HR 192.0kHz/24Bit 
专辑名称: First Flight To Tokyo: The Lost 1961 Recordings
创作艺人: [Art Blakey & The Jazz Messengers]
音乐流派: Jazz|爵士
专辑规格: 1碟9首
出品公司: Blue Note Records
发行时间: 2021/12/10
官方标价: £8.39 （会员免费下载）
域名语言: [en] （AI检测）
曲目介绍：
Now's The Time (Live At Hibiya Public Hall, Tokyo, Japan 1/14/61)
Moanin' (Live At Hibiya Public Hall, Tokyo, Japan 1/14/61)
Blues March (Live At Hibiya Public Hall, Tokyo, Japan 1/14/61)
The Theme (Live At Hibiya Public Hall, Tokyo, Japan 1/14/61)
Dat Dere (Live At Hibiya Public Hall, Tokyo, Japan 1/14/61)
'Round About Midnight (Live At Hibiya Public Hall, Tokyo, Japan 1/14/61)
Now's The Time (Version 2 / Live At Hibiya Public Hall, Tokyo, Japan 1/14/61)
A Night In Tunisia (Live At Hibiya Public Hall, Tokyo, Japan 1/14/61)
The Theme (Version 2 / Live At Hibiya Public Hall, Tokyo, Japan 1/14/61)
详细介绍:
In 1961, Art Blakey did his first tour of Japan with his then-current lineup of the Jazz Messengers. It was a young crew of players—Lee Morgan, Wayne Shorter, Bobby Timmons, and Jymie Merritt were all in their early 20s, while Blakey was comparatively an elder statesman at 42—and the group only been together for a little more than a year with just two albums (The Big Beat and A Night in Tunisia) under their belt. This two-week tour could have been a straight cash grab, with Blakey and the band giving jazz-starved Japanese audiences a well-mannered and highly competent run through a collection of straight-ahead bop standards. It quickly became clear that—thanks to the enthusiastic reactions of crowds at every single tour stop—they had considerable license to let things rip. And indeed they did. The engaged energy of the crowd fed the players on stage and the result was, as documented on this previously unreleased recording from a Tokyo concert at the end of the tour, some near-electric performances. Instead of acting like ambassadors, the band here is acting more like explorers, taking the crowds%27 deep and informed affection for jazz as a license to walk with them into some new terrain that was truly transitioning from the bop era. This set opens with a rambling, jaunty version of Charlie Parker%27s Now%27s the Time that goes on for 20-plus minutes. Far from a hoary old chestnut being brought out to warm up the audience, it kicks off the show with a lengthy and intense solo from Blakey that is followed up with some expansive and exploratory interplay between Shorter and Morgan. The tone is set for the rest of the show, which runs a warm, but inquisitive vibe through a number of standards. Timmons%27 piano work shines so brightly on %27Round About Midnight, as one would expect, but near the last third, his keyboard work gives way to some near-cosmic playing from Morgan that totally reshapes the character of Monk%27s standard. There%27s a great balance in the set between solos and communicative group improvisation, but there%27s no mistake that Blakey is the leader, as he not only clocks the most spotlight time, but also provides the necessary bridge between jazz%27s past and future. And while he%27s obviously not digging into the same vibes he would in the late %2760s and early %2770s with albums like Roots and Herbs and The Witch Doctor, it%27s also clearly a few evolutionary clicks beyond the Messengers%27 name-making work from the late %2750s. Worth noting: although the sound quality here is not quite audiophile-level (it%27s a little thin in places, especially—and unfortunately—on low end/percussion), for a found recording, the fidelity is nonetheless rich and transportive. © Jason Ferguson/Qobuz
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