At the Cafe Bohemia, Vol. 2
| At the Cafe Bohemia, Vol. 2 | ||||
|---|---|---|---|---|
 |
||||
| Live album by The Jazz Messengers | ||||
| Released | 1955 | |||
| Recorded | November 23, 1955 | |||
| Genre | Hard bop | |||
| Length | 62:15 | |||
| Label | Blue Note Records (1955) | |||
| Producer | Michael Cuscuna Alfred Lion |
|||
| The Jazz Messengers chronology | ||||
|
||||
At the Cafe Bohemia, Vol. 2 is a 1955 live album release by the Jazz Messengers. It was first released by Blue Note Records. This record featured the original incarnation of The Jazz Messengers, one of Art Blakey's most endearing bands, and was the second of two volumes recorded at Café Bohemia, a famous night club in Greenwich Village in New York, New York on November 23, 1955.
Track listing
| Track | Song Title | Originally By | Time |
|---|---|---|---|
| 1. | "Sportin' Crowd" | Hank Mobley | 7:32 |
| 2. | "Like Someone in Love" | Johnny Burke and Jimmy Van Heusen | 9:18 |
| 3. | "Yesterdays" | Harbach and Jerome Kern | 4:20 |
| 4. | "Just One of Those Things" | Cole Porter | 9:29 |
| 5. | "Hank's Symphony" | Hank Mobley | 4:44 |
| 6. | "Gone with the Wind" | Herb Magidson and Allie Wrubel | 7:27 |
| 7. | "Avila and Tequila" | Hank Mobley | 12:49 |
| 8. | "I Waited for You" | Fuller and Gillespie | 9:50 |
Personnel
Art Blakey and the Jazz Messengers:
- Art Blakey — drums
- Horace Silver — piano
- Kenny Dorham — trumpet
- Hank Mobley — saxophone (tenor)
- Doug Watkins — bass
Production:
- Bob Bluementhal, Leonard Feather — liner notes
- Michael Cuscuna — reissue producer
- John Hermansader — cover design
- Alfred Lion — producer
- Rudy Van Gelder — digital remastering
- Francis Wolff — photography
Reception
| Professional ratings | |
|---|---|
| Review scores | |
| Source | Rating |
| Allmusic |   [1] |
| Penguin Guide to Jazz |  |
This album, which sees the first version of The Jazz Messengers on record, was noted as not "match[ing] the intensity which the quintet secured at Birdland."[2] Tenor saxophonist Hank Mobley, in particular, is noted as "a somewhat unfocused stylist."[2] However, trumpeter Kenny Dorham is seen as an "elusive brilliance [that] was seldom so extensively captured" and the playing in general "is just as absorbing" as the Birdland albums and has "influenced jazz up to present time."[2][3]
