Dwain

• Released in 1958, Moanin' stands as a cornerstone of the hard bop movement, capturing the raw energy and emotional depth that defines this genre. Under the dynamic leadership of drummer Art Blakey, the album showcases an exceptional lineup. Together, they create a compelling narrative through their music, blending blues influences with intricate bebop lines.

• The title track, "Moanin'," opens the album with a powerful and soulful introduction. Timmons’ iconic piano riff sets a gospel-like tone that immediately draws the listener in. The seamless transitions between the horn sections and Timmons' expressive playing create a sense of urgency and excitement, underscored by Blakey’s masterful drumming. The iconic trumpet solo by Morgan is both lyrical and assertive, perfectly embodying the essence of hard bop.

• "Are You Real" features excellent horn arrangements and a tight ensemble sound, showcasing Golson's remarkable saxophone solos and the rhythmic precision of Blakey’s drumming.

• "Along Came Betty" is a fan favorite, with its harmonic structure allowing for expansive soloing, particularly from Morgan and Golson. The shifts in phrasing and rhythmic feel throughout the solos keep the listener engaged.

• "The Drum Thunder Suite" stands out for its thematic composition and features extensive drumming from Blakey, creating a dramatic and immersive listening experience. The transitions between sections and grooves exemplify the band’s versatility.

• "Blues March" combines a catchy melody with a strong rhythmic foundation, allowing each soloist to shine while maintaining a cohesive sound. Timmons’ block chord style and Golson’s double-time lines help to further enrich the track.

• Lastly, "Come Rain or Come Shine" offers a well-arranged take on the classic, highlighting the band’s ability to blend improvisation with structured arranging.

• Moanin’ not only encapsulates the hard bop style but also highlights the remarkable chemistry of The Jazz Messengers. Blakey’s leadership and the collective improvisational spirit of the group create a lasting impact, making this album essential listening for any jazz enthusiast. The combination of soulful melodies, intricate arrangements, and electrifying performances cements Moanin’ as a classic in the jazz canon, one that continues to resonate with listeners today.

Overall score: 9.6/10

Max

• Art Blakey is one of the most influential and powerful drummers of all time. The impact of Blakey on the world of jazz is far-reaching and undeniable. His group, Art Blakey and the Jazz Messengers was treated as a sort of real-life ‘school’ where terrific musicians could hone their craft, gain experience, and learn the art of jazz practice alongside the powerhouse performer, Art Blakey. The record Moanin’ (originally without an actual title) is one of the best representations of Art’s band. First of all, it is the only ‘Jazz Messengers’ record with prominent saxophonist and composer Benny Golson. Golson’s recent passing is a reminder of how monumental his contributions were at the time of this release. In addition to his compositions “Along Came Betty,” “Blues March,” and “Are You Real” being included in the set, Golson also arranged a lot of the music, acting as a musical director for the band. The album also features some of Golson’s best playing on record.

• In conjunction with Golson and Blakey, the record has an all-star cast, including Lee Morgan on trumpet, Bobby Timmons on piano, and Jymie Merritt on bass. Bobby Timmons is the one who wrote the standout title track. It’s a catchy, blues-drenched melody that incorporates call-and-response, precise articulation, and a shuffle feel. The fun really begins with Lee Morgan’s unforgettable solo. The start of his opening phrase will remain to be revered until the end of time. Golson’s solo is another highlight, complete with sassy phrasing, catchy movement, and many moan-like moments. His busier lines often sound as if he’s chasing himself. Timmons enters with a thematic statement, moving into more blues-influenced playing and block-chordal motion, decorated with downward piano sweeps. Merritt delivers an 8th-note-heavy bass solo with a strong opening statement. Great piano cadenza flutterings are a nice touch too at the end of the song. The track “Moanin’” is essentially perfect. The two-part horn harmony and movement on “Are You Real” works really well. We get a number of shorter solos on that one, as well as a nice solo trading section. It’s great to hear Blakey’s differing ideas as the song progresses.

• “Along Came Betty” reminds me of something one may hear in their head as they partake in a midnight outside stroll in perfect weather (seeing as it was inspired by the feminine, elegant gait of a woman named Betty). I do have to admit the tune’s melody has always bored me for one reason or another; it’s the solos and harmonic attributes of the song’s structure that have always stood out to me. “The Drum Thunder Suite” would qualify as the most seemingly underappreciated track. I really dig the thunderous tom-playing and well-arranged horn hits. It’s key to note the many ways Blakey incorporates the hi-hat and snare drum (he often has the snare sizzle sound turned off here), and I love the change-of-feel into this almost Tango heaven that erupts out-of-nowhere. The soulful doits from horns in the latter third of the song provide color and a nice emotive touch. “Blues March” is exactly what you’d expect from the title; a fun blues number with moments of marching snare drum and a definite use of staccato, quarter-note pulse. The continued staccato-like pulse could seem redundant, but it works here because of the awesome solos that elevate the top of it. The melodic arrangement of “Come Rain or Come Shine” seems predictable; but upon further examination, one should conclude it’s the only right way to do it. Golson also works to chase himself ‘out of this world’ with his swooping lines that define his solo. Moments of verbatim bop are well-represented in Merritt’s bass solo. Nice horn trills end this version of an all-time great standard; however, I’m not entirely sure how essential it truly is on the record. In some ways, I get the sense that “Come Rain Or Come Shine” is not needed here, despite my love for the tune. By the time we’ve arrived at this final track, everything has already been said. Also, don’t bother checking out the posthumously released alternate takes as you can hear how they seem like a warm-up for the real thing. The classic title track has just that much phrasing perfection.

• My adoration for ‘Art Blakey and the Jazz Messengers’ has certainly been influenced by this particular record. This ensemble swings hard, emphasizing the power of the blues, shuffle feel, and clever arranging. Golson’s sound and approach is well-represented, alongside well-developed trumpet lines from Lee Morgan, uniquely soulful piano playing from Bobby Timmons, a swinging pulse from Jymie Merritt and unbashful playing from the leader. Moanin’ is a masterpiece. Enough said.

Overall score: 9.4/10