Relay-Version: version B 2.10 5/3/83; site utzoo.UUCP
Posting-Version: $Revision: 1.6.2.16 $; site ada-uts.UUCP
Path: utzoo!linus!decvax!cca!ada-uts!hedger
From: hedger@ada-uts.UUCP
Newsgroups: net.music
Subject: Re: Dewars Festival: Art Blakey and the
Message-ID: <22300017@ada-uts.UUCP>
Date: Thu, 5-Sep-85 13:53:00 EDT
Article-I.D.: ada-uts.22300017
Posted: Thu Sep  5 13:53:00 1985
Date-Received: Sun, 15-Sep-85 04:47:00 EDT
References: <414@mhuxr.UUCP>
Lines: 56
Nf-ID: #R:mhuxr:-41400:ada-uts:22300017:000:3132
Nf-From: ada-uts!hedger    Sep  5 13:53:00 1985


  *** ada-uts:net.music / mhuxr!mfs /  3:15 pm  Sep  1, 1985
Blakey runs the top jazz finishing school, has for thirty years, and is still
at the top of his game. This edition of the messengers has been together
for almost a year, when tenorist Bill Pierce was replaced by Jean
Toussaint, and has gone from tentative to inexperienced to solid to
terrific.

Pianist Mulgrew Miller is from Mississipi and has the home-fried tone
to prove it. But he is no mere graduate of the Bobby Timmons school
of sanctified funk. As he proved during a fiery "Joy Spring," his sound
was forged by a McCoy Tyner-ish blacksmith in Bud Powellian ovens.
He also has a sly sense of humor, evidenced by oddly placed Monk quotes
that seem incongruous, but a chorus or so later have been made to fit
the fabric of the solo perfectly. He is a monster solo pianist and
Blakey makes sure he gets lots of space to show it.

Alto man Donald Harrison has a piercing tone; as his time with Blakey goes
by, he has acquired assurance as a soloist, but suffers from an undeveloped
identity. He will sound like Jackie McLean here, Cannonball Adderley there.
Fine mentors to be sure, but where is Harrison under all that? We
still don't know, and it seems that neither does Harrison.

Trumpeter Terence Blanchard has been called the new Marsalis by some
and while I would hate to burden him with that hype, the comparison
makes some sense. Blanchard is only 21, joined Blakey at 18 and is
the latest in a line of hot New Orleans cats. Sounds familiar? The
similarity breaks thereafter, though. Blanchard's tone is descended
from Freddie Hubbard, while Marsalis is clearly influenced by Fats Navarro.
Terence does not have Wynton's monster chops, or rather he chooses not
to display them all the time. Finally, while Marsalis has elected to
become a chameleon, who shines in a variety of styles while making his
mark on none, Blanchard has doggedly developed the Blanchard sound,
as evidenced by a lovely version of "Tenderly." There is no
real need to carry the comparison any further. They are clearly both
very talented yound men, with differing approaches to their instrument.

The most pleasant surprise in this gig was Toussaint's emergence from under
the mantle of Sonny Rollins. His tone has broadened to include Wayne
Shorter-like obliqueness. He has shortened his lines, delivering
phrases packed with ideas, not sixteenth note arpeggios. His solo
feature was luminous, as he tested and discarded several tunes before settling
on the right one, which he developed in a relaxed, logical fashion. He brought
down the house.

As for the Old Man, he playing has never been better. He throws the gauntlet
to kids one third his age with the full knowledge that he would crush
them if they dared to accept it. I love the way he rolls up his eyes
while administering a rhythmic kick in the pants, or grins broadly
while delivering a get-your-ass-in-gear-sucker press roll to some
wandering soloist. Mrs Blakey's bambino, as he calls himself
looks and acts after 47 years in show business like he has at least
another 50 to go. God bless him.

Marcel Simon
----------


Brought to you by Super Global Mega Corp .com