou Donaldson and Gene Ramey in 1953 every bit the original Jazz Messengers.^{[ane] [12] [13]} On February 21, 1954, a group billed as the "Fine art Blakey Quintet" produced the live set of records called A Nighttime at Birdland. The quintet included Horace Silver, Clifford Brown, Lou Donaldson and Curly Russell.^[14] These records were quite successful, and some cite this date as the start of the Jazz Messengers.^{[3] [11]}

The Jazz Messengers (1954–56) [edit]

Virtually date the origin of the Jazz Messengers to 1954,^{[15] [sixteen] [17]} or 1955,^{[2] [vii] [18]} when the start recordings credited to the band appeared.^[6] The Jazz Messengers formed as a commonage, nominally led by Silver or Blakey on various dates.^{[ii] [v] [6]} Blakey credits Silver with reviving the Messengers name for the group.^{[4] [19]} The other members included Kenny Dorham, Hank Mobley and Doug Watkins.^{[ii] [five] [6]} Their first recordings officially using the Jazz Messengers name were a pair of live dates, recorded at the Café Bohemia in 1955.^{[12] [15] [20]} A pair of earlier recordings from sessions in late 1954 and early 1955—released on Blue Note x" LPs every bit the Horace Silver Quintet, vol. ane and vol. 2—were afterward reissued as a 12" LP entitled Horace Argent and the Jazz Messengers.^{[15] [20] [21]}

The pioneering members of the Jazz Messengers (Horace Silver, Hank Mobley, Kenny Dorham, Doug Watkins, and of course Blakey) believed that the band needed a professional look, and they abandoned jam sessions.^[22]

In 1956 Dorham left the band to get out on his own and was replaced by Donald Byrd.^[11] This grouping released The Jazz Messengers on Columbia Records.^{[12] [23]} Later in the year, the original grouping disbanded, but Blakey retained the Jazz Messengers proper noun for his future groups.^{[15] [17]}

The "Second" Messengers (1956–58) [edit]

For a cursory period in 1956 Donald Byrd stayed on as a new lineup was formed. It included Kenny Drew, Wilbur Ware, and Ira Sullivan playing tenor sax rather than his main instrument, trumpet. The only recording of this version of the Messengers was two tracks backing upward singer Rita Reys on The Cool Voice of Rita Reys on Columbia.^{[12] [thirteen] [24]}

Blakey and then formed a new lineup that would evidence to exist much more stable. The nearly notable name, at the fourth dimension, was Jackie McLean. He was only 25, only had already recorded with Miles Davis and Charles Mingus.^[12] Bill Hardman, Sam Dockery and Jimmy "Spanky" DeBrest consummate the group.^{[eleven] : 36 [13]}

They recorded another tape for Columbia: Difficult Bop—yet under the collective's moniker The Jazz Messengers.^[25] They went on to tape for several dissimilar labels including RCA subsidiary Vik Records, Pacific Jazz, Elektra, Buck, Jubilee, Bethlehem and a date on Atlantic featuring Thelonious Monk. Over this fourth dimension the band's name evolved to include Blakey's name, starting with "The Jazz Messengers, featuring Fine art Blakey" on Ritual,^[26] then "Fine art Blakey's Jazz Messengers" on several records,^{[27] [28] [29]} and too "Fine art Blakey and his Jazz Messengers" on Cu-Bop.^{[12] [30]}

Art Blakey and the Jazz Messengers (1959–64) [edit]

In 1958 Blakey formed a new lineup with 4 Philadelphia natives: Lee Morgan, Benny Golson, Bobby Timmons, and Jymie Merritt.^[15] This marked the first of probably the nearly fruitful period of the Jazz Messengers. They returned to Blue Note and the starting time tape—entitled simply Art Blakey and the Jazz Messengers—produced their biggest hit: "Moanin'".^{[11] : 47 [a]} It featured two more songs which would go Messengers classics, and jazz classics besides: "Blues March" and "Along Came Betty" by Benny Golson.^{[iv] [fifteen] [31]}

Golson left the band in 1959 after a European tour (which produced alive albums and a film soundtrack on Fontana Records and French RCA)^{[32] [33] [34]} to be replaced, briefly, by Hank Mobley.^{[12] [xiii]} Mobley did not back-trail the band to a Canadian jazz festival in 1959; Lee Morgan encountered Wayne Shorter at the festival, and he joined the band in Mobley'south place.^{[iv] [13]} This lineup produced several notable recordings, including the second Messenger album, A Night in Tunisia.^{[12] [35]}

