The Modern Jazz Quartet Corner

[GA Russell]

In the mid-sixties before I became interested in jazz (say January 1, 1965, to pick a date), before Ramsey Lewis and Groove Holmes and Cannonball Adderley had hits on the rock 'n' roll radio stations, nearly all of the modern jazz artists who were even to a small degree familiar names to the general public recorded for Columbia. There were Errol Garner, Miles Davis, Thelonious Monk, Dave Brubeck and I suppose others.

The exceptions that I can think of were George Shearing on Capitol, Stan Getz and the bossa nova gang and Dizzy Gillespie for Verve and The Modern Jazz Quartet for Atlantic. It may surprise some of you that I never heard of John Coltrane until I became interested in jazz.

I saw the MJQ when I was in college about 1970, and they nearly put me to sleep. For that reason, I haven't been tempted to buy their albums.

I do have a 2 LPs on 1 CD of The Swingle Singers (called Compact Jazz) which includes an album they did with the MJQ. Those tracks are not as interesting as the tracks from the other album.

A year or so ago I read somewhere that the MJQ's early date for Prestige called Django was one of their best. I was reminded of that when I saw that Django would be one of the albums which Rudy Van Gelder would remaster for Concord/Fantasy. So I decided to get it. It comes out tomorrow (March 21).

So I thought I would start a corner for the MJQ, so that those who have an opinion of such a major group could sound off. I know very little about the group, but much more about the individual members.

Does anyone have an opinion regