--,

Y4til C H A P T E If r T H E 1 9 5 0 sA N D N E W J A Z Z S U B S T Y L E S
17

"Dat
Dere."Tenor saxophonistBennyGolson contributed"WhisperNot,"a minor-kei.
"I
work that employedstoptime. Golson's RememberClifford" rvasa pl,iinti'e and
posthumoustribute to trumpeterCliffordBrown,who pia,ved rvith Blaker.in195{.
DizzyGillespiecalledBlakey"the fire"of jazzdrumming.Biake,r', rvhohadvisited
Africain thelate1940s, derivedsomeof histechniques from Africandrumming-al-
teringthepitchcf thetom-tomby usingan elbow,or playingon thesideof thedrum.
His impacton jazzdrummingwastremendous, andmanyof his techniques cameto
identi4'his style:the preciseclickingof thehi-hat on the secondand fourth beatsof
A shuffleisthe4/4rhythmic the measure,the tom-tom roll, and Blakey'sshufflepattern, sometimesevencalled
shownhere.Thedrum- the "Blakeyshuffle."Blakeywasalsoone of the first drummersto usepolyrhithms
pattern
merusually plays on
a shuffle extensively,playrngeveneighth notesagainsttriplets on the qirnbal.
theridecymbal accompaniedby
a walkingbass: Between 1954and 1964,the personnelof the lazzMessengers changedseveral
times.FreddieHubbardreplacedthe impassioned trumpeterLeeMorganin 1961.
Morgan and Hubbard,both born in 1938,werestronglyinfluencedby hard bop
trumpeter clifford Brown. Tenor saxophonistwayne shorter replacedBlakeyig
earlierplayers,BennyGolsonand Hank Mobley.shorterjoined the group in 1959
and remainedfor five years,becomingits musicaldirector and alteringthe group's
soundsomewhatto accommodate hisinnovativecompositions, "Pingpong."
suchas
With HubbardandShorter,BlakeyaddedtrombonistCurtisFullerandpianistCedar
Walton,enlarginghis group from a quintetto a sextet.They playedfrom 1961to
1964.until his deathBlakeycontinuedto tour, often with his classicsmall-band
instrumentation,while keepingalivethe hard bop tradition. (SeeChapter12 for a
discussion of thelazzMessengers in the 1980s.)

"Moanin"' (excerpt)

Art Blakey and the Jazz Messengers:"Moanin"' (Tlmmons),from Moanin'. Blue Note ReissueCDp 7 468162.
New York, October 30, 1958.Lee Morgan, trumpeu Benny Golson, tenor saxophone;
Bobby Timmons, composer, piano; Jymie Merritt, bass; Blakey,drums.

"
Moanin"' is a fine exampleof f unky/souljazz.The melodyfeaturesa written-outcall-and-response that
"Amen" "Yes,
c a n b e h e a r da s a n or L o r d . " ( l n L a m b e r t ,H e n d r i c k sa, n d R o s s ' sa r r a n g e m e n t h, e " y e s ,
L o r d " w a s s u n g . )I n f u n k y / s o uj la z z w e c a n s o m e t i m e si n t e r p r e bt l u e s yp i e c e ss u c h a s " M o a n i n " ' a s
m a j o ro r m i n o r .F o r e x a m p l e t, h e f i r s t t i m e t h r o u g ht h e b r i d g e T, i m m o n sp l a y sa c l e a rF m i n o rh a r m o n y
a t r n e a s u r e4 ( 0 : 3 7 1o' ,t h e rt i m e s t h e c h o r dp l a y e ds o u n d sc l o s e rt o F m a j o r .N o t e a l s ot h e " A m e n " ( o r
p l a g a lc) a d e n c ef r o m m e a s u r e s3 a n d 4 o f t h e b r i d g e ,w h i c h e c h o e st h e A s e c t i o na n d f u r t h e rh e l p si n f u s e
t h e t u n e w i t h a g o s p e la n d b l u e sf e e l .W i t h i t s e x p r e s s i v e b l u e si n f l e c t i o n a
s n d c o n s i d e r a b lpea s s i o nL, e e
M o r g a n ' ss o l o i s e s p e c i a l l m
y e m o r a b l eT. h e e x c e r p tf a d e sa f t e rG o l s o n ' st e n o r s a x o p h o n es o l o .

l s t A s e c t i o n _ , H e a d , 8 h a r s a f t e r 3 - b e a tp i c k u p
0:00 PianistTimmonsstatesthe head with
n o i n t r o d u c t i o nT.h e b a n da n s w e r sw i t h
t h e t w o - n o t e" A m e n " ( o r " Y e s ,L o r d " )
motive:
 C H A P T E8R T H E I 9 5 O s A N D N E W J A Z Z
SUBSTYLES
@

2nd A section-Head, B hars

0:15 Forth,issecondtirnethrough
the A section,
the trumpetandthe tenorsaxophone
Thepiano,drums,andbasstakeoverthe response. statethe
!"v uq,,.
call.

Bridge-Head,8 hars
0:31 The.bridge goesintostraight timewiththe_tjympet^and the tenorsaxophone
perfectexample on the melody-a
of a release,
an oldertermfor the B section. Theelegant "trroralic.noro'pro-
of the bridgeunleashes "A
9f-"ttion the tensionbuittup in tne repetitive ;;i";. 1r"ii* in.r"ir.
plagalcadence of measures 3 and4 echoestheA section.

Final A section-Head, t bars

0:44 Thepianistreturns
withthe call,whilethe restof the band,ledby the trumpet
! ' t s v !vand
" v the tenor
s a x o p h o n e ,t a k e t h e r e s p o n s e .

Morgan trumpet solo-2 choruses

1:00 Morgan'ssolo beginswith half-valveinfle_ctions and catchyfunky riffs. The half-valveinflections
a r e t h e a l m o s ts q u e a k y ", b e n t " s o u n d s .B l a k e y ' sd r u m m i n gk e e p s
a c o n s t a n to a c t < b e aet ,m p h a s i z _
ing beats 2 and4.
1:15 ln the secondA sectionof the first chorus,Morgan incorporates
double-tongurng, a techniquethat
allows him to repeatthe same note rapidly.Theiouble-tonguing
louu 1."trrn",t*1"".
2:55 D o u b l e - t o n g u i nwgr a p s u p t h e s o l o .

Golson tenor saxophone solo-Z choruses

3:04 G o l s o np i t k t u . o . ] 1 : : ! 9 s o l o t o l a u n c hh i s o w n a n d b e g i n ss i m p t yw i t h v a r i a n t s
p h r a s e ss t r u n gt o g e t h e rl:of gYi cga: sl l.y".' s of
4:03 T h e b e g i n n i n go f h i s s e c o n dc h o r u sd i s p l a y sa m o v e t o t h e h i g h e r
r e g i s t e rt h a t s i g n a l sg r e a t e r
activity,o.ot:l]fq s o l o i n f a c t b e c o m e s q u i t em o d e r n i s i i n l t ss e c J n d" h o * r ,
i r r " b l u e s yr u n s
a n d t h e u s e o f t h e , h i o , h , r e o i s st eorm e t i m e ss e e m t o r u n o u t s i d e
t h e c h o r dc h a n g e si n w a y s t h a t
s o u n dl i k e t h e w o r k o f J o h n C o l t r a n e .

H O R A C ES I L V E B
PianistHoracesilverleft the|azzMessengers in 1956to leadhis own quintet.Among
the m-ostirrraginativeof the major funiy jazz playersof
the 1950s,sitrr., became
oneof its most notableand prolific composers asweil.Althoughsilverwasborn in
Norwalk,connecticut,in 1928,his family wasfrom the formJr portuguese
colony
g-fcape verde,off the coastof northernAfrica.As a child he wasexposedto cape
musicby his father,who encouraged him to adopt the idiom to jazz.
YltS:l1,t3\
"utnough beboppianistBud powellinfluencedhim earlyon, silver,spianoplaying