It doesn't often happen a band is named after a drummer. The solo work of Lee Morgan too is very relaxing stuff. Not all jazz is cacophonic instrumental dribble as in free jazz seems to be the main mantra.
Fun fact: Art Blakey was really a super Jazz icon in Japan in the 60s
“When we hit Japan in 1960 or 61, I never saw anything like it. There were 7,000 heads going up and down at the same time and humming every note of everything we played….When we first went to Japan, they had Lee Morgan shirts, Wayne Shorter overcoats, all that kind of stuff in the department stores. The same kind of publicity the Beatles got in the U.S., we got in Japan.”
– Art Blakey, quoted by John Litweiler in Down Beat, March 25, 1976, pp.17, 16
“We’ve played a lot of countries, but never has the whole band been in tears when we left. My wife cried all the way to Hawaii.”
– Art Blakey, quoted by Don DeMicheal in Down Beat, May 11, 1961, p.15.
“I gained a lot of worldly knowledge, due to the places we went to. I would say we were the first bebop, progressive band to go through Japan, as a group and play concerts. Art used to refer to Japan as our second home.”
– Wayne Shorter, Down Beat, June 20, 1974, p.16.
I'm surprised that no one has commented on how ridiculous the tenor sax solo is. Seriously Benny Golson is the star on this song. For example, he flows from Lee Morgan's solo to his own so well. He shines especially at 4:00. Wow does he go off and completely accent groovy notes in the midst of his brilliance.
After a long night at work, this piece brought tears to my eyes. And the hand-offs from one soloist to another, supported by that steady rhythm section, help me to understand the beauty of our contributions to one another. Perhaps jazz and other improv is musically unique in helping to teach such a notion.