专辑名称：Paris Jam Session - Jazz In Paris
专辑歌手：Art Blakey & The Jazz Messengers
Art Blakey最初因为他与Horice Silver的Jazz Messengers乐队而著名。这个不识谱的大师实际上是半路出家：他起初在酒吧弹钢琴，后来被乐队其他乐手识破不识谱，于是迫不得已操起了鼓槌。在这个香榭丽舍剧院(Champs-elysees Theatre)的表演之前，他的乐队已经通过一系列演出让法国人癫狂，不过这次的表演的戏剧性则来自伟大的钢琴家、客居巴黎的Bud Powell。Powell起初只是来看Jazz Messengers的演出，不想Blakey却在开场白中大声宣布：女士们先生们，让我们欢迎伟大的钢琴家－Bud Powell！一脸茫然的Powell在前排观众的帮助下爬上了乐池，甚至没来得及带上他从不离身的贝雷帽和厚外套。最终Powell和Blakey的乐队一起演奏他的名篇－Dance of the Infidels和Bouncing with Bud，全场起立致敬。
之后 Jazz Messengers独立演奏了The Midnight和他们的保留曲目，A night at Tunisia。Blakey军鼓式的敲击激情四溢，当然，小号手Lee Morgan、贝斯手Jimmy Merritt，以及前段时间刚来大陆演出的Wayne Short一样功不可没。
In 1959, (December 18th, a Friday) the Theatre des Champs-Elysees was the scene of a concert where the audience might have thought they were being taken for a ride. For a start, the programme turned out to be quite different from the one announced: the list of musicians was correct, but the actual existence of "Art Blakey's Jazz Messengers Big Band" was merely wishful thinking...and as for the "new compositions and original arrangements by Raymond Fol, Jack Marray (alias Duke Jordan), Lee Morgan, Martial Solal and Barney Wilen", which the ghost band was scheduled to perform, it seems that not a single note had ever been scored...
The initial project supposed that a number of American musicians in Paris at the time would gracefully accept the invitation to join Art Blakey's group. Most of them probably had better things to do, even if only for an evening, than link their destiny to that of the drummer, who'd become an idol since his triumph at the Olympia theatre the year before, not to mention his gigs at the Club St. Germain.
Only Bud Powell climbed onstage at the Champs-Elysees Theatre, and then only after a series of incidents worthy of burlesque. In his memoirs, Francis Paudras relates that he hadn't known that Powell was on the bill, and was delighted when he succeeded in convincing Bud to come to the concert with him. The pianist had accepted, of course (Bud hadn't said a word to him, and needed little persuasion...). When Art Blakey announced "Ladies and Gentlemen, we have the singular honor of the presence in this theater of the great pianist Bud Powell", Francis Paudras was dumbstruck at what he thought was Art Blakey's second sight, and immediately tried to persuade Bud to get up from the seat into which he was sinking further and further. As if he wanted the earth to swallow him up. Finally, with the help of some front-row spectators, Bud Powell was pulled onstage, minus (thankfully!) the beret and greatcoat he'd stubbornly insisted on keeping.
Surrounded by Lee Morgan, Barney Wilen and Wayne Shorter, and sustained by the bass of Jimmy Merritt and Blakey's drums, Bud performed two of his most beautiful pieces, Dance of the Infidels and Bouncing with Bud. And he played them in a way that finally did away with the public's initial disappointment, already greatly attenuated by the contributions of Martial Solal, and trumpeter Roger Guerin.
There was only one other guest next to Bud, Barney Wilen, who'd just turned 20. For the occasion, he's chosen an alto over the tenor, preferring the instrument of his debuts to the tenor with which he'd built an enviable reputation. He showed himself to be totally worthy of it, even if he'd practically stopped playing the alto by then. The midget and A night in Tunisia come from the concert's second half, where the Jazz Messengers played alone. The later tune, taken at an infernal tempo, allows us to understand just why Blakey and his Messengers were so popular; and also how it was possible for them to create the demand for a five-week long tour of Europe, a tour whose epicenter remained Paris.----------------Alain Tercinet
Art Blakey Drums
Lee Morgan Trumpet
Barney Wilen Alto Saxophone
Wayne Shorter Tenor Saxophone
Walter Davis, Jr Piano
Bud Powell Piano
Jymie Merritt Acoustic Bass
01. Dance Of The Infidels
02. Bouncing With Bud
03. The Midget
04. A Night In Tunisia