"There are a multitude of reasons why Bags' Groove remains a cornerstone of the post-bop genre. Of course there will always be the lure of the urban myth surrounding the Christmas Eve 1954 session -- featuring Thelonious Monk -- which is documented on the two takes of the title track. There are obviously more tangible elements, such as Davis' practically telepathic runs with Sonny Rollins (tenor sax). Or Horace Silver's (piano) uncanny ability to provide a stream of chord progressions that supply a second inconspicuous lead without ever overpowering. Indeed, Davis' choice of former Dizzy Gillespie Orchestra and concurrent Modern Jazz Quartet members Milt Jackson (vibes), Kenny Clarke (drums), and Percy Heath (bass) is obviously well-informed. This combo became synonymous with the ability to tastefully improvise and provide bluesy bop lines in varied settings. "Bags' Groove" belongs as a cornerstone of all jazz collections." (Lindsay Planer, Allmusic; 5 uit 5 sterren!!)
"Milt Jackson made a number of solo albums during his long tenure with the Modern Jazz Quartet, but this long unavailable release, finally reissued on CD, is one of his best as a leader. With young pianist McCoy Tyner and tenor saxophonist Jimmy Heath, Jackson puts together a great session, kicking off with his hard driving "Sonny's Blues." The leader's percussive but swinging style, plus the potent solos by Tyner and Heath, are all appealing. The only reservation about this CD is the deteriorated condition of the master tape from which it was made; it is rather noticeable on several tracks, though finding a mint copy of the original record is not a viable option for most collectors. Pick this one up in a heartbeat." (Allmusic)
"The previously unreleased Modern Jazz Quartet performance from the 1963 Monterey Jazz Festival was first issued in this 1998 CD. The MJQ (vibraphonist Milt Jackson, pianist John Lewis, bassist Percy Heath and drummer Connie Kay) is heard in typically fine form performing a few standards (including "Mean To Me" and "Bags' Groove"), and a couple of obscurities (Ray Brown's "Pyramid" and Lewis' "Winter Tale") before an appreciative audience. The MJQ always had a timeless sound; their 1963 program does not differ stylistically much from 1958 or 1968, but neither does it sound dated. Easily recommended to fans of the classic group." (Allmusic).
"Less heralded than their collaboration with Thelonious Monk this August 1955 session with vibraphonist Milt Jackson was Davis' last all-star collaboration before the formation of his first classic quintet. Davis was entering a new era of leadership and international stardom. Quintet/Sextet is notable for two compositions by Jackie McLean: "Dr. Jackle" and "Minor March". The former is a Charlie Parker-ish line featuring a masterful Milt Jackson symposium on the blues, Davis' typically lyric approach, a tart, spacious flight from McLean, and a soulful, dancing Ray Bryant. The latter is a mysterious minor figure with jabbing rhythm breaks and a joyous bridge that recalls "Tempus Fugit. "Changes" inspires a lovely muted statement from Davis, and illustrates Bryant's unique blend of blues, sanctified gospel, and bebop. Davis and Jackson combine for pungent voicings on the head to "Bitty Ditty," and are completely unfazed by its intricacies." (Allmusic)
Na zijn medewerking te hebben verleend aan 'Ascenseur pour l'échafaud' van Miles Davis werd saxofonist Barney Wilen gevraagd om de soundtrack te componeren voor 'Un témoin dans la ville'. Deze verscheen oorspronkelijk op een 10-inch LP. Op de cd is de plaat gecombineerd met het meer free jazz-achtige studioalbum 'Jazz Sur Seine', waarop Wilen samenspeelt met driekwart van het originele Modern Jazz Quartet, plus de Latin-percussie van Gana M'Bow. "Wilen gets more of a chance to stretch out and reveal his swinging, warm tenor tone; Jackson is quite competent as a comping accompanist and in fairly fluent, right-handed bop flurries. A mix of Django Reinhardt tunes and Charles Trénet chansons, a few tunes by Wilen, and the concluding Monk "Epistrophy" make up much of the program, which thoroughly dispels the sinking feeling left by the preceding film music". (Richard S. Ginell, Allmusic).
