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The Big Beat! Author(S): David H. Rosenthal and Art Blakey Source: the Black Perspective in Music, Vol

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The Big Beat! Author(S): David H. Rosenthal and Art Blakey Source: the Black Perspective in Music, Vol The Big Beat! Author(s): David H. Rosenthal and Art Blakey Source: The Black Perspective in Music, Vol. 14, No. 3 (Autumn, 1986), pp. 267-289 Stable URL: http://www.jstor.org/stable/1215067 Accessed: 23/01/2009 19:07 Your use of the JSTOR archive indicates your acceptance of JSTOR's Terms and Conditions of Use, available at http://www.jstor.org/page/info/about/policies/terms.jsp. JSTOR's Terms and Conditions of Use provides, in part, that unless you have obtained prior permission, you may not download an entire issue of a journal or multiple copies of articles, and you may use content in the JSTOR archive only for your personal, non-commercial use. Each copy of any part of a JSTOR transmission must contain the same copyright notice that appears on the screen or printed page of such transmission. JSTOR is a not-for-profit organization founded in 1995 to build trusted digital archives for scholarship. We work with the scholarly community to preserve their work and the materials they rely upon, and to build a common research platform that promotes the discovery and use of these resources. For more information about JSTOR, please contact [email protected]. http://www.jstor.org CONVERSATION WITH: Art Blakey The Big Beat! BY DAVID H. ROSENTHAL F OR NEARLY FOUR DECADES Arthur Blakey (b. 1919 in Pittsburgh, Pennsylvania) has been recognized as a giant of modern jazz percussion, as a sensitive teacher of young musi- cians, and as an inspired bandleader at the head of his Jazz Mes- sengers. In Zita Carno's words: Art Blakey'sname has become synonymouswith hard drive and pulsating excitement. His playing makes listenersjump with amazement.There are no dull moments even in his longest solos, and in his rhythm section work he forces the group to play with his infectious excitement, but, for all his drive, he is the subtlestof drummers,one who knows how to push a group without overpowering them.1 Though Blakey accompanied a variety of ensembles in his early years, his first real spurt of development occurred during a three- year stint with the Billy Eckstine Band, which included Charlie Parker, Dizzy Gillespie, Fats Navarro, Gene Ammons and Dexter Gordon. By the time the band broke up, Blakey was acknowledged by both fellow musicians and jazz aficionadoes as one of the best young drummers around. He had already shown what he could do on recorded small-group sessions-for example, with Fats Navarro on Savoy SJL 2216 or with Thelonius Monk on Blues Note 1510- as well as with his own group, which cut some 78's never reissued, for Blue Note and introduced the name "Jazz Messengers" to the world. In 1947 Blakey went to West Africa, where he remained for two years. Although he denies that this experience influenced his drumming, common sense would indicate the opposite. In any case, what is certain is that when he returned, he played with considerably more authority and was soon among the most sought-after musicians in New York City.A list of his employers in the early fifties will indicate the esteem he enjoyed among his peers: Clifford Brown, Miles Davis, Charlie Parker, Sonny Stitt, Sonny Rollins, Thelonius Monk, and a host of others, including Buddy De Franco, with whom he spent a year before forming his own group in 1954. 268 THE BLACK PERSPECTIVE IN MUSIC Ca ChuckSteart ART BLAKEY 269 By that time, Blakey had developed a fiercely individual and instantly recognizable style. Its technical elements are too numer- ous to go into here (Zita Carno's article provides a good analysis of many of them, along with illustrative transcriptions), but the effect was simultaneously volcanic and austere. Blakey is among the least superfluously "busy" drummers in jazz, and this has casued some critics to describe his playing as a "simplification" of Max Roach's and Kenny Clarke's styles. His rhythmic sense is so razor-sharp, and his foot and wrist control so precise, that he need do little more than "keep time" to create an atmosphere of tremendous con- trolled power. His accompanying figures, sparingly used, come at the right moments to support the soloist with sudden bursts of energy. Likewise, Blakey's solos are usually structured around a few melodic motifs played against each other contrapuntally as he builds to a climax. Musical coherence is never sacrificed to technical flash. In February 1955 Blakey, Kenny Dorham, Hank Mobley, Horace