Search - Milt Jackson :: Live at the Museum of Modern Art (Dig)

Milt Jackson at the Museum of Modern Art

Stephen Reddy | Brisbane | 09/01/2008

(5 out of 5 stars)

"Milt Jackson at the Museum of Modern Art is one of the many live jazz record dates that should be better known than it is. Perhaps it's because the LP has been unavailable in America since the early '70s; it was released on CD only briefly in Japan. Verve's brilliant Originals series has remedied this situation by issuing the gatefold-sleeve of the LP in a fine edition on compact disc (with the original liner notes pasted into a handsome booklet with the original photos). Released in 1965, shortly after the concert took place, this set is regarded by jazz historians as one of the greatest concerts ever to be performed during the MOMA's terrific free concert series during the '60s. During a rare respite from the Modern Jazz Quartet, Jackson was able to record as a solo artist with musicians of his own caliber. In this case his companions are pianist Cedar Walton, bassist Ron Carter (who was already playing with the Miles Davis Quintet), drummer Candy Finch, and James Moody on flute. The program is a lithe, breezy set of tunes written by Jackson, Walton, and Moody, with two exceptions: a beautiful reading of Jimmy Heath's "The Quota" to open the program, and a leisurely, sensitive stroll through J.J. Johnson's "Enigma." Even encountering this in the 21st century, the easy, symbiotic flow and tight arrangements are quite surprising. Heath's tune is a knotty hard bop number with a tight, brief head, and Jackson takes the first solo with requisite hipness and swing. Moody's flute fills the first chorus a bit and then drops out, leaving the rhythm section to dig into it with Jackson. Moody's solo wraps itself around the fat comping chords of Walton and darts in and out of Carter's hard dancing pulse. This is followed by the Latin tinge of "Novamo" by Jackson. The rhythm section sets out pacing a near charanga, and Jackson and Moody move through it with a beautiful, repetitive, singsong melody that quickly gives way to one of the great vibist's elegant high-register solos. Walton was already in his early thirties when he played with Jackson, and he'd been on the N.Y. scene for a decade, but this was before he became a house pianist with Prestige and well-known as a composer. His tune "Turquoise" is a fiery, fast bop waltz, with a terrific front-line melody for Moody and Jackson. Milt takes the first solo and turns the high notes into a blur of groove and grease. There's terrific humor on the set as well: Jackson's "Flying Saucer" begins in montuno mode. His voice at the intro sounds like something from the Twilight Zone before the rhythm section kicks in and he lays out the melody. Moody takes it away from the montuno feel and turns it toward the blues, but Jackson counters and begins singing in a perfect hepcat confidence, reinforcing the Latin groove. It might be the best tune here. This date is red hot for any fan who lives for jazz with rhythm, swing, and soul in equal tonnage."

A little night music, with great vibes

James A. Vedda | Alexandria, VA USA | 05/17/2010

(4 out of 5 stars)

"Articulate, tasteful, inspired - the usual adjectives that describe Milt Jackson's playing are certainly applicable to this 1965 live performance. Jackson's vibes are joined by James Moody's flute and backed up by piano, bass, and drums for a program of bright swing and compelling ballads. The only track that didn't make it to my iPod is "Flying Saucer," which features a novelty vocal by Moody that doesn't sound as clever today as it may have sounded when it was recorded.

Listeners may have mixed feelings about the recording quality. The venue was the sculpture garden at New York's Museum of Modern Art. The ambience of that setting is clearly evident, allowing the listener to imagine being one of the 2800 people in the audience on that hot August night. The downside is that the instruments may seem a bit too distant and imperfectly balanced for some listeners' tastes.

The package includes a booklet with the original liner notes. Overall, a great choice for those who favor jazz recordings with a "you are there" feel."

Smooth, classy and different

White boy 023 | australia | 07/19/2009

(5 out of 5 stars)

"I own the original LP for this recording and it is such

a tidy package...the way itis packaged says so much

about the recording. It is a classy package. 1960's style.

I havent seen the cd though, and i hope it reflects the

original vinyl release.



If you have never heard Milt Jackson, often referred to

as 'bags', then this could be a good start, and it could

also be an album for the serious Milt Jackson fan, as it

is so different.



I have never heard Milt Jackson sing before, but he does

on the classic track 'flying saucer', the melody is infectious

and you will be singing it in no time!



The remainder of the album is very smooth, so easy

to listen to, great bass grooves, the super soft tones

of Milt Jackson, accompanied by some of the finest

musicians of the era. The flute goes really well with

this small group of musicians.



Milt Jackson recorded a lot with 'The Modern jazz Quartet'

and i love their music too, with the vibraphone central.



I am going to order this cd, to go with my vinyl as i have

worn the vinyl out from playing it hundreds of times."