Five-Star Collection... The Modern Jazz Quartet

The Modern Jazz Quartet

Prestige (PRLP 160)

In the original liner notes, Ira Gitler focuses on the distinctive character of each musician and how their individual trajectories enrich the group:

• Milt Jackson ("Bags"): Identified as the main soloist of the ensemble, placed at the same level of mastery and influence on his instrument as Charlie Parker or Bud Powell.

• John Lewis: Highlighted as the musical director and main arranger, recognized for his versatility in writing for both big bands and small groups, as well as his unique sensitivity in comping tailored to figures like Lester Young, Miles Davis, or Milt Jackson himself.

• Percy Heath: Presented as a key contributor from Philadelphia who provides not only a solid rhythmic foundation, but also a melodic voice that reinforces the group's collective identity.

• Kenny Clarke ("Klook"): A crucial figure since the historic jam sessions at Minton's in the early 1940s. The text highlights his technical skill, adaptability, and ability to handle the specific drum parts written by John Lewis (noting the unusual use of gong and tympani).

About the group: Beyond the individual personalities, the notes emphasize the freshness of the band's repertoire. They highlight the balance between original compositions by John Lewis (such as "Vendome" or "The Queen's Fancy") and the ingenious reinvention of traditional standards (such as "All The Things You Are" or "But Not For Me"), always maintaining swing as an essential drive to avoid the clichés of the format. *(taken from the liner notes by Ira Gitler)*

First four have already been issued on 78 and EP. Second side is new and will soon be available in all speeds. These are extremely pleasurable in all ways — swing, sound, overall musicianship, and consistent thematic interest (But Not for Me is the only relatively weak band in regard to conception). These are also major initial steps in the evolution of extended form in jazz.

John Lewis has contributed four originals and brilliant arrangements (but one) of an equal number of standards worthy of expansion. In exploring the possibilities of more structured jazz, Lewis is beginning simply and surely. Lewis' writing is of a charm, meaningful direction, and spare unpretentiousness. There is also a quiet humor as in Vendome and The Queen's Fancy which bring to mind an 18th century cat, timemachined to now, and wailing on a sunny morning in May.

Milt Jackson, an inexplicably underrated vibist, Kenny Clarke, Percy Heath, and John on piano are superb all the way through. Lewis, as the notes indicate, writes parts for the drums, and Klook knows whereof he reads without losing his pulsative sureness.

Rather than pick out personal favorites, I'd recommend your choosing your own particular delights from this buoyant collection. These records bear a lot of study by both musicians and lay listeners. That Lewis is an undeniably major figure in contemporary jazz is shown by the fact that deceptive simplicity of this quality is the hardest achievement of all to come by in any form of communication. *Nat Hentoff (Down Beat, November 4, 1953 [5 stars])*

Side 1

1 - All The Things You Are

(Hammerstein, Kern)

2 - La Ronde

(John Lewis)

3 - Vendome

(John Lewis)

4 - Rose Of The Rio Grande

(Leslie, Warren, Gorman)

Side 2

5 - The Queen's Fancy

(John Lewis)

6 - Delaunay's Dilemma

(John Lewis)

7 - Autumn In New York

(Vernon Duke)

8 - But Not For Me

(George and Ira Gershwin)

Milt Jackson (vibes), John Lewis (piano), Percy Heath (bass), Kenny Clarke (drums).

Recorded in New York City, December 22, 1952 (#1 to #4) and June 25, 1953 (#5 to #8)