The trajectory of jazz vibes is a fairly straight path, with bebopper Milt Jackson taking the baton from swinger Lionel Hampton. This eight album collection finds Jackson apart his more famous role as founding member of the Modern Jazz Quartet. He had a stint with Riverside Records that shows how hard bop could vibrate.
1961 starts things off with a nimble team including Kenny Burrell/g, Jimmy Heath/ts, Tommy Flanagan/p, Connie Kay/dr and a handful of barss for some bop like ‘Algo Bueno” and a hanful of blues.The same year he’s with tenor saxist Jimmy Heath, pianist Tommy Flanagan and bassist Paul Chambers for a snazzy quartet that gives originals like “Statement” and “A Beautiful Romance”1962 has Jackson in a fantastic summit meeting with guitarist Wes Montgomery and the all star team of Sam Jones/b, Wynton Kelly/p and Philly Joe Jones/dr for sublime takes of “Stablemates” and “Delilah”. . Still in ’62, Jackson is backed by a big band with arrangements by Ernie Wilkins and Tadd Dameron, with soloists Nat Adderley/tb, Jimmy Cleveland/tb, James Moody/ts and Jimmy Heath/ts for a sublime “Star Eyes” and moody “Round Midnight”. In ’62, Jackson brings together a hip team of Kenny Dorham/tp, Tommy Flanagan/p, on Carte/b, fellow MJQer Connie Kay/d and Jimmy Heath/ts for originals like Kenny Dothams’ None Shall Wonder” and a pretty read of Thelonious Monk’s “Ruby, My Dear”. A concert recorded at the Village Gate has Jackson with both Jimmy/ts and Tootie Heath/dr, as well as Hank Jones/p and Bob Cranshaw/b for a nice mix of ballads, blues and originals like “Ignunt Oil” and the gorgeous “Gemini” . The same year has Jackson in another creative larger band, this one arranged by Melba Liston, and it includes Clark Terry/tp, Quentin Jackson/tb, Julius Watkins/Frh and Major Holley/tub for a strong session that includes a noir’d take of Billy Strayhorn’s “Chelsea Bridge” and evocative “Days of Wine and Roses”.
The combination of small swinging groups and cleverly arranged big bands make this for a fascinating and finger popping set, especially in light of his more popular chamber tones with the MJQ. The Deacon preaches!