Blues at Carnegie Hall is a live album by American jazz group the Modern Jazz Quartet featuring performances recorded at Carnegie Hall in 1966 at a benefit concert presented by The Manhattan School of Music and released on the Atlantic label.
Features 24 bit remastering and comes with a mini-description. The Modern Jazz Quartet Plays No Sun in Venice (originally titled The Modern Jazz Quartet Plays One Never Knows: Original Film Score for "No Sun in Venice") is a soundtrack album by American jazz group the Modern Jazz Quartet featuring performances recorded in 1957 for Roger Vadim's No Sun in Venice and released on the Atlantic label. This recording has six John Lewis compositions that were used in the French film No Sun in Venice. The music is quite complex and disciplined, making this set of lesser interest to fans who prefer to hear Milt Jackson playing bebop-oriented blues. However the versatile group was perfect for this type of music and these thought-provoking performances reward repeated listenings.
Cannonball Adderley - One of the great alto saxophonists, Cannonball Adderley had an exuberant and happy sound that communicated immediately to listeners. His intelligent presentation of his music (often explaining what he and his musicians were going to play) helped make him one of the most popular of all jazzmen.
Adderley already had an established career as a high school band director in Florida when, during a 1955 visit to New York, he was persuaded to sit in with Oscar Pettiford's group at the Cafe Bohemia. His playing created such a sensation that he was soon signed to Savoy and persuaded to play jazz full-time in New York.
Features 24 bit digital remastering. An excellent Japanese performance from the Modern Jazz Quartet – and a set that was issued in a bit of a lull during their 60s American years for Atlantic Records – which makes it even more important as a key part of their catalog at the time! The 1966 date has the combo in fine form – and almost stepping out with a bit of added soulfulness, in ways that echo some of the styles that Milt Jackson was exploring on his own at the time, and which seem to be brought back to the group! Milt's vibes are wonderful – ringing out with a great sense of pride and presence that may well go beyond earlier MJQ material.
Selection of recordings by the distinguished Modern Jazz Quartet. Included are three recordings: San Francisco, May 1962; Monterey, September 1975; and Berlin October 1965.
Pianist John Lewis, vibraphonist Milt Jackson, bassist Ray Brown and drummer Kenny Clarke first came together as the rhythm section of the 1946 Dizzy Gillespie & His Orchestra and they had occasional features that gave the overworked brass players a well-deserved rest.
The second volume of the Modern Jazz Quartet at the Music Inn was released in 1959, a year after its historic first volume with guest Jimmy Giuffre. The format on this set is similar, with pianist John Lewis, vibraphonist Milt Jackson, bassist Percy Heath, and drummer Connie Kay moving through a gorgeous medley of standards to open including "Stardust," "I Can't Get Started," and "Lover Man," with beautiful and clever counterpoint between Lewis and Jackson on the melody lines. There are two of Lewis' originals here as well.
In typical Fantasy Records aplomb, this four-CD set collects the eight albums which the Modern Jazz Quartet either mentored or collaborated on during their tenure at the commencement and nadir of their reign as jazz's premier chamber ensemble. Beginning with the 1952 issue of Modern Jazz Quartet/Milt Jackson Quintet recording (the earlier Milt Jackson Quartet sides are not here for obvious reasons, as the band did not commence its fully developed form on them) featuring original drummer Kenny Clarke before Connie Kay replaced him, and ending with This One's For Basie in 1985; the association the MJQ had with Prestige was a monumental one.