Terms of Art: A Tribute To Art Blakey & The Jazz Messengers, Volume 1

The John Brown Quintet set out to create an album that would serve as a tribute to Art Blakey and the Jazz Messengers who, as their liner notes for Terms of Art: A Tribute To Art Blakey & The Jazz Messengers, Volume 1 so aptly says, “inspired multiple generations of musicians with their vision and commitment to jazz.” In that vein, the Quintet recorded a great cover (second track) of Bobby Timmons’ “Moanin’,” one of Blakey and The Jazz Messenger’s better-known tunes. Brown lays down a deep bass groove over which the rest of the rhythm section --Ray Codrington (trumpet), Brian Miller (saxophones), pianist Gabe Evens, and drummer Adonis Rose--creates the hard bop melody. The John Brown Quintet plays with personality and a bit of sass, an attitude that is particularly noticeable when Brown solos during “Moanin’,” and then engages in a call and response with the horns.

Ray Brown’s “Buhaina, Buhaina” is honored in fine fashion by another Ray, this time Codrington, who gives us the benefit of his fifty years of trumpet sensibilities while delivering an emotive performance that is complemented nicely by the warm, fat notes emanating from the bell of Miller’s sax. Although only two in number, Codrington and Miller boast a wealth of experience that would be the envy of many much larger horn sections. Codrington, who has appeared at New York’s Apollo Theater and the Howard Theater in Washington, D.C., has played with the likes of Eddie Harris, Hugo Montenegro and David “Fathead” Newman, while Miller’s resume lists performances with Clark Terry, Slide Hampton, Maceo Parker and Nicholas Payton.

Listeners will enjoy the lively pace of Gigi Gryce’s “Hello.” The song boasts a Latin tinged trumpet on what may be Miller’s best saxophone performance from this CD. “Hello” possesses an energetic melody, compliments of Miller, Codrington and some sterling chops by pianist Evens. This is a fun song that invites its listeners to the dance floor. Another song that really caught my ear is the ensemble’s rendition of Quincy Jones’ “Lady Bop,” a celebratory composition that moves well. Although all the musicians play fabulously, this piece owes its success to Brown’s lively and emotive playing. The album closes out with yet another treasured composition, Dizzy Gillespie’s 1942 odyssey, “A Night In Tunisia.”

So often tribute albums, although well intentioned, add little in terms of personality to the original tunes, and merely rely on technical expertise. However, The John Brown Quintet has gone far beyond merely settling, and has created a CD that is inspired and invested with imagination.