For The Quota, Jimmy Heath gathered his older brother, Percy, and his younger one, Tootie, into the Riverside studios along with three young lions of the New York jazz scene. In Julius Watkins, Heath selected a musician who had made himself a mainstay of the New York scene despite the fact that he played French horn, an instrument almost impossibly difficult for improvisation. In a short time in New York, Cedar Walton had become sought after as a versatile pianist who soloed with rare conviction and beauty.
18 original albums on 10 CDs.
The early recordings of pianist and composer Herbie Hancock, as well as important publications by some eminent colleagues: Donald Byrd, Pepper Adams, Al Grey, George Coleman, Max Roach, Grant Green, Jimmy Heath, Miles Davis, Lee Morgan, Sonny Rollins, Wayne Shorter, Jackie McLean, Hank Mobley, Ron Carter, Eric Dolphy, and Kenny Dorham.
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.