Art Blakey

Art by Tim Foley

Art Blakey

Drums, Bandleader · born 11 October 1919 died 16 October 1990

Click for Richard Cook Bio

Blakey began as a pianist, getting lessons in his native Pittsburgh, and by his mid-teens he was already leading a local band. But he moved to the drums, after being shown up by Erroll Garner at the piano, and began modelling himself on Chick Webb and Sidney Catlett (who once told him: 'Son, when you're in trouble, roll'). In 1942 he arrived in New York and worked with Fletcher Henderson, before leading his own big band and then joining Billy Eckstine's orchestra in St Louis in 1944, where he stayed for three years. Blakey began leading a group called Jazz Messengers when Eckstine disbanded, and was in on some major record dates with Thelonious Monk and Fats Navarro, before travelling through Africa for a year. Here he took his Islamic name of Abdullah ibn Buhaina, and though he always denied any African influence on his drumming, his rimshot-rapping does seem to have been introduced into his style after this period.

Back in America, he worked for several leaders before forming an alliance with Horace Silver in 1953: this was the real beginning of Art Blakey's Jazz Messengers, the small-group format – usually two or three horns and rhythm section – which the drummer led for the rest of his career. Blakey turned the group into a dynasty: 'Yes, sir,' he says on his Birdland recording of 1954 with Clifford Brown and Lou Donaldson, 'I'm going to stay with the youngsters – when these get too old, I'm going to get some younger ones.' Scores of musicians passed through the Blakey academy thereafter: Jackie McLean, Johnny Griffin, Lee Morgan, Wayne Shorter, Freddie Hubbard, Bobby Timmons, Cedar Walton, Keith Jarrett, Chick Corea, Joanne Brackeen, Gary Bartz, Woody Shaw, Bobby Watson, Wynton and Branford Marsalis, Mulgrew Miller and Terence Blanchard are only some of the most significant. The band's book was expanded with each new compositional talent that joined the band: Blanchard, one of the last MDs of the group, remembers playing an entire week of two sets a night and only repeating a single tune once during the engagement (once too often, the club owner complained). Luckily, Blakey was seldom out of a recording contract, and there are dozens of albums by the different editions of the Messengers, many classics emerging on Blue Note, Atlantic and (latterly) Concord in particular. Blakey managed to work through jazz's leanest commercial periods without being obliged to change his format or go electric, and when the Marsalis brothers joined the group in 1980, it heralded a revival of interest in the hard-bop vernacular and Art found himself acclaimed as a godfather-figure all over again. His own drumming is among the most forceful and distinctive in jazz: trademarks include the chomping hi-hat on two and four, the volcanic press roll (which Sid Catlett had suggested), the huge cymbal-sound with its very slow decay and the cross-rhythms which he delighted in. Besides his Messengers dates, there are several records which he made in the company of African and Latin American drummers, each a tremendous percussive noise. If he felt a soloist was going wrong, or going on too long, an ominous rattling would come from the kit that basically said, time's up. In his white-haired old age, he loved to talk to audiences and would never miss a chance to beat the drum for jazz and how music should be respected: 'It washes away the dust of everyday life.' He somehow found the time to raise seven children, too.

Biography from Richard Cook's Jazz Encyclopedia (2005).

If you'd like more information, check out The New Grove Dictionary of Jazz (2002) or The Biographical Encyclopedia of Jazz (2007), both of which are still in print.