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| Wizard of the Vibes |
| Milt Jackson |
első megjelenés éve: 1952
55 perc |
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| (2001)
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CD |
| 2.823 Ft
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| 1. | Tahiti
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| 2. | Lillie
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| 3. | Bags' Groove
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| 4. | What's New
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| 5. | Don't Get Around Much Anymore
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| 6. | On The Scene
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| 7. | Lillie
alternate take
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| 8. | What's New
alternate take
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| 9. | Don't Get Around. Much Anymore
alternate take
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| 10. | Evidence
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| 11. | Misterioso
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| 12. | Epistrophy
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| 13. | I Mean You
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| 14. | Misterioso
alternate take
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| 15. | All The Things You Are
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| 16. | I Should Care
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| 17. | I Should Care
alternate take
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Jazz
Hard Bop
Bop
Recorded: Jul 2, 1948, Apr 7, 1952
Milt Jackson - vibraphone
Kenny "Pancho" Hagood - (10-17) vocals
Lou Donaldson - alto saxophone
John Lewis - piano
Thelonious Monk - piano
Percy Heath - bass
John Simmons - bass
Kenny Clarke - (1-9) drums
Shadow Wilson (10-17) drums
This CD contains all of Jackson's April 7, 1952 Blue Note date with Lou Donaldson and the first edition of the Modern Jazz Quartet (#1-9), which included the original "Bags' Groove" and "What's New" as well as Thelonious Monk's complete July 2, 1948 session featuring the great vibist (#10-17), which introduced "Misterioso", "Evidence" and "Epistrophy".
The music on this CD 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 |
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