Release Notes:
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Review by Lindsay Planer
By the time that jazz icon/bandleader/percussionist Art Blakey and
his Jazz Messengers began recording for Riverside in the fall of
1962, Blakey had already been the spiritual center of the group
for nearly 15 years. The unprecedented caliber of performers who
had already passed through the revolving-door personnel reads like
a who's who of 20th century jazz. On Caravan — his first of
several notable sides for the venerable label — he is joined by a
quintet of concurrent and future all-stars. Likewise, it could be
argued that each has never again been presented in such a fresh or
inspired setting as on these recordings. In order to establish
with any authority just how heavy (even for purveyors of hard bop)
the players in this band are, they need only to be named: Curtis
Fuller (trombone), Freddie Hubbard (trumpet), Wayne Shorter (tenor
sax), Cedar Walton (piano), and Reggie Workman (bass). With Blakey
(drums) firmly at the helm, these Jazz Messengers deliver a
scintillating synergy that doesn't sacrifice intensity for the
sake of cadence. The trademark give-and-take that graces the laid
-back and sophisticated pop and jazz standards "Skylark" and "In
the Wee Small Hours of the Morning" likewise is responsible for
the palpable energy brought to the sizeable contributions from
Shorter and Hubbard — which make up half of the album's material.
The title and leadoff track liquefies Duke Ellington's original
arrangement and ignites it, fueling this extended fiery
interpretation. Hubbard's first solo harks back to his own
recording of "Caravan," which can be heard on the Impulse release
Artistry of Freddie Hubbard and was recorded earlier the same
year. Coincidentally, that disc also features Curtis Fuller as
well as a rare non-Sun Ra-related appearance from John Gilmore
(tenor sax). Blow for blow, however, this reading has more than
just an edge — it possesses the entire blade. The melody snakes in
and out of Blakey's strident flurry of syncopation. Another
highlight is Shorter's interjectory solo, recalling his ability to
succeed John Coltrane in Miles Davis' coterie. Among the original
compositions, Shorter's upbeat "Sweet 'n' Sour" stands out as the
most cohesive and ensemble-driven, although the singular group
dynamic is well applied to the lively "This Is for Albert" as
well. By contrast, Hubbard's "Thermo" is more angular — taking
full advantage of the musicians' aggressive chops. The 2001 20-bit
remaster from Fantasy contains two bonus tracks: take four of
"Sweet 'n' Sour" and take two of "Thermo." This release can be
considered definitive Blakey, bop, and Jazz Messengers.