Art Blakey

At 71 years old, Art Blakey physical status not available right now. We will update Art Blakey's height, weight, eye color, hair color, build, and measurements.

By seventh grade, according to several sources, Blakey was playing music full-time and had begun to take on adult responsibilities, playing the piano to earn money and learning to be a band leader.

He switched from piano to drums at an uncertain date in the early 1930s. An oft-quoted account of the event states that Blakey was forced at gunpoint to move from piano to drums by a club owner, to allow Erroll Garner to take over on piano.: 6–8 : 1  The veracity of this story is called into question in the Gourse biography, as Blakey himself gives other accounts in addition to this one.: 6–8  The style Blakey assumed was "the aggressive swing style of Chick Webb, Sid Catlett and Ray Bauduc".: 8–10

From 1939 to 1944, Blakey played with fellow Pittsburgh native Mary Lou Williams and toured with the Fletcher Henderson Orchestra. While sources differ on the timing, most agree that he traveled to New York with Williams in 1942 before joining Henderson a year later.: 10  (Some accounts have him joining Henderson as early as 1939.) While playing in Henderson's band, Blakey was subjected to an unprovoked attack by a white Georgia police officer which necessitated a steel plate being inserted into his head. These injuries caused him to be declared unfit for service in World War II. He led his own band at the Tic Toc Club in Boston for a short time.: 11–12

From 1944 to 1947, Blakey worked with Billy Eckstine's big band. Through this band, Blakey became associated with the bebop movement, along with his fellow band members Miles Davis, Dexter Gordon, Fats Navarro, Dizzy Gillespie, Charlie Parker and Sarah Vaughan among others.

After the Eckstine band broke up, Blakey states that he traveled to Africa for a time: "In 1947, after the Eckstine band broke up, we—took a trip to Africa. I was supposed to stay there three months and I stayed two years because I wanted to live among the people and find out just how they lived and—about the drums especially." He stated in a 1979 interview, discussing the context of the decision at the time:

Blakey is known to have recorded from 1947 to 1949. He studied and converted to Islam during this period, taking the name Abdullah Ibn Buhaina, although he stopped being a practicing Muslim in the 1950s and continued to perform under the name "Art Blakey" throughout his career.

As the 1950s began, Blakey was backing musicians such as Davis, Parker, Gillespie, Bud Powell and Thelonious Monk; he is often considered to have been Monk's most empathetic drummer, and he played on both Monk's first recording session as a leader (for Blue Note Records in 1947) and his final one (in London in 1971), as well as many in between. Blakey toured with Buddy DeFranco from 1951 to 1953 in a band that also included Kenny Drew.: 25

On December 17, 1947, Blakey led a group known as "Art Blakey's Messengers" in his first recording session as a leader, for Blue Note Records. The records were released as 78 rpm records at the time, and two of the songs were released on the "New Sounds" 10" LP compilation (BLP 5010). The octet included Kenny Dorham, Sahib Shihab, Musa Kaleem, and Walter Bishop, Jr.

Around the same time (1947 or 1949: 20 ) he led a big band called Seventeen Messengers. The band proved to be financially unstable and broke up soon after.: 20  The use of the Messengers tag finally stuck with the group co-led at first by both Blakey and pianist Horace Silver, though the name was not used on the earliest of their recordings.

The "Jazz Messengers" name was first used for this group on a 1954 recording nominally led by Silver, with Blakey, Mobley, Dorham and Doug Watkins—the same quintet recorded The Jazz Messengers at the Cafe Bohemia the following year, still functioning as a collective. Donald Byrd replaced Dorham, and the group recorded an album called simply The Jazz Messengers for Columbia Records in 1956. Blakey took over the group name when Silver left after the band's first year (taking Mobley and Watkins with him to form a new quintet), and the band name evolved to include Blakey's name, eventually settling upon "Art Blakey and the Jazz Messengers". Blakey led the group for the rest of his life.