In 1961 the group expanded to a sextet with the addition of Curtis Fuller.^[1] This lineup produced the Fine art Blakey!!!!! Jazz Messengers!!!!! album for Impulse! Records.^{[11] : 62 [36]} At the cease of that summer, Lee Morgan and Bobby Timmons left and were replaced by Freddie Hubbard and Cedar Walton respectively.^{[11] : 63} This lineup recorded Three Bullheaded Mice for United Artists^[37] and ii albums for Blueish Annotation: Mosaic and Buhaina's Delight.^{[12] [38] [39]}

In mid-1962 Reggie Workman replaced long-fourth dimension double bassist Jymie Merritt, who wanted to settle downward in Philadelphia.^{[xi] : 66} This version of the group produced iii albums for Riverside:^{[forty] [41] [42]} Caravan, Ugetsu, and Kyoto; in addition to another Blue Notation^{[12] [43]} under the name Free for All. This lineup stayed together until March 1964, when Lee Morgan rejoined in identify of Freddie Hubbard.^[13] Around this time—the recording date is unknown—the band produced an album from the musical Gilded Boy for the Colpix label with an expanded lineup. This lineup included both Freddie Hubbard and Lee Morgan on trumpet, plus Charles Davis, Julius Watkins, and Bill Barber.^{[12] [11] : 71 [44]}

In April 1964, the Jazz Messengers produced their final, new, recording for the Bluish Note label: Indestructible.^{[12] [11] : 71 [45]}

The "New" Messengers (1964–66) [edit]

In September 1964, Wayne Shorter left the Messengers to bring together the Miles Davis band that was later called the Second Great Quintet. Lee Morgan enlisted long-time Sun Ra tenor saxophonist John Gilmore to fill in—though it was understood he would return to Sunday Ra after a time.^{[xi] : 71} Gilmore brought along beau Arkestra member Victor Sproles and John Hicks joined on pianoforte.^[thirteen] The edition of the Messengers would see more quick turnover of members than the previous.

The band signed with Quincy Jones' new Mercury sub-label Limelight Records. This group—however including Curtis Fuller on trombone—recorded the showtime album for the characterization: 'Southward Make It.^[46] The band presently reverted to a quintet as Fuller departed. Alto saxophonist Gary Bartz replaced the parting John Gilmore and this quintet—with Freddie Hubbard sitting in alongside Morgan—recorded Soul Finger for Limelight.^{[11] : 73}

By Jan 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 anthology Buttercorn Lady under the moniker Art Blakey and the "New" Jazz Messengers.^{[12] [11] : 78 [47]} While the band continued to perform alive, this would be the final Jazz Messengers recording of the decade.^{[12] [b]}

The nighttime years (1966–76) [edit]

The late 1960s saw the ascendance of rock music in popular civilization, and the jazz globe was experimenting with free jazz and jazz fusion, styles Blakey did not care for.^{[9] [11] : 91–93} It was difficult for Blakey to maintain a steady lineup for the Messengers, during this catamenia, and even more difficult to produce recordings. Between 1966 and 1972, the Messengers produced only a unmarried official record: Jazz Messengers 'lxx, a alive appointment in Tokyo. This particular lineup included Bill Hardman, Carlos Garnett, Joanne Brackeen and January Arnet.^[12]

Blakey kept the Messengers working during this catamenia—especially abroad in Europe and Nihon where they maintained their popularity. But the lineups were fluid, with several musicians rotating through based on who was available for the detail engagement. In various combinations, between 1966 and 1972 the band included trumpet players Woody Shaw and Randy Brecker^[c] in add-on to Hardman; saxophonists Garnett, Mitchell, Billy Harper and Ramon Morris; and trombonists Slide Hampton and Julian Priester. The pianoforte chair saw the greatest turnover. Afterward Jarrett, pianists included Mike Nock, Lonnie Liston Smith, Chick Corea, McCoy Tyner, Ronnie Mathews, George Cables, Joanne Brackeen, Albert Dailey, plus occasionally veterans John Hicks, Cedar Walton, and Walter Davis Jr. Bassists included Juni Booth, Buster Williams, Larry Evans, Scotty Holt, Arnet, and Mickey Bass.^{[ii] [12] [thirteen]}

