Billboard : 06/24/1957
Album Cover of the Week

Excellent color photograph by Arnold Newman effectively highlights the eerie, grotesque African masks and figurine. The cover design, related to the contents, is a fine example of African art and will spark interest and sales.

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Spotlight on Sound

A hi-fi novelty packed with percussive power. Aside from the pure sound value, the disk demonstrates the wide range of emotional expression inherent in the drum and simple percussion instruments. As a bonus – though none is needed – there are echo chamber effects that come across most attractively on wide range equipment. The Jazz Messenger side is particularly noteworthy for drum virtuosity.

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Score of 87

An intriguing package to jazz fans and hi-fi followers alike. Suite features ensemble of drums and bongos, with minor piano and bass spots. Result is a tremendous example of live rhythm interpretations. Side two has the Messengers in three original works with good commercial blowing but interest centers on the drum side. Title duplicates that of a recent jazz chart entry on the Victor label, which could provoke interest. Unusual cover can do a top merchandising job.

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Cashbox : 06/29/1957

The first of the disk is entirely devoted to the afro-cuban influence, and stars ace drummers Art Blakey and Jo Jo Jones with assorted help from Ray Bryant (piano), Oscar Pettiford (bass), and bongo players Sabú and Cándido. The flip is all in the hands of the Jazz Messengers as they cavort through 3 originals. Excellent sound. Beautiful work on a well-rounded jazz disk.

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Oakland Tribune
Russ Wilson : 07/07/1957

Side one is a fantastic display by the Art Blakey Percussion Ensemble of the emotional power which can be generated by a battery of virtuoso percussionists. Blakey says there were 12 drummers used on the date, including Max Roach and Don Lamond. Pianist Ray Bryant and cellist Oscar Pettiford are in minor roles. The other side presents the Messengers quintet (with Jackie McLean on alto) in three originals.

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Liner Notes by Cal Lampley

Drum Suite
As preparations for a test run for the Drum Suite began, the air in Columbia’s studios was filled with excitement. Jo Jones and Art Blakey moved over to their respective drums, Cándido and Sabú picked up their bongos, Ray Bryant sat down at the piano and Oscar Pettiford got set with his bass and cello. Meanwhile Charles Wright sat down behind a set of drums with tympani on one side and a gong on the other. All of them had various smaller instruments near at hand. At the end of the test run, everyone sat down to listen to the playback, and that was it. No retakes were needed, except for the vocal passages. It took the fellows a little longer to master the Swahili dialect. All the chanting was done by the percussionists. No arrangements were used.

Though the three pieces that comprise the Drum Suite are distinctly individual, there is a surprising amount of cohesion. Blakey’s The Sacrifice begins with an authentic Swahili chant, derived from an ancient sacrificial ceremony. “The witch doctor tells of two who will be sacrificed to the crocodiles. The crowd echoes him, and the ceremony builds to a frenzied climax. The witch doctor announces the Mumba (death) of those sacrificed, and a celebration follows.” Here is some of the most fantastic drumming ever captured on records. Every conceivable rhythm is used.

Next comes Ray Bryant’s finely woven Cubano Chant. This easy-swinging piece, with its medieval modal colorings, is further evidence of the young composer-pianist’s talents. The hesitating rhythms and lovely melodic lines are all blended into a swinging beauty. After a chorus by Ray, the percussionists take over to offer an engaging section.

From the very beginning of Oscar Pettiford’s Oscalypso it is evident that this is going to be wild. Starting with Oscar playing cello, the piece expands as Ray enters on piano, then Cándido and Sabú on bongos, and gradually the rest of the percussion is added. The lyrical Oscar plays two choruses, Ray Bryant follows for two more, and the percussion takes over for the kill. Here is all the rhythmical counterpoint and emotional sensitivity one could ask for. After the percussion has taken the work to its climax, Pettiford returns to bring the suite to a close as he quietly strums the cello.

The Jazz Messengers
The other side of this record presents Art Blakey’s Jazz Messengers in another example of their impressive dynamic readings. Their imaginative use of harmony and counterpoint gives their work a remarkable freshness, and Blakey has another chance to demonstrate his highly developed ability as accompanist as well as soloist.

Gigi Gryce‘s Nica’s Tempo is another of the series of pieces dedicated to the Baroness Nica Koenigswarter. This 44-bar work seems to be of the type that fascinates the Messengers most, in that it lends itself to endless variation. A gifted newcomer, Bill Hardman, is heard on trumpet, his brittle trumpet style adding fire to the driving approach of the Messengers. The ever searching Jackie McLean is heard on alto, offering his creative impressions. In D’s Dilemma, the group is heard in a more relaxed mood. Free swinging playing, as well as tasty ensemble and solo work, is heard here. The group returns to its customary hard-driving beat in the final selection, Bill Hardman’s Just for Marty. The framework of this piece is ideal for the virtuoso performance the Messengers provide.

During the session, Art Blakey remarked to one of the sidemen, “Man, don’t worry about a thing, just wail.” This approach, plus a swinging beat, is one of the reasons why the Jazz Messengers is one of the most interesting and rewarding modern jazz groups before the public today. Other members of the group are Sam Dockery on piano and Spanky deBrest on bass.