Before Milt Jackson, there were only two major vibraphonists: Lionel Hampton and Red Norvo. Jackson soon surpassed both of them in significance and, despite the rise of other players (including Bobby Hutcherson and Gary Burton), still won the popularity polls throughout the decades. Jackson (or "Bags" as he was long called) was at the top of his field for 50 years, playing bop, blues, and ballads with equal skill and sensitivity.
Features the high-fidelity SHM-CD format (compatible with standard CD player) and the latest DSD / HR Cutting remastering. Comes with a description. Features the original LP designs. 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. It marked a farewell to an older generation of acolytes and fellow travelers; Davis was entering a new era of leadership and international stardom, and generally he would only record with his working groups.
Reissue. Features the high-fidelity SHM-CD format (compatible with standard CD player) and the latest 24bit 192kHz remastering. This CD presents two complete sessions led by vibraphonist Milt Jackson: one where the eventual members of the Modern Jazz Quartet are joined by saxophonist Lou Donaldson, and eight quartet tracks with Thelonious Monk. The July 2, 1948, date with Monk was recorded eight months after the pianist's first recordings as a leader. Jackson, responding to the demands of Monk's music with his customary fluid grace, is key to these definitive early recordings of "Evidence," "Misterioso," "Epistrophy," and "I Mean You."
"Ray Brown with the All-Star Big Band" is a 1962 album by the jazz double bassist Ray Brown accompanied by a big band featuring the alto saxophonist Cannonball Adderley.
"Ray Brown / Milt Jackson" is an album by bassist Ray Brown and vibraphonist Milt Jackson recorded in 1965 and released on the Verve label.
A sweet larger group session from vibist Milt Jackson – proof that he was really trying to stretch his wings, and get into new things during the 60s! The set's got Milt working with some great help from Tadd Dameron and Ernie Wilkins on larger group arrangements – nicely swinging charts that have a nice touch of modern, but lots of straightforward grooving too! Milt's the primary soloist, buoyed by an orchestra built around a rhythm section of Hank Jones on piano, Ron Carter on bass, and either Connie Cay or Philly Joe on drums – plus loads of great horn players like Clark Terry, Nat Adderley, Melba Liston, James Moody and Jimmy Heath among others.
Vibraphonist Milt Jackson has been so consistent throughout his lengthy career that his excellence can be taken for granted. This Impulse! recording features Bags with a quartet (including pianist Hank Jones) from 1961. The blues, ballads, standards, and originals are typical of Jackson's recordings, as is the high quality of the swinging music. Nothing too unusual occurs but the results are pleasing.
1964's Vibrations is another fine set by Milt Jackson. This time Jackson is joined by four horns and another strong rhythm section. Tenor player Jimmy Heath, sounding satisfyingly like John Coltrane circa the start of his Atlantic period, is featured prominently. The interaction of Jackson and Heath with pianist Tommy Flanagan, drummer Connie Kay, and bassist Alvin Jackson provide the main interest. The set is nicely rounded out by two tracks with guitarist Kenny Burrell, and a small, vocal ensemble that sings wordless arrangements on the cooly swinging title tack and the hard bopping "Let Me Hear the Blues," both by Jackson.
Despite the pessimistic title, all of the members of this particular quartet (vibraphonist Milt Jackson, pianist Oscar Peterson, bassist Ray Brown and drummer Grady Tate) were still active into the mid-'90s. The music is unsurprising but still quite enjoyable and virtuosic as Bags and Co. perform blues, standards and ballads with their usual swing and bop-based creativity. Highlights include the title cut, "Stuffy," "What Am I Here For" and a vibes-piano duo version of "A Time for Love."