In 1972 the Messengers were signed to Prestige Records and produced three albums. Child's Trip the light fantastic 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 audio-visual 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.^{[12] [49]}

In 1973, a regular lineup of Woody Shaw, newcomer Carter Jefferson, Cedar Walton, and Mickey Bass recorded two more Prestige albums: Anthenagin and Buhaina. Conga player Tony Waters appears on Anthenagin and trombonist Steve Turre appears on Buhaina.^{[12] [l] [51]}

Blakey struggled to go along the band going the next 3 years. Only ane 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 Beak 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 Isao Suzuki. The Messengers were notwithstanding pop in Japan, and travelled there annually. Hardman and Schnitter were constants throughout this catamenia. Pianists also included Albert Dailey and Mickey Tucker and bassists subsequently Suzuki included Cameron Brown and Chris Amberger.^{[12] [eleven] : 200–202 [13]}

Messengers rejuvenation (1976–90) [edit]

In 1976 the Messengers recorded a record for Roulette – Backgammon—featuring Hardman, Schnitter, Dailey and Suzuki.^{[12] [52]} In that year Blakey began a professional person relationship with Wim Wigt, a Dutch music booker and possessor of the Timeless label. Wigt booked the Messengers throughout Europe.^{[11] : 202} A second tape for Roulette followed, featuring Schnitter, Walter Davis Jr. and newcomers Valery Ponomarev, Bobby Watson, and Dennis Irwin.^{[12] [53]} From this signal the lineups began to stabilize as the band worked more regularly.

In October 1977 Blakey hired a new, regular, pianist: James Williams. This group (Ponomarev, Watson, Schnitter, Willams and Irwin) recorded In My Prime Vol. i on Nov 1977 for Wigt's Timeless label. In 1978 they recorded In This Korner for Concur Jazz and In My Prime Vol. 2 and Reflections in Bluish for Timeless. In February 1979, they recorded the tertiary Messengers album entitled Night in Tunisia for Philips. In November 1979 they recorded One past One, a live anthology in Italy, for the Italian Palcoscenico label.^{[12] [eleven] : 104–106}

In 1979 Blakey decided to assemble an 11-slice "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 first guitarist that Blakey always hired, Bobby Broom. The immature musicians were cultivated by playing in the smaller Jazz Messengers combo around New York City through 1979. Broom left the group before the 1980 bout. These would be Ponomarev's last appearances with the Messengers. While Watson and Williams connected with the Messengers, David Schnitter was replaced by Bill Pierce and Dennis Irwin was replaced by Charles Fambrough. This band also featured a 2d drummer: John Ramsay.^[1] Alive at Montreux and Northsea by the Jazz Messengers Big Band was recorded at the Northsea and Montreux Jazz Festivals by Timeless.^{[13] [54]}

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 Agree Jazz banner—all in early on 1981.^[12]

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 fourth dimension too.^[d] In Jan 1982 this lineup produced Keystone 3, the third alive album recorded past the band at Keystone Korner in San Francisco.^{[12] [56]}

Wynton Marsalis' star was rising quickly. He and his brother left to course their own band in early on 1982.^{[11] : 136} Due to Donald Brown's struggles with arthritis, he left the ring at this time equally well.^{[eleven] : 137 [xiii]} The new lineup was Terence Blanchard and Donald Harrison on the front line, and Johnny O'Neal on pianoforte, joining Pierce and Fambrough. This lineup recorded Oh-By the Mode for Timeless in 1982.^{[11] : 137} The band turned over gradually over the next year. Pierce left to begin instruction at Berklee in September 1982. He was replaced past Jean Toussaint. Fambrough left in mid-1983 to be replaced by Lonnie Plaxico. And Mulgrew Miller took over for Johnny O'Neal in 1984.^[13]

This new lineup – Blanchard, Harrison, Toussaint, Miller, and Plaxico—stayed together throughout 1985, into 1986. They recorded New York Scene in 1984 and Live at Kimball's in 1985, both for Agree Jazz. A live appointment from Ronnie Scott'south in London also appeared.^{[12] [11] : 139, 147}

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 grouping recorded the Feeling Good album for Delos.^{[13] [57]}

Past the cease of 1987 the band had turned over in one case again. Philip Harper was the new trumpet thespian, Javon Jackson joined on tenor, and Robin Eubanks returned on trombone. The new pianist was Benny Green and Peter Washington was the bassist.^[13]