"Recorded 1972 at Rudy Van Gelder's Englewood, New Jersey, vibraphonist Milt Jackson's Sunflower is the first -- and best -- of his three albums for Creed Taylor's CTI imprint. With a core band consisting of Herbie Hancock, bassist Ron Carter, drummer Billy Cobham, trumpeter Freddie Hubbard, drummer/percussionist Ralph McDonald, and guitarist Jay Berliner. A chamber orchestra exquisitely arranged and conducted by Don Sebesky adorns the session as well. While Sunflower sometimes feels more like a group session rather than a Jackson-led one, that's part of its exquisite beauty." (Allmusic)
"Though not partners as had been planned in the initial Modern Jazz Quartet, Ray Brown and Milt Jackson did work together in the early to mid-'60s, this double-CD set includes some fine collaborations and interesting combinations. There are 12 big-band cuts from 1962 led by Brown, primarily featuring Cannonball Adderley with Jackson on the side. From 1965 another eight tracks concentrate on small group efforts with Brown, Jackson, pianist Hank Jones, and different horn soloists, while the final 14 selections from 1964, still as small ensembles with set lineups of guitarist Kenny Burrell, drummer Al Heath, keyboardists Jones, or Wild Bill Davis, also highlight the singing of the gospel vocalist Marion Williams. This can easily be considered a valuable reissue, showcasing two jazz giants in the prime of their careers, playing music not readily identifiable aside from their work with Oscar Peterson (Brown) or MJQ (Jackson) around this time." (Allmusic).
"Milt Jackson was 38 when, in December 1961, he co-led this superb hard-bop date with the distinctive guitarist Wes Montgomery. A jazzman who was as opinionated as he was gifted, Jackson wouldn't hesitate to tell you exactly what he thought of a musician -- so when he praised Montgomery, you knew his praise was genuine. Not surprisingly, the boppers prove to be quite compatible on Bags Meets Wes, which finds them co-leading an all star-quintet that also includes pianist Wynton Kelly, bassist Sam Jones, and drummer Philly Joe Jones. (...) Although Jackson and Montgomery prove what lyrical ballad players they could be on the standard "Stairway to the Stars," ballads aren't a high priority on this album. Instead, the improvisers put more of their energy into the blues -- and the 12-bar format serves them well on "Sam Sack," "Blue Roz," and "S.K.J." Equally strong are hard-swinging versions of Montgomery's "Jingles" and Benny Golson's "Stablemates." (Alex Henderson, Allmusic).
"On this CD reissue are all of the contents of a former two-LP set. Trumpeter Fats Navarro is featured on ten of the thirteen selections with pianist-arranger Tadd Dameron's Orchestra; the other three songs have trombonist Kai Winding in his place. With tenor saxophonist Allan Eager and (on six of the numbers) altoist Rudy Williams as the other key soloists, the boppish music is quite enjoyable. The recording quality of the live performances is decent for the time and the material (all but five are Dameron originals) is consistently of high quality. This valuable CD is easily recommended for bop collectors as is virtually every record that Fats Navarro made in his brief life." (AllMusic, by Scott Yanow)
Aangename mainstream jazzsessie rond de van The Modern Jazz Quartet bekende vibrafonist en de contrabassist die zo ongeveer met alle jazzgrootheden heeft gespeeld, omringd door een all-starbezetting. Zoals gebruikelijk bij de "Norman Granz Presents..."-DVD-serie wordt het concert voorafgegaan door een inleiding door jazzscribent Nat Hentoff. Onder de extra's een portret van Granz door dezelfde Hentoff en jazzkarikaturen door David Stone Martin.
"It is fortunate that impresario Norman Granz arranged to have a number of Montreux Jazz Festival concerts by some of his favorite artists videotaped, though it took over a quarter century for some of them to be commercially issued on DVD. This 1975 all-star jam with Milt Jackson, Johnny Griffin, Roy Eldridge, Niels-Henning Ørsted Pedersen, and Louie Bellson is well photographed. There is nothing wrong with the four selections heard in this set, though Griffin and Jackson's solos are more memorable than the blistering offerings of the feisty Eldridge near the end of his career. Basie, as always, is a master of economy at the piano, believing less is more, though he shows off a bit in "Lester Leaps In." Obviously, a good time was had by all, both on the stage and in the audience." (Ken Dryden, Allmusic) Ook opgenomen op deze DVD: een interview met jazzschrijver Nat Hentoff over jazzpromotor Norman Granz en diens belang voor de jazz. Verder een galerij van prachtige jazzkarikaturen door David Stone Martin.
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