Milt Jackson

ALBUM

Una raccolta completa degli album di Milt Jackson, dalle prime produzioni ai successi più recenti.

Very Tall - Oscar Peterson Trio, Milt Jackson

Oscar Peterson Trio, Milt Jackson

Very Tall

Acoustic Sounds
  • Vinile
Statements - Milt Jackson

Milt Jackson

Statements

Expanded Edition
  • Digitale
Jazz 'Round Midnight - Milt Jackson

Milt Jackson

Jazz 'Round Midnight

  • Digitale
In A New Setting - Milt Jackson

Milt Jackson

In A New Setting

  • Digitale
Jazz 'N' Samba - Milt Jackson

Milt Jackson

Jazz 'N' Samba

  • Digitale
The Best Of Milt Jackson - Milt Jackson

Milt Jackson

The Best Of Milt Jackson

  • Digitale
Memphis Jackson - Milt Jackson, Ray Brown

Milt Jackson, Ray Brown

Memphis Jackson

  • Digitale
Milt Jackson With John Lewis, Percy Heath, Kenny Clarke, Lou Donaldson And The Thelonious Monk Quintet - Milt Jackson, John Lewis, Percy Heath

Milt Jackson, John Lewis, Percy Heath

Milt Jackson With John Lewis, Percy Heath, Kenny Clarke, Lou Donaldson And The Thelonious Monk Quintet

  • Vinile
  • SHM CD
  • Digitale
Much In Common - All Star Big Band - Ray Brown, Milt Jackson

Ray Brown, Milt Jackson

Much In Common - All Star Big Band

  • Digitale
Bags' Opus - Milt Jackson

Milt Jackson

Bags' Opus

  • Digitale
Much In Common - Ray Brown, Milt Jackson

Ray Brown, Milt Jackson

Much In Common

  • Digitale
Very Tall - Oscar Peterson, Milt Jackson

Oscar Peterson, Milt Jackson

Very Tall

Reissue 2
  • Digitale
Quintet / Sextet - Miles Davis, Milt Jackson

Miles Davis, Milt Jackson

Quintet / Sextet

Optimized for Digital
  • Digitale
Bags' Groove - Miles Davis, Sonny Rollins, Milt Jackson

Miles Davis, Sonny Rollins, Milt Jackson

Bags' Groove

Hi Res [192/24]
  • Digitale
Ray Brown/Milt Jackson - Ray Brown, Milt Jackson

Ray Brown, Milt Jackson

Ray Brown/Milt Jackson

  • Digitale
Miles Davis And The Modern Jazz Giants - Miles Davis, The Modern Jazz Giants, Milt Jackson

Miles Davis, The Modern Jazz Giants, Milt Jackson

Miles Davis And The Modern Jazz Giants

Rudy Van Gelder Remaster / Optimized for Digital
  • Digitale
Wizard Of The Vibes - Milt Jackson

Milt Jackson

Wizard Of The Vibes

192kHz/24-bit
  • Digitale
Bags' Groove [Rudy Van Gelder Remaster] - Miles Davis, Sonny Rollins, Milt Jackson

Miles Davis, Sonny Rollins, Milt Jackson

Bags' Groove [Rudy Van Gelder Remaster]

Optimized for Digital
  • Digitale
The Ellington Album "All Too Soon" - Milt Jackson, Ray Brown, Mickey Roker

Milt Jackson, Ray Brown, Mickey Roker

The Ellington Album "All Too Soon"

Remastered
  • Digitale
Live At The Museum of Modern Art - Milt Jackson

Milt Jackson

Live At The Museum of Modern Art

  • Digitale
Montreux '77 - Milt Jackson, Ray Brown

Milt Jackson, Ray Brown

Montreux '77

Remastered
  • Digitale
Bags Meets Wes - Milt Jackson, Wes Montgomery

Milt Jackson, Wes Montgomery

Bags Meets Wes

Remastered
  • Digitale
That's The Way It Is - Milt Jackson, Ray Brown

Milt Jackson, Ray Brown

That's The Way It Is

  • Digitale
At the Kosei Nenkin - Milt Jackson

Milt Jackson

At the Kosei Nenkin

Remastered
  • Digitale

BIOGRAFIA



Milt Jackson (1923-1999) defined the sound of the vibraphone for a half-century, influencing every vibraphonist who followed. “Bags” had a timeless and very accessible style that grew out of the bebop era and includes blues, ballads, soul, and standards.

