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Kérjen
árajánlatot! |
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| 1. | Blue Necklace
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| 2. | Three Little Feelings, Pts. 1-3
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| 3. | Exposure
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| 4. | The Jasmine Tree
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Jazz / Cool, Third Stream
The Modern Jazz Quartet
Andy Davis Liner Notes
Connie Kay Drums
John Lewis Producer, Piano
Mike Jarratt Engineer
Milt Jackson Vibraphone, Percussion
Percy Heath Bass
A more unlikely match of artists and label you will rarely find -- the dignified, classically influenced, indelibly Afro-American Modern Jazz Quartet and the Beatles' Apple Corps, Ltd. But Apple in its Rocking '60s heyday was one of the most daringly eclectic labels on the scene, and as the sole jazz act on the roster, the MJQ was given complete artistic freedom, with no electric guitars or period psychedelia apart from the misleading cover art. The program is more or less standard, poised, painstakingly structured, gently swinging MJQ fare, the group's contrapuntal interplay as telepathic as ever. The most distinctive of John Lewis' compositions is the revolving minor-key theme of "Three Little Feelings, Pt. 1" (part of a three-movement suite), while "The Blue Necklace" has a bell going off like that of a cash register, and Milt Jackson is clearly in his element on the gospel-ish "The Jasmin Tree." An extremely rare LP even when it was in print -- the Beatles' rock audience ignored it, and MJQ's fans couldn't find it. [ The CD was released in 1993 as part of EMI's extensive Apple reissue series.] ~ Richard S. Ginell, All Music Guide
The Modern Jazz Quartet
Active Decades: '50s, '60s, '70s, '80s, '90s and '00s
Born: 1952
Genre: Jazz
Styles: Bop, Cool, Third Stream
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. The MJQ has long displayed John Lewis' musical vision, making jazz seem respectable by occasionally interacting with classical ensembles and playing concerts at prestigious venues, but always leaving plenty of space for bluesy and swinging improvising. Their repertoire, in addition to including veteran bop and swing pieces, introduced such originals as Lewis' "Django" and Jackson's "Bags' Groove." The group recorded for Prestige (1952-55), Atlantic (1956-74), Verve (1957), United Artists (1959) and Apple (1967-69) and, in addition to the many quartet outings, they welcomed such guests as Jimmy Giuffre, Sonny Rollins, the Beaux Arts String Quartet, a symphony orchestra conducted by Gunther Schuller, singer Diahann Carroll (on one piece), Laurindo Almeida, a big band and the Swingle Singers. Although the musicians all had opportunities to pursue individual projects, in 1974 Milt Jackson, tired of the constant touring and the limitations set on his improvising and he quit the group, causing the MJQ to have a final tour and break up. In 1981 Jackson relented and the Modern Jazz Quartet (which has recorded further albums for Pablo and Atlantic) became active again although on a more part-time basis. Connie Kay's health began to fade in the early '90s (Mickey Roker often filled in for him) and after his death in 1995, Albert "Tootie" Heath became his replacement.
--- Scott Yanow, All Music Guide |
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