Less heralded than their collaboration with Thelonious Monk (as documented on Bags' Groove and Miles Davis and the Modern Jazz Giants), this August 5, 1955 session with vibraphonist Milt Jackson was Davis' last all-star collaboration before the formation of his first classic quintet…
One of the hippest Milt Jackson albums of the 60s – a set that definitely lives up to its Museum Of Modern Art setting! The performance is one of the most famous from that museum's well-remembered series of 60s jazz concerts – and it features Milt Jackson's quintet really stretching out nicely – hitting sharper tones and bolder notes than in some of their other sessions of the decade, and possibly picking up a freer feel overall in the live setting. Milt's vibes are wonderfully accompanied by the reeds of Jimmy Heath and piano of Cedar Walton – both players who mix soul and modern elements in the same sort of perfect blend that Jackson hits. And the rhythm section is tightly snapping and soulful – never too groove-oriented, but always conscious of a sense of a swing – thanks to bass from Ron Carter and drums from Candy Finch.
Discovered by Dizzy Gillespie (whose 40's rhythm section left to form the initial line-up of the esteemed Modern Jazz Quartet) , Milt "Bags" Jackson was a preeminent vibes virtuoso and enjoyed over forty years as one-fourth of the MJQ (Milt Jackson Quartet). Jackson also enjoyed decades of solo work for great jazz labels such as Savoy, Riverside and Atlantic and one of his crowning achievements occurred over a three day session booked for Riverside in 1962. Answering his 'invitation' were fellow all-starts Kenny Dorham, Jimmy Heath, Ron Carter and Tommy Flanagan. The trumpet/tenor tandem uniquely augment Jackson' vibraphone, creating a driving, free-wheeling, classic blowing session.
Features 24 bit remastering and comes with a mini-description. A sweet set of ballads from vibist Milt Jackson that we dig as much for the silky smooth orchestrations by Quincy Jones as Milt's agile and crisp approach to the vibes. The strings and horns buoy the group nicely, which also features Connie Kay and under recorded guitarist Barry Galbraith on a number of tunes. Ten mellow numbers: "The Cylinder", "Makin Whoopee", "Alone Together", "Tenderly", "Don't Worry Bout Me", "Nuages", "Deep In A Dream", "I'm A Fool To Want You", "The Midnight Will Never Set" and "Tomorrow".
Pianist Oscar Peterson joins up with his old friends, vibraphonist Milt Jackson and bassist Ray Brown, in addition to his drummer of the period, Louis Hayes, for a particularly enjoyable outing. After a throwaway version of the Rolling Stones' "(I Can't Get No) Satisfaction," the all-star quartet performs Jackson's title cut, Benny Carter's ballad "Dream of You," and four standards. Although not up to the excitement of Peterson's best Pablo recordings of the 1970s, this is an enjoyable album.
Originally out on the CTI label, this set features vibraphonist Milt Jackson with some of his favorite musicians (pianist Cedar Walton, bassist Ron Carter, drummer Mickey Roker, and Jimmy Heath on tenor and soprano) along with an occasional string section. The performances are pretty straight-ahead for CTI, with Bags and company performing the ballad "Lost April," Dizzy Gillespie's "Olinga," a Walton original, and three recent songs by Jackson. Although Cedar Walton does not sound as formidable on electric piano as on acoustic and the other solos overall are a bit safe, this is a nice album.
This superior reissue combines together two sessions led by vibraphonist Milt Jackson. Actually, although Bags is in fine form (and contributed four of the seven selections), he is often overshadowed by rather inspired solos from his sidemen. The first side of Plenty, Plenty Soul, which features a nine-piece group, is highlighted by the contributions of the exuberant altoist Cannonball Adderley, while the flip side has a sextet that is not hurt by the solos of tenor-saxophonist Lucky Thompson. With pianist Horace Silver helping out on both sessions, these all-star dates still sound fresh and enthusiastic decades later.
This CD reissue brings back a unique duet recording featuring pianist Oscar Peterson and vibraphonist Milt Jackson. One would expect the instrumentation to feature mostly ballads, but the opposite is true as O.P. and Bags romp through quite a few uptempo pieces. Highlights include "Oh, Lady Be Good," "Limehouse Blues," "Reunion Blues," and "Just You, Just Me." This is a successful and highly enjoyable outing.