George H. Soule | Edwardsville, Illinois United States | 08/24/2002
(5 out of 5 stars)
"This is a great album. It's important jazz history, but it is also excellent music. There are two sessions represented here. The first is a quintet comprising alto saxophonist Lou Donaldson and what would soon be called the Modern Jazz Quartet--John Lewis (piano) Milt Jackson (vibraharp), Kenny Clarke (drums), and Percy Heath (bass). So you get MJQ with Lou. And these are wonderful renditions of Bags' tunes and standards. The "Bags Groove" is a great take on a modern jazz standard. This version is fresher and different from later takes (compare it to the classic Miles Davis recording). Jackson is indeed a wizard, and John Lewis proves why Kenny Clarke considered him the best of the bop pianists. Donaldson's solo on Ellington's "Don't Get around Much Anymore" demonstrates how many excellent alto players were completely eclipsed by Bird--in another musical universe this could have been a classic too. In any event, the album highlights Jackson's lyricism and command of a difficult instrument in his own compositions "Tahiti," "Lillie," and "Bags Groove" and in such tunes as "What's New." The second session on the album was a 1948 meeting with Thelonious Monk that includes brilliant renditions of "Misterioso," "Epistrophy," and "I Mean You." These juxtapose Monk's quirky percussive piano with Jackson's lyrical filigree work. Monk sets chords down and Bags dances weaving arabesque figures across them. All in all, this is an important collection."
Historic Album, A MUST for MJQ Fans, But...
J H Murphy | Agoura, California USA | 02/05/2004
(4 out of 5 stars)
"I'll echo some of the other reviews that this is a landmark in many ways, and a great addition to your collection if you are a fan of Milt Jackson, or the MJQ, or Monk. Just be aware of some drawbacks. First, this is a mono recording. Second, the sound is not up to the quality of the other Blue Note RVG re-issues I've bought. RVG did the re-mastering, but was not the original engineer. Neither of these is a reason to avoid the album, just be aware of it when you buy. The other nuisance item is the sequence on the CD - it's inaccurate, showing most of the alternate tracks immediately after the original released version, when in fact they are at the end of each of the respective albums. I'm listening to Milt Jackson on "Don't Get Around Much Anymore"...Windows Media Player says it's "What's New"...a nuisance rather than a catastrophe, as the liner notes sequence is accurate. Overall, four stars, straight-ahead early 50's jazz, and recommended for MJQ and Monk fans without reservation."
MJQ and Monk too!
Stephen Reddy | 04/10/2005
(5 out of 5 stars)
"This album is probably the most famous with legendary vibraphonist Milt Jackson(1923-1999). It features some of the first recordings of one of the most famous groups in jazz, the Modern Jazz Quartet, and if that's not enough, how about the legendary July 2, 1948 session with the one and only Thelonious Monk(1917-1982)! This is some of the greatest music recorded in the great history of jazz and highly recomended to Bags and Monk fans."
Milt Jackson & Thelonious Monk
Stephen Reddy | Brisbane | 06/09/2008
(5 out of 5 stars)
"This Blue Note release collects two sessions by Milt "Bags" Jackson--a 1948 collaboration between the vibraphonist and pianist/composer Thelonious Monk, and a '52 session with Bags's Modern Jazz Quartet cohorts John Lewis (piano), Percy Heath (bass), and Kenny Clarke (drums). On five of the nine tracks from this latter session, Jackson and company are joined by alto saxophonist Lou Donaldson (who contributes his own composition "On the Scene"). The fare on the '52 sessions is bebop with a light, consistent swing. The sophisticated sound of the MJQ, which would reach its apex in the years following this recording, is already in place here, and Donaldson's smooth alto lends balance to Lewis and Jackson's intertwining lines.
The '48 sessions are, naturally, of particular interest; the interplay between Monk's idiosyncratic, spacious playing and Jackson's fluid vibe creates a satisfying tension. Early versions of Monk classics, including "Misterioso" and "Epistrophy," are included, with Jackson's cool vibraphone coloring Monk's angular compositions. In addition, the straight phrasing and wide vibrato of vocalist Kenny "Pancho" Hagood appear on "I Should Care" and "All the Things You Are." An excellent sampler of Bags's formidable skills in two contexts, this collection is a must for fans of Jackson or any of the artists involved.
Personnel: Milt Jackson (vibraphone); Kenny "Pancho" Hagood (vocals); Lou Donaldson (alto saxophone); John Lewis, Thelonious Monk (piano); Percy Heath, John Simmons (bass); Kenny Clarke, Shadow Wilson (drums).