Artist: Milt Jackson
Title: Wizard Of The Vibes
Genre: Jazz, Mainstream Jazz, Torch Songs, Bop, Hard Bop, Vibraphone/Marimba Jazz
Label: Blue Note Records
Release Date: 1952 (10″ LP 5011)/2014
Quality: High-Fidelity FLAC 2.0 Mono 96kHz/24bit
Source: HDTracks
Duration: 24:46
Recorded: #3, 4, 8 recorded July 23, 1951; #1, 2, 5-7 recorded April 7, 1952 at WOR Studios, New York City.
The music on Wizard of the Vibes features Milt Jackson with the Thelonious Monk Quartet in a 1948 session combined with a 1952 date with his bandmates from the Modern Jazz Quartet (at that time including John Lewis, Percy Heath, and Kenny Clarke) along with alto saxophonist Lou Donaldson, who was oddly credited as the leader of the date on the original release, though it clearly seems to be Jackson in charge. The chemistry between Jackson and Monk on classics like “Misterioso,” “Evidence,” “I Mean You,” and “Epistrophy” is immediately apparent, although Kenny “Pancho” Hagood’s vocals on the standards “All the Things You Are” and “I Should Care” remain an acquired taste. Jackson introduces three originals on the latter session, including the debut of his highly acclaimed “Bag’s Groove,” which has long since become one of the most celebrated and popular jazz compositions. Lewis’ uncanny musical ESP is evident throughout the session, as he feeds Jackson imaginative lines for his improvisations. Donaldson is enjoyable at times but doesn’t always play at a level equal to the rhythm section, resorting to rather run-of-the-mill ideas in some of his improvisations. Milt Jackson’s inventive playing throughout both dates makes this an important CD in his considerable discography, so it should be a part of any bop fan’s collection. –Ken Dryden, AllMusic
The pairing of the Modern Jazz Quartet and Blue Note Records seems somehow incongruent. Blue Note was the home of hard bop—blues- and gospel-influenced, down to earth and funky. The MJQ navigated the Third Stream—sophisticated, refined, classically oriented and formal. They even performed in tuxedoes.
But there was a hefty dose of blues to the MJQ’s Bach, most of it courtesy of vibraphonist Milt Jackson. Jackson’s masterful blues-oriented improvisations are on fine display here on his only Blue Note outing.
The entire membership of what would eventually become the MJQ is present on these recordings. Pianist John Lewis, bassist Percy Heath and drummer Kenny Clarke provide excellent support for Jackson. Filling out the lineup is a young Lou Donaldson playing very Bird-like alto sax.
Jackson is a well-recognized innovator on his instrument—the vital link between the swing era’s Lionel Hampton and post-bop’s Bobby Hutcherson. And those in the know hail him as a genius-level improviser. Even those who haven’t recognized that fact when listening to the MJQ—where Jackson’s improvisational powers were sometimes reined in by Lewis’ compositions—will find it hard to miss in this context.
These sessions came early in Jackson’s career—1952—but his playing style is exceptionally well-realized and mature. He plays blazingly fast, his melodic imagination keeping perfect pace with his mallets. His MJQ cohorts provide excellent accompaniment. It’s a thoroughly enjoyable session and the only, minor, let down is Lou Donaldson. This was his first of a zillion sessions for Blue Note and his youth shows. Nothing wrong with his Charlie Parker imitations—who better or more difficult to emulate?—but his improvisational skills pale next to Jackson’s. Still, only a nitpicker would fail to enjoy these sides, which appear in crystal clear sound thanks to remastering by famed Blue Note engineer Rudy Van Gelder.
The tunes include a few originals by Jackson including the lovely ballad “Lillie” and an early version of his signature tune “Bag’s Groove.” A highlight is a very swinging take on Ellington’s “Don’t Get Around Much Anymore,” featuring Donaldson’s best playing on the date.
This entertaining session is augmented the same disk by Jackson’s historical July 2, 1948, recording date with Thelonious Monk. The pair, joined by John Simmons on bass and Shadow Wilson on drums, play the earliest versions of Monk’s best-known compositions: “Evidence,” “Misterioso,” “Epistrophy,” and “I Mean You.” On two standards—“All the Things You Are”and “I Should Care”—the group plays backup to stilted, croonerish vocals by Pancho Hagood. Those tunes seem out of place alongside Monk’s still very modern-sounding works of genius.
Hearing Monk and Milt work off each other is a true pleasure. What a fascinating contrast—Monk’s stop-start, playful quirkiness trading with Jackson’s flowing bop blues.
Because it’s Monk, and early Monk on Blue Note at that, this CD is a must for those who don’t already own the music. It’s a vital piece of jazz history and it’s a blast to hear. –All About Jazz
Tracklist:
1 Tahiti 03:28
2 Lillie 03:15
3 Criss Cross (feat. Thelonious Monk Quintet) 02:56
4 Willow Weep For Me (feat. Thelonious Monk Quintet) 03:01
5 What’s New 03:13
6 Bags’ Groove 03:06
7 On The Scene 02:44
8 Eronel (feat. Thelonious Monk Quintet) 03:03
Personnel:
July 23, 1951 session:
Sahib Shihab, alto saxophone
Milt Jackson, vibraphone
Thelonious Monk, piano
Al McKibbon, bass
Art Blakey, drums
April 7, 1952 session:
Lou Donaldson, alto saxophone
Milt Jackson, vibraphone
John Lewis, piano
Percy Heath, bass
Kenny Clarke, drums
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