Cedar Walton

Mosaic

Art Blakey · 1961

Cedar WaltonCedar Waltonシダー・ウォルトン made his name with Art BlakeyArt Blakeyアート・ブレイキー & the Jazz Messengers (1961–64). His original compositions — including 'MosaicMosaicArt Blakey · 1961' and 'Firm Roots' — have become modern jazz standards.

— Art Blakey: Jazz Messenger, Leslie Gourse, 2002

Mosaic

Art Blakey · 1961

Recorded in October 1961, MosaicMosaicArt Blakey · 1961 inaugurated the six-piece Messengers with Freddie HubbardFreddie Hubbardフレディ・ハバード, Curtis FullerCurtis Fullerカーティス・フラー, Wayne ShorterWayne Shorterウェイン・ショーター, Cedar WaltonCedar Waltonシダー・ウォルトン and Jymie Merritt. The three-horn front line opened a new chapter for the band.

— Blue Note Records: The Biography, Richard Cook, 2003

Mosaic

Art Blakey · 1961

Cedar WaltonCedar Waltonシダー・ウォルトン served as pianist and de facto music director for Art BlakeyArt Blakeyアート・ブレイキー's Messengers from 1961 to 1964. His arranging on MosaicMosaicArt Blakey · 1961 and 'Ugetsu' marked a turning point in his career.

— Art Blakey: Jazz Messenger, Leslie Gourse, 2002

Cedar WaltonCedar Waltonシダー・ウォルトン composed several pieces that became jazz standards, including 'Bolivia,' 'Cedar's Blues,' and 'Mode for Joe.' The last became the title track of Joe HendersonJoe Hendersonジョー・ヘンダーソン's 1966 Blue Note album.

— Blue Note Records: The Biography, Richard Cook, 2003

Mode for Joe

Joe Henderson · 1966

The title track of Mode for JoeMode for JoeJoe Henderson · 1966 was composed by Cedar WaltonCedar Waltonシダー・ウォルトン. Its modal architecture gave Joe HendersonJoe Hendersonジョー・ヘンダーソン the framework for one of his most transcendent recorded solos. A sideman's composition lifting the leader to flight — the essence of jazz collaboration.

Deciphering the Message

Makaya McCraven · 2021

Generation

Dexter Gordon · 1973

More Than A Mood

Stanley Turrentine · 1992

Caramba

Lee Morgan · 1968

Cedar Walton's longtime drummer Billy Higgins is a name in the small print of countless records. But in Leimert Park, Los Angeles, he built a place called The World Stage, gathering and encouraging young musicians. He was never only a player.

— Statement stmt-cedar-walton-on-billy-higgins-2

Deciphering the Message

Makaya McCraven · 2021

Mode for Joe

Joe Henderson · 1966

Free for All

Art Blakey · 1964

Mosaic

Art Blakey · 1961

In 1961, pianist Cedar Walton brought his new composition "Mosaic" to a rehearsal with Art Blakey's Jazz Messengers. He later said the horn players—Freddie Hubbard, Curtis Fuller, and Wayne Shorter—devoured the tune "like eating cornflakes," playing it better than he could himself.

— Statement stmt-cedar-walton-on-freddie-hubbard

Free for All

Art Blakey · 1964

Mode for Joe

Joe Henderson · 1966

Mosaic

Art Blakey · 1961

Eastern Rebellion

Eastern Rebellion · 1975

The 1961 album Mosaic is filed under Art Blakey's name, but the title tune was written by the pianist, Cedar Walton. The record everyone remembers as the bandleader's takes its name from the small print.

And those guys, Freddie Hubbard, Curtis Fuller and Wayne Shorter, they ate it up like it was Post Toasties. They played it better than I could.

On bringing his tune "Mosaic" to an Art Blakey Jazz Messengers rehearsal.

Higgins, for instance, is a drummer who, when it's time for the downbeat, he's on fire immediately. There is no buildup.

Asked what he looks for in his trio sidemen, Walton points to his longtime drummer Higgins.

Billy Higgins had a, uh, place out there, The World Stage, where he gathered and encouraged the young musicians includin' Willie.

Explaining where young Los Angeles drummers came up, Walton credits the space Higgins built.