вЂњSo I just went up there and played the show ,вЂќ Blakey recalled. When the club owner heard Garner, he ordered Blakey to switch to drums. He landed a steady gig at a club owned by a gangster, and one night, after having worked at the club for two years, a young Erroll Garner sat in on piano. He received some piano lessons in school, and by the time he was in seventh grade he was working professionally. She died soon after he was born and he was raised by a family friend, not knowing until years later that his foster mother was not his real mother. His induction into the PAS Hall of Fame is but the latest in a long list of awards, including the 1976 Newport Jazz Festival Hall of Fame, the 1981 Downbeat Jazz Hall of Fame ReadersвЂ™ Choice Award, the Rutgers Institute of Jazz Studies Hall of Fame, the 1984 вЂњBest Instrumental Jazz PerformanceвЂќ Grammy for the New York Scene album, the 1985 Gold Disc award from JapanвЂ™s Swing Journal for the album Live at Sweet Basil, an honorary Doctorate of Music from Berklee College of Music, and the 2001 Grammy Hall of Fame Award for the album MoaninвЂ™.ДЄrt Blakey was born on Octoin Pittsburgh, Pennsylvania, to a single mother. But that was fantastic because it helped me get where I wanted to go and helped me find out what it was I wanted to do.вЂќ I had to keep the bass drum going, grab this and blow that, and do a roll. I had to learn to play a show in almost a standing position. вЂњI always liked to innovate with different sounds on the drums when I started to play, because I came out of that era when the drummer played for effects. вЂњI just wanted to hear something different-to experiment,вЂќ Blakey told Modern Drummer. Blakey is also credited with originating the oft-used cross-stick on beat 4 and of inspiring the development of riveted cymbals by hanging his key ring over the wingnut of his ride cymbal to produce a sizzle effect. He typically maintained a strong hi-hat on beats 2 and 4, made sure there was no doubt as to where вЂњ1вЂќ was, and instead of setting up sections and phrases with elaborate fills, he would lead into them with powerful press rolls. He was doing it before anybody was.вЂќД«ut despite his technical abilities, Blakey was known for a more straight-ahead style of timekeeping than most of his bebop contemporaries. Art was perhaps the best at maintaining independence with all four limbs. And his signature style was amazing we used to call him вЂThunder.вЂ™ When I first met him on 52d Street in 1944, he already had the polyrhythmic thing down. HeвЂ™s the only drummer whose time I recognize immediately. When Blakey died in 1990, his obituary in The New York Times included this comment from Max Roach: вЂњArt was an original. вЂњAll the cats who played with me are like my family,вЂќ Blakey said. Among the notable players who were members of BlakeyвЂ™s group, the Jazz Messengers, are pianists Joanne Brackeen, Keith Jarrett, Mulgrew Miller, Jaki Byard, Horace Silver, Bobby Timmons, Cedar Walton, and James Williams saxophonists Gary Bartz, Kenny Garrett, Lou Donaldson, Benny Golson, Branford Marsalis, Jackie McLean, Hank Mobley, Wayne Shorter, Ira Sullivan, and Bobby Watson trumpet players Terence Blanchard, Clifford Brown, Donald Byrd, Kenny Dorham, Freddie Hubbard, Chuck Mangione, Wynton Marsalis, Lee Morgan, Wallace Roney, and Woody Shaw trombonists Robin Eubanks, Curtis Fuller, and Slide Hampton and bassists Wilbur Ware, Reggie Workman, Stanley Clarke, and Lonnie Plaxico. And IвЂ™ll ask, вЂIs there anything I can do to make you sound better? What do you want me to do when you play?вЂ™ My head never got so big that that wasnвЂ™t my goal-to play with people.вЂќДЇor many jazz musicians in the 1950s, вЂ™60s, вЂ™70s, and вЂ™80s, the goal was to play with Art Blakey. If musicians have a preference and they say вЂI want to play with Bu,вЂ™ that just knocks me out. I will not compete that way IвЂ™ll compete through my band. вЂњBut,вЂќ he told writer Chip Stern in a 1984 Modern Drummer cover story, вЂњjust in the sense of having musicians want to play with me-not to be better than Buddy Rich or to compete with someone. Jon Hendricks later added lyrics, and the subsequent recording by Lambert, Hendricks, and Ross made the song even more popular.Art BlakeyвЂ™s stated goal was to be a great drummer. Gary Giddins stated that the song 'set the music world on its ear' and that it was 'part of the funky, back to roots movement that Horace Silver, Mingus, and Ray Charles helped, in different ways, to fan'. It has been recorded numerous times and has become a jazz standard. 'Moanin '' was first recorded, by Art Blakey's band the Jazz Messengers, on October 30, 1958. One account of its creation was given by Benny Golson, the tenor saxophonist in Blakey's band: Timmons had the opening eight bars, which he often played between tunes, but formed the complete song only after Golson encouraged him to add a bridge. 'Moanin '' has a call and response melody.

Moanin art blakey