Bluesology

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. They next came together in 1951, recording as the Milt Jackson Quartet. In 1952, with Percy Heath taking Brown's place, the Modern Jazz Quartet (MJQ) became a permanent group. Other than Connie Kay succeeding Clarke in 1955, the band's personnel was set. In the early days Jackson and Lewis both were equally responsible for the group's musical direction but the pianist eventually took over as musical director…

Modern Jazz Quartet - Longing for the Continent (1958) {Lester Recording Catalog CDC7678 rel 1989}
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© 1958, 1989 Lester Recording Catalog / LRC Ltd. | CDC 7678
Jazz / Bop / Cool / Third Stream

The Modern Jazz Quartet is well documented on a number of outstanding labels, though there is only sketchy information about the background of this particular CD. Recorded in 1958 in Europe, probably from one or more radio broadcasts, the group is in top form, though the sound is at times a bit overmodulated. In addition to favorites like John Lewis' "Django," and Milt Jackson's "Bluesology" and "Bags' Groove," there are less frequently performed gems like "Animal Dance." Jackson's bluesy vibes are featured extensively, though Lewis' elegant piano is also a treat.

The Modern Jazz Quartet - The Complete Atlantic Studio Recordings 1956-1964 (2011) {7 CD Box Set Mosaic MD7-249}
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© 1956-64, 2011 Mosaic / Atlantic / Rhino | MD7-249
Jazz / Cool / Bop / Third Stream / Piano / Vibes

That sound. One group conceived it. Defined it. Perfected it. The Modern Jazz Quartet was certainly one of the most distinctive voices in the history of jazz, thanks to the unique qualities of personal expression and collective vision of its members Milt Jackson, John Lewis, Percy Heath and Connie Kay (who had replaced original drummer Kenny Clarke by the time the band started recording this music). They were also exceptionally prolific during their tenure at Atlantic Records, producing 14 albums in eight years. And now, that MJQ sound gets the complete respect it deserves, thanks to our new box, The Complete 1956-1964 Modern Jazz Quartet Atlantic Studio Recordings.

"As full-bodied and comforting as home-baked apple pie" is one apt description of Houston Person's saxophone sound. Inasmuch as this simile attempts to convey the comforting, warm-hearted and accomplished nature of the tenorman's art, it is spot-on, but it must be remembered that Person's roots are in organ-centred R&B. So in addition to a velvety ballad technique Person also possesses an ability to imbue up-tempo material with an irresistible wailing intensity, so his crowd-pleasing bluesy numbers provide welcome variety to this judiciously balanced set.

This album is certain to be placed in the MJQ section of any shop that carries it. In reality though, only four of the cuts here feature the permanent, stand-alone, 1952-vintage Modern Jazz Quartet; the other eight having been done in the summer and fall of 1951, when they were still known as the Milt Jackson Quartet, with Jackson providing all of the original material. The differences are so subtle as to be indistinguishable – Milt Jackson and John Lewis are on every cut, while Al Johns subs for Kenny Clarke on drums, and Ray Brown precedes Percy Heath on four of the tracks. Clarke's drumming is more impressive in its quiet way, but Ray Brown's bass work is simpler and more forceful.

This double album matches and mixes together four masterful musicians: pianist Oscar Peterson, guitarist Joe Pass, bassist Niels Pedersen and harmonica great Toots Thielemans. Together they perform O.P.'s "City Lights" and ten veteran standards with creativity, wit and solid swing. There are a few miraculous moments as one would expect from musicians of this caliber and the results are generally quite memorable.