This lineup recorded Non Yet and I Get a Boot Out of Bu (with Leon Dorsey replacing Washington on bass), both for Soul Note in 1988.^{[12] [58]}

In 1989, what became the terminal Jazz Messengers lineup was established: Brian Lynch on trumpet, Javon Jackson and Dale Barlow on tenors, Steve Davis and/or Frank Lacy on trombone, Geoff Keezer on pianoforte and Essiet Okon Essiet on bass.^[two]

A concert at the Leverkusen Jazz Festival in Germany commemorated in October 1989 commemorated Blakey's 70th altogether. 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 Silvery.^{[11] : 151 [59]}

This final group recorded the terminal Messengers album, One for All, on A&M Records.^[60]

Discography [edit]

Timeline [edit]

Notes [edit]

1. ^ The album is commonly called Moanin, and reissues used that championship.^{[12] [15]}
2. ^ Blakey would produce one more, non-Messengers, album for the Limelight label in 1966: Hold On, I'm Coming (album).^{[12] [48]}
3. ^ While Brecker'south tenure is confirmed by multiple sources, information technology must accept been quite short; likely a few months in 1969.^{[11] : 82 [thirteen]}
4. ^ Wallace Roney filled in on trumpet while Wynton Marsalis took a exit of absence in the summer of 1981.^{[xi] : 131 [55]}

References [edit]

