Milt Jackson & Wes Montgomery – Bags Meets Wes (1961)

2011-10-18T18:26:50Z

Milt Jackson & Wes Montgomery – Bags Meets Wes (1961)


1. S.K.J.
2. Stablemates
3. Stairway To The Stars (take 3)		play
4. Stairway To The Stars (take 2)
5. Blue Roz						play
6. Sam Sack
7. Jingles (take 9)
8. Jingles (take 8)
9. Delilah (take 4)
10. Delilah (take 3)

Personnel: 
Milt Jackson (vibraphone); 
Wes Montgomery (guitar); 
Wynton Kelly (piano); 
Sam Jones (bass); 
Philly Joe Jones (drums).

It’s unfair to blame Wes Montgomery for the soulless work of those who claim him as an influence; his trademark octave runs became a cash cow for the smooth jazz associated with the piped-in music of doctor’s offices and grocery stores. In reality, Montgomery was a much sought-after player by many; even Coltrane played with him for a time. Montgomery gives the impression that playing the guitar requires no less concentration than tying your shoes, fashioning a style admired (and imitated) by many. Milt Jackson, an amateur guitarist himself, reportedly leapt at the chance to play with him on this outing. Jackson seems to enjoy escaping the restrictive confines of the systematic Modern Jazz Quartet for some hard bop workouts, and the rhythm section is filled with perfect choices to achieve this goal. Nothing is taken at a tempo that would quicken the pulse, yet the metallic chime of the vibes is a perfect foil for the snap of Montgomery’s guitar. It’s surprising, given the title of the album, that the leaders are so generous with the spotlight, giving the rhythm section ample solo space; it would have been nice to hear Montgomery and Jackson really have a go at each other on some of the more spirited numbers. Nevertheless, they turn in a finer version of “Delilah” than Brown and Roach did, and “Stairway to the Stars” is simply beautiful. It’s not surprising that the mutual admiration provide an outing that is such a great listen. ---David Rickert, allaboutjazz.com

Milt Jackson was 38 when, in December 1961, he co-led this superb hard-bop date with the distinctive guitarist Wes Montgomery. A jazzman who was as opinionated as he was gifted, Jackson wouldn't hesitate to tell you exactly what he thought of a musician -- so when he praised Montgomery, you knew his praise was genuine. Not surprisingly, the boppers prove to be quite compatible on Bags Meets Wes, which finds them co-leading an all star-quintet that also includes pianist Wynton Kelly, bassist Sam Jones, and drummer Philly Joe Jones (who shouldn't be confused with swing drummer Jo Jones). Although Jackson and Montgomery prove what lyrical ballad players they could be on the standard "Stairway to the Stars," ballads aren't a high priority on this album. Instead, the improvisers put more of their energy into the blues -- and the 12-bar format serves them well on "Sam Sack," "Blue Roz," and "S.K.J." Equally strong are hard-swinging versions of Montgomery's "Jingles" and Benny Golson's "Stablemates." Originally released on LP by Riverside in the early 1960s, Bags Meets Wes has been reissued several times over the years. When Fantasy reissued it on CD for the Original Jazz Classics (OJC) series, the label added alternate takes of "Jingles," "Stairway to the Stars," and "Delilah" -- all of which are only slightly inferior to the master takes. Bags Meets Wes has also been reissued as a 24-karat gold audiophile CD by DCC Compact Classics. ---Alex Henderson, allmusic.com

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Milt Jackson And The Thelonious Monk Quintet (1989)

2011-01-29T09:57:57Z

Milt Jackson And The Thelonious Monk Quintet (1989)


1. Tahiti 
2. Lillie 
3. Lillie (Alternate Take) 
4. Bags' Groove 
5. What's New                    play
6. What's New (Alternate Take) 
7. Don't Get Around Much Anymore 
8. Don't Get Around Much Anymore (Alternate Take) 
9. On The Scene 
10. Evidence 
11. Misterioso 
12. Misterioso 
13. Epistrophy                   play
14. I Mean You 
15. All The Things You Are 
16. I Should Care 
17. I Should Care (Alternate Take) 

Tracks 1-9: 
Lou Donaldson (as - 11, 4, 7, 8 & 9) 
Milt Jackson (vib) 
John Lewis (p) 
Percy Heath (b) 
Kenny Clarke (d) 

WOR Studios, NYC, April 7, 1952. Recording Engineer: Doug Hawkins 


Tracks 10-17: Milt Jackson And The Thelonious Monk Quintet (Blue Note BLP 1509) 

Milt Jackson (vib) 
Thelonious Monk (p) 
John Simmons (b) 
Shadow Wilson (d) 
Kenny "Pancho Hagood" (Vocal - 15, 16 & 17) 

Apex Studios, NYC, July 2, 1948. Recording Engineer: Harry Smith

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. –George H. Soul

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