Born and raised in Detroit, Jackson first played guitar when he was seven and piano at 11. In addition, he played a bit of violin and drums in addition to singing gospel with the Evangelist Singers, but he found his true calling as a teenager when he took up the vibes. His style and sound were different from that of Lionel Hampton, the dominant voice on the instrument, with a warmer sound and a more advanced solo style.

Jackson almost hit the big time in 1942 when he was offered a job with the Earl Hines Orchestra but he was drafted. After two years in the military, in 1944 he returned to Detroit where he led the Four Sharps and made his recording debut with Dinah Washington. The following year Dizzy Gillespie heard him playing in a Detroit club and immediately hired him for the sextet he had with Charlie Parker. So after the initial delay, Milt Jackson started out on top.

Bags recorded with Dizzy’s small group in 1946 and for a time was a member of his orchestra. He also worked during the bebop era with Charlie Parker, Thelonious Monk, Howard McGhee, and Woody Herman’s Second Herd. Even at that early stage he was the pacesetter of his instrument. He can be heard on some rare early titles recorded in Detroit in 1947 and 1949 on In the Beginning with altoist Sonny Stitt and pianist John Lewis.

After working with the Dizzy Gillespie Sextet during 1950-1952, Jackson formed a group with pianist Lewis, bassist Percy Heath, and drummer Kenny Clarke. Briefly known as the Milt Jackson Quartet, it soon became the co-op group known as the Modern Jazz Quartet. The MJQ toured the world and recorded steadily during 1952-1974, with Lewis as its musical director and Jackson as the main soloist. The vibraphonist also recorded a steady stream of his own projects and among those is a 1955 date on which he used the MJQ but with Horace Silver in place of Lewis, a 1961 collaboration with guitarist Wes Montgomery (Bags Meets Wes), a pair of big band dates for Riverside (Big Bags and For Someone I Love), and two sets with tenor saxophonist Jimmy Heath (Invitation and Live at the Village Gate).

Feeling that the Modern Jazz Quartet had run its course, Milt Jackson retired from the group in 1974, causing its breakup since he was irreplaceable. He became one of the stars of Norman Granz’s Pablo label, recording very frequently as both a leader and as a sideman with other all-stars. At the Montreux Jazz Festival 1975 has him meeting up with Oscar Peterson in a stimulating quartet. The Big 3 is a pianoless date with guitarist Joe Pass and bassist Ray Brown. At the Kosei Nenkin features Jackson jamming in a quintet with tenor saxophonist Teddy Edwards and pianist Cedar Walton while Soul Fusion is with the Monty Alexander Trio. Montreux ’77 has Jackson utilizing Alexander, Clark Terry on flugelhorn, and tenorman Eddie “Lockjaw” Davis. Soul Believer is a rare vocal album by the vibraphonist while Bags’ Bag has Jackson interacting with pianist Cedar Walton.

As impressive as the quantity is of Milt Jackson’s output during his Pablo years is the consistent quality. Night Mist features trumpeter Harry “Sweets” Edison, Lockjaw Davis, and altoist Eddie “Cleanhead” Vinson. Ain’t But a Few of Us Left has Jackson reuniting with Oscar Peterson. Mostly Duke and Memories of Thelonious Sphere Monk team Jackson again with Monty Alexander. Jackson, Johnson, Brown & Company has Bags joining trombonist J.J. Johnson and Ray Brown in a sextet. Soul Route features Jackson with the Ray Brown Trio which at the time included pianist Gene Harris. It Don’t Mean a Thing if You Can’t Tap Your Foot to It is another date with Cedar Walton while Brother Jim is a sextet session with Walton and saxophonists Jimmy Heath and Harold Vick. There are also quite a few Pablo albums featuring the vibraphonist as a sideman, and that is not to even mention Milt Jackson + Count Basie + The Big Band, vols. 1 and 2.

Throughout his solo years, Jackson was constantly in demand, but in 1981 he relented and rejoined the Modern Jazz Quartet. After drummer Connie Kay’s death ended the band in 1995, Jackson remained in his prime, performing, touring, and recording the music he loved up until the time of his death in 1999.

Photo & bio courtesy of Concord Music Group

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