Moanin'
| Moanin' | ||||
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| Studio album by Art Blakey and the Jazz Messengers | ||||
| Released | Third week of January 1959 | |||
| Recorded | October 30, 1958 Van Gelder Studio, Hackensack |
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| Genre | Hard bop | |||
| Length | 40:26 50:20 CD reissue |
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| Label |
Blue Note BST 84003 |
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| Producer | Alfred Lion | |||
| Art Blakey chronology | ||||
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| The Jazz Messengers chronology | ||||
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| Professional ratings | |
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| Review scores | |
| Source | Rating |
| Allmusic |  |
| The Rolling Stone Jazz Record Guide |  |
Moanin' is a jazz album by Art Blakey and the Jazz Messengers recorded in 1958 for the Blue Note label.
This was Blakey's first album for Blue Note in several years, after a period of recording for a miscellany of labels, and marked both a homecoming and a fresh start. Originally the LP was self-titled, but the instant popularity of the bluesy opening track "Moanin'" (by pianist Bobby Timmons) led to its becoming known by that title.
The rest of the originals are by saxophonist Benny Golson (who was not with the Jazz Messengers for long; this being the only American album on which he is featured). "Are You Real?" is a propulsive thirty-two-bar piece with a four-bar tag, featuring two-part writing for Golson and trumpeter Lee Morgan. "Along Came Betty" is a more lyrical, long-lined piece, almost serving as the album's ballad. "The Drum Thunder Suite" is a feature for Blakey, in three movements: "Drum Thunder"; "Cry a Blue Tear"; and "Harlem's Disciples". "Blues March" calls on the feeling of the New Orleans marching bands, and the album finishes on its only standard, an unusually brisk reading of "Come Rain or Come Shine". Of the originals on the album, all but the "Drum Thunder Suite" became staples of the Messengers book, even after Timmons and Golson were gone. Recorded by Rudy Van Gelder in his meticulous Hackensack studios, this recording reflects the hallmark precision associated with that engineer – on the reissue there is a brief conversation between Lee Morgan and Rudy Van Gelder going over Morgan's solo.
The album stands as one of the archetypal hard bop albums of the era, for the intensity of Blakey's drumming and the work of Morgan, Golson and Timmons, and for its combination of old-fashioned gospel and blues influences with a sophisticated modern jazz sensibility. The album was identified by Scott Yanow in his Allmusic essay as one of the 17 Essential Hard Bop Recordings.
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Wikipedia