Milt Jackson Albums (65)
What The Critics Say
Recorded in 1973 as a foray away from the Modern Jazz Quartet, Milt Jackson's second entry on the CTI label is also one of its highlights. This is one of Creed Taylor's finest productions both in terms of material and sidemen. Drummer Steve Gadd, flutist Hubert Laws, bassist Ron Carter, and pianist Cedar Walton accompany Jackson on the majority of the album. Indeed, Jackson's ability to swing funky is evidenced to delightful extremes on "Old Devil Moon," with a rolling cymbal shakeout from Gadd, whose rim shots and tempo-pushing musculature are a sharp contrast to those of the MJQ's Connie Kay. Likewise, Laws, whose playing is usually over the top, stays inside melodic nuances here and provides Jackson with an essential harmonic foil. And Ron Carter is playing throughout with a popping edge he never had before or since. On Jackson's own SKJ, recorded in December of 1972, Don Sebesky conducted a jazz orchestra for Taylor that included Herbie Hancock, Freddie Hubbard, Billy Cobham, Carter, a string section, a reed and woodwind and brass section, and a harp. Sounds sticky, eh? Hardly, Jackson is pure Bags here, playing it blue-black and rolling out around the ends of the turnarounds into deep, funky, post-bop terrain. The orchestra is mixed way down and is added for texture so the sextet is what one hears most -- along with a burning Freddie Hubbard solo. The other number of real note here is a ripping rendition of Horace Silver's "Opus de Funk," which sprawls the slim harmonic edge, rolls it out on a carpet, and turns it inside on itself, before rolling through the blues to move the intervals into a sequence Silver might not have considered when he wrote it, but which Jackson reveals was in there all the time. ~ Thom Jurek, All Music Guide
What The Critics Say
This is such a logical combination. When vibraphonist Milt Jackson and the Clayton-Hamilton Jazz Orchestra appeared together at the Jazz Bakery near Los Angeles during the same period as this CD was recorded, Jackson (who usually frowns when he plays) could not stop smiling. He loved both John Clayton's arrangements and the sound of the 19-piece orchestra. Jackson, a major voice on his instrument since at least 1946, seemed as happy listening to the band as he did playing with it. And although he has the most solos, he does not overshadow the mighty ensemble on this CD. Longtime fans of the big band are used to hearing the orchestra feature drummer Jeff Hamilton's brushes on a slow rendition of "Indiana," and both the bowed bass of John Clayton and the lyrical alto of Jeff Clayton on Johnny Mandel's classic "Emily." Both of those selections are give definitive treatment on this CD and some of the other better numbers are Jackson's trademark "Bags' Groove," Thelonious Monk's "Evidence," "Along Came Betty," and a few originals. Throughout, the swinging by the Clayton-Hamilton Orchestra is worthy of Count Basie, Milt Jackson often sounds exuberant, and together they have collaborated in creating an instant classic. ~ Scott Yanow, All Music Guide
'Milt Jackson and the Hip String Quartet'
Release Date 12/1/1998
Tracks 8
Label Import
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What The Critics Say
This double album features vibraphonist Milt Jackson with some of his best musical friends (tenor-saxophonist Teddy Edwards, pianist Cedar Walton, bassist Ray Brown and drummer Billy Higgins) for a typically swinging set of standards. It is particularly welcome to hear the underrated Edwards in this setting and all of the musicians are in top form on such superior songs as "Killer Joe," "St. Thomas," "Bolivia" and "Bye Bye Blackbird." ~ Scott Yanow, All Music Guide
What The Critics Say
This is an odd LP. The first session is a conventional one with vibraphonist Milt Jackson, tenor-saxophonist Jimmy Heath, pianist Tommy Flanagan, bassist Richard Davis and drummer Connie Kay performing Heath's recent "Gingerbread Boy," Duke Ellington's "I Got It Bad" and a pair of Jackson originals. The flip side substitutes two guitars for Flanagan's piano and uses bossa nova rhythms in hopes of getting a hit. Milt does play well on "I Love You" and Lillian Clark's vocal on "Jazz 'N' Samba" is fine but "The Oo-Oo Bossa Noova" is strictly for those listeners who are nostalgic for Car 54, Where Are You. ~ Scott Yanow, All Music Guide
'Sa Va Bella (For Lady Legends)'
Release Date 5/20/1997
Tracks 10
Label Warner Bros.
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What The Critics Say
Gentleman Milt Jackson pays tribute to a cross-section of female singers whom he has admired for over a half a century on this unpretentious straight-ahead CD. Moreover, Milt is enough of a gentleman not to mention any names in the booklet, presumably so as to not leave anyone out. But you can tell by many of the titles just whom he is referring to; needless to say, "A Tisket A Tasket" cannot refer to anyone else but Ella, "What a Difference a Day Made" is Dinah Washington, etc. Pianist Michael LeDonne, bassist Bob Cranshaw and drummer Mickey Roker make up the first-class, lightly swinging rhythm section, and Etta Jones' smoky vocals decorate three of the tunes as ambassador for her gender. Best of all is when the MJQ stalwart loosens his tie and gets to jam a bit on his own funky "Blues for Queen 'D.'" The great vibraphonists of jazz tend to age very well, and at 74, Jackson is very much on his game here. ~ Richard S. Ginell, All Music Guide
What The Critics Say
Like most of the series of recordings made of visiting musicians to the long-defunct Atlanta nightclub E.J.'s, Milt Jackson appears with a competent local rhythm section on this two-disc bootleg. While the music itself is enjoyable, the sound is a bit erratic; although it seems to have been recorded through the sound system rather than from the audience (due to the lack of obvious signals that give away such recordings), the balance between the instruments and the distortion frequently present diminishes the value of this release. Jackson is in his usual top form, and it is nice to hear musicians who haven't worked regularly with the veteran vibraphonist shine so well on great standards like "Here's That Rainy Day" and "Bye, Bye Blackbird," along with jazz classics such as "Scrapple From the Apple" and Randy Weston's "Hi-Fly" (misidentified as "High Fly" on this set). Not an essential part of Milt Jackson's discography, but since it is out of print, this two-CD set may be worth picking up if found at a reasonable price. ~ Ken Dryden, All Music Guide
'The Milt Jackson Big Four at The Montreaux Jazz Festival 1975'
Release Date 3/19/1996
Tracks 8
Label Original Jazz Classics
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What The Critics Say
Vibraphonist Milt Jackson teams up with pianist Oscar Peterson, bassist Niels Pedersen and drummer Mickey Roker for this particularly appealing set. There are many exciting performances (particularly Blue Mitchell's "Funji Mama," "Speed Ball" and "Mack the Knife") and some emotional ballad statements ("Everything Must Change" and "Like Someone like Love"). Bags and O.P. always bring out the best in each other and this well-conceived set is no exception. ~ Scott Yanow, All Music Guide