Silver, and Doug Watkins cut a record (HoraceSilver and the Jazz Messengers, Blue Note 1518) that was destined to become a classic of hard bop. This school, which flourished between 1955 and 1965 (though it's still going strong in Blakey's current crop of youngsters) emphasized "swing," emotional openness, and recep- tivity to the older black traditions-particularly blues and gospel. Though at first the Jazz Messengers was a cooperative group, Blakey retained the name when his associates struck out on their own in 1956, and since then it's been Art Blakey and the Jazz Messengers. In the past thirty years, the group has gone through many permutations-some more artistically successful than others. In general, the group has sounded best when dominated by good composers like Horace Silver, Benny Golson, Wayne Shorter, or the current crew: Terence Blanchard, Donald Harrison, and Mul- grew Miller. At other times the band has seemed to flounder (for example, the Messengers that succeeded the Dorham-Mobley- Silver outfit and featured Jackie McLean and Bill Hardman, or some ensembles in the early seventies). But it's always been worth the price of admission just to hear Blakey play, and his present sextet, which recently won a Grammy for New YorkScene (Concord 256), is among his best ever. Another facet of Blakey's work is his role as an educator. As Bobby Timmons put it: He's a leader who builds other leaders. Not many men are reallyleaders; it has to do with a lot more than music. Miles is one, and Art's another. You learn decorum from him, and how to be a man. That little speech he gives at the end of his sets, about how jazz is our native cultural contributionto the world. Who else could get away with that speech? ... He believes that 270 THE BLACK PERSPECTIVE IN MUSIC jazz is feeling, the same as I do. But he knows about music. He's the one who taught me to build a solo to a climax.2 Today, Blakey continues to instruct and encourage the young. He enjoys telling audiences that some of the tunes his current ensemble plays (like Benny Golson's "Blues March" and "Along Came Betty," both first recorded in 1958) were written before most of the musicians on the stand were born. The following interview took place in Blakey's Greenwich Vil- lage apartment in April 1986.* Though I felt nervous about meet- ing one of my heroes, whose work I have admired since my adoles- cence, Blakey quickly put me at ease, sharing his feelings about life and art with the same earthy eloquence that has inspired genera- tions of young jazzmen. *This interview has been lightly edited. NOTES 1. TheJazz Review 3/1 (anuary 1959): 6. 2. Cited in Joe Goldberg,Jazz Masters of the Fifties (New York: Macmillan, 1965), 53. * * * * * David H. Rosenthal: What was it like growing up in Pittsburgh? Art Blakey: I didn't grow up there. I left with Fletcher Hender- son [about 1939]. Then I came back, stayed a little while, then I went back out with Mary Lou Williams. Then I had my own little group, went down to Cincinnati, Ohio, played for a while, came back and joined Smack again [i.e., Fletcher Henderson], and went up north to Boston, and I stayed there. I left the band and I stayed put there. When you were growing up in Pittsburgh though, were you already playing the drums? I Sure, was playing. I used to play piano in Pittsburgh. I played by ear, you know, but I kept a gig 'cause I didn't like working. So I played piano for a while. I played in a speakeasy, you know. I played in a few keys. I had a band, but mostly what I did was what they called "ups," you know-between shows and you take a little spinet and go around the tables singing dirty songs, and that was it. That was it in those times. But I switched over to the drums, because after I heard Erroll Garner it was time for me to switch. ART BLAKEY 271 Did you knowfrom the beginning that you wanted to be a jazz musi- cian? Sure, that's the only kind of music I liked at that time, and that's where I was sort of nutured. And then [I was nutured] by the church and everybody in church-I went to the sanctified chruch, with those rhythms and swinging-they'd be swinging in there. Did you sing in the choir? Everybody sang in the church I went to. They didn't have no choir per se or organ or piano, and no musical instruments in the church. [It was] all a cappella. And the whole congregation would sing? Pat your feet and clap your hands. That's the way it was. Mysterious! Were you from what you'd call a musicalfamily? Yes, but I didn't know nothing about them. I wasn't raised with my family, with my putative father. My mother died when I was about a year old.
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