It was the archetypal hard bop group of the 1950s, playing a driving, aggressive extension of bop with pronounced blues roots. Towards the end of the 1950s, the saxophonists Johnny Griffin and Benny Golson were in turn briefly members of the group. Golson, as musical director, wrote several jazz standards which began as part of the band book, such as "I Remember Clifford", "Along Came Betty", and "Blues March", and were frequently revived by later editions of the group. "Whisper Not" and "Are You Real" were other Golson compositions for Blakey.

From 1959 to 1961, the group featured Wayne Shorter on tenor saxophone, Lee Morgan on trumpet, pianist Bobby Timmons and Jymie Merritt on bass. The group recorded several albums for Blue Note Records including The Big Beat and A Night in Tunisia. From 1961 to 1964, the band was a sextet that added trombonist Curtis Fuller and replaced Morgan, Timmons, and Merritt with Freddie Hubbard, Cedar Walton, and Reggie Workman, respectively. The group evolved into a proving ground for young jazz talent, and recorded albums such as Buhaina's Delight, Caravan, and Free For All. While veterans occasionally reappeared in the group, by and large, each iteration of the Messengers included a lineup of new young players. Having the Messengers on one's resume was a rite of passage in the jazz world, and conveyed immediate bona fides.

Many Messenger alumni went on to become jazz stars in their own right, such as: Lee Morgan, Benny Golson, Wayne Shorter, Freddie Hubbard, Bobby Timmons, Curtis Fuller, Chuck Mangione, Keith Jarrett, Joanne Brackeen, Woody Shaw, Wynton Marsalis, Branford Marsalis, Terence Blanchard, Donald Harrison and Mulgrew Miller. For a complete list of Art Blakey and the Jazz Messengers alumni, including some who did not actually record with the band, see The Jazz Messengers.

Blakey went on to record dozens of albums with a constantly changing group of Jazz Messengers. He had a policy of encouraging young musicians: as he remarked on-mic during the live session which resulted in the A Night at Birdland albums in 1954: "I'm gonna stay with the youngsters. When these get too old I'll get some younger ones. Keeps the mind active." After weathering the fusion era in the 1970s, the popularity of the Jazz Messengers faded away. But Blakey's band continued performing with new jazz men such as Terence Blanchard and Kenny Garrett.

He continued performing and touring with the group through the end of the 1980s. Ralph Peterson, Jr. joined in 1983 as a second drummer due to Blakey's failing health. Ron Wynn notes that Blakey had "played with such force and fury that he eventually lost much of his hearing, and at the end of his life, often played strictly by instinct." He stubbornly refused to wear a hearing aid, arguing that it threw his timing off, so most of the time he played by sensing vibrations. Javon Jackson, who played in Blakey's final lineup, claimed that he exaggerated the extent of his hearing loss. "In my opinion, his deafness was a little exaggerated, and it was exaggerated by him. He didn't hear well out of one ear, but he could hear just fine out the other one. He could hear you just fine when you played something badly and he was quick to say 'Hey, you missed that there.' But anything like 'I don't think I'll be available for the next gig', he'd say 'Huh? I can't hear you.'" Another bandmate, Geoffrey Keezer, claimed that 'He was selectively deaf. He'd go deaf when you asked him about money, but if it was real quiet and you talked to him one-on-one, then he could hear you just fine.'"

Blakey's final performances were in July 1990. He died on October 16 of lung cancer.

Source

• Down Beat Jazz Hall of Fame Reader's Choice Award (1981)
• Jazz Hall of Fame Induction (1982)
• Grammy Award Best Jazz Instrumental Performance, Group, for the album New York Scene (1984)
• Grammy Hall of Fame Induction for the single "Moanin'" (1998)
• Grammy Hall of Fame Induction for the album Moanin' (2001)
• Grammy Lifetime Achievement Award (2005; awarded posthumously)