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2. ^ ^{a b c d e f yard h} Feather, Leonard; Gitler, Ira (1999). The Biographical Encyclopedia of Jazz . Oxford University Printing. p. 65. ISBN9780199729074.
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4. ^ ^{a b c d eastward} Goldsher, Alan (2008). Hard Bop Academy: The Sidemen of Art Blakey and the Jazz Messengers (one ed.). Milwaukee, Wisconsin: Hal Leonard. pp. 2–5. ISBN9780634037931.
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7. ^ ^{a b c d} Kelsey, Chris. "Art Blakey". AllMusic . Retrieved September 16, 2014.
8. ^ Art Blakey Quintet (1954). A Nighttime at Birdland Vol. 3 (CD/ x" LP record). BLP 5039/CDP 7243 5 32147 two 2. Blueish Note Records.
9. ^ ^{a b} "Fine art Blakey". DrummerWorld . Retrieved September 16, 2014.
10. ^ Bock, Gordon (x January 1979). "The Telegraph – Google News Annal Search". Google News . Retrieved 25 July 2017.
11. ^ ^{a b c d e f g h i j k l m n o p q r s t u v due west x y z} Gourse, Leslie (2002). Fine art Blakey: Jazz Messenger. New York: Schirmer Trade Books. ISBN978-0825672729.
12. ^ ^{a b c d e f chiliad h i j k 50 m due north o p q r s t u v west ten y z aa ab ac} "Fine art Blakey Discography". JazzDisco.org] . Retrieved September 17, 2014.
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24. ^ Avakian, George (1956). The Absurd Voice of Rita Reys (liner notes). CL 903. Reys, Rita, The Wes Ilcken Combo, The Jazz Messengers. Columbia Records.
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27. ^ Hentoff, Nat (1957). Hard Bulldoze (liner notes). BCP 6023. Art Blakey's Jazz Messengers. Bethlehem Records.
28. ^ Hentoff, Nat (1958). A Dark in Tunisia (liner notes). LAX 1115. Art Blakey's Jazz Messengers. Vik Records.
29. ^ Williams, Martin (1958). Art Blakey'due south Jazz Messengers with Thelonious Monk (liner notes). 1278. Art Blakey's Jazz Messengers; Monk, Thelonious. Atlantic Records.
30. ^ Hentoff, Nat (1957). Cu-Bop (liner notes). JLP 1049. Art Blakey and his Jazz Messengers; Sabu. Jubilee Records.
31. ^ Plume, Leonard (1958). Art Blakey and the Jazz Messengers (liner notes). BLP 4003. Art Blakey and the Jazz Messengers. Blueish Note Records.
32. ^ Romano, Marcel (1959). Olympia Concert (liner notes). 680 202. Art Blakey's Jazz Messengers. Fontana Records.
33. ^ des femmes disparaissent (liner notes). 660 224. The Jazz Messengers. Fontana Records. 1959. {{cite AV media notes}}: CS1 maint: others in cite AV media (notes) (link)
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35. ^ Gardner, Barbara J. (1960). A Night in Tunisia (liner notes). BLP 4049. Art Blakey and the Jazz Messengers. Blueish Notation Records.
36. ^ Katz, Dick (1961). Art Blakey!!!!! Jazz Messengers!!!!! (liner notes). A 7. Art Blakey and the Jazz Messengers. Impulse! Records.
37. ^ Three Blind Mice (liner notes). UAJ 14002. Art Blakey and the Jazz Messengers. United Artists Records. 1962. {{cite AV media notes}}: CS1 maint: others in cite AV media (notes) (link)
38. ^ Feather, Leonard (1961). Mosaic (liner notes). BLP 4090. Art Blakey and the Jazz Messengers. Bluish Note Records.
39. ^ Feather, Leonard (1961). Buhaina'south Delight (liner notes). BLP 4104. Fine art Blakey and the Jazz Messengers. Blue Notation Records.
40. ^ Gitler, Ira (1962). Caravan (liner notes). RLP 438. Art Blakey and the Jazz Messengers. Riverside Records.
41. ^ Sherman, Ed (1963). Ugetsu (liner notes). RLP 464. Art Blakey's Jazz Messengers. Riverside Records.
42. ^ Gitler, Ira (1964). Kyoto (liner notes). RLP 493. Art Blakey and the Jazz Messengers. Riverside Records.
43. ^ Hentoff, Nat (1964). Free for All (liner notes). BLP 4170. Art Blakey and the Jazz Messengers. Blue Note Records.
44. ^ Taylor, Billy (1964). Play Selections from the new Musical Golden Boy (liner notes). CP 478. Art Blakey and the Jazz Messengers. Colpix Records.
45. ^ Plumage, Leonoard (1964). Indestructible (liner notes). BLP 4193. Art Blakey and the Jazz Messengers. Blueish Note Records.
46. ^ Feather, Leonard; Blakey, Art (1965). 'S Go far (liner notes). LM 82001. Art Blakey and the Jazz Messengers. Limelight Records.
47. ^ Buttercorn Lady (liner notes). LM 82034. Art Blakey and the New Jazz Messengers. Limelight Records. 1966. {{cite AV media notes}}: CS1 maint: others in cite AV media (notes) (link)
48. ^ Cerulli, Dom (1966). Hold On, I'one thousand Comin' (liner notes). LM 82038. Blakey, Fine art. Limelight Records.
49. ^ Child's Dance (liner notes). PR 10076. Art Blakey and the Jazz Messengers. Prestige Records. 1972. {{cite AV media notes}}: CS1 maint: others in cite AV media (notes) (link)
50. ^ Anthenagin (liner notes). PR 10076. Art Blakey and the Jazz Messengers. Prestige Records. 1973. {{cite AV media notes}}: CS1 maint: others in cite AV media (notes) (link)
51. ^ Buhaina (liner notes). PR 10067. Fine art Blakey and the Jazz Messengers. Prestige Records. 1973. {{cite AV media notes}}: CS1 maint: others in cite AV media (notes) (link)
52. ^ Cuscuna, Michael (1976). Backgammon (liner notes). 5003. Art Blakey and the Jazz Messengers. Roulette Records.
53. ^ Gypsy Folk Tales (liner notes). 5008. Art Blakey and the Jazz Messengers. Roulette Records. 1977. {{cite AV media notes}}: CS1 maint: others in cite AV media (notes) (link)
54. ^ Watson, Bobby (1981). Alive at Montreux and Northsea (liner notes). SJP 150. Art Blakey and the Jazz Messengers Big Band. Timeless Records.
55. ^ Crouch, Stanley (1982). Wynton Marsalis (liner notes). FC 37574. Marsalis, Wynton. Columbia Records.
56. ^ Dorritie, Frank (1982). Keystone 3 (liner notes). CJ 196. Art Blakey and the Jazz Messengers. Concord Jazz.
57. ^ Feeling Good (liner notes). DE 4007. Art Blakey and the Jazz Messengers. Delos Records. 1986. {{cite AV media notes}}: CS1 maint: others in cite AV media (notes) (link)
58. ^ Hennessey, Mike (1990). I Become a Kick Out of Bu (liner notes). 121 155. Art Blakey and the Jazz Messengers. Soul Note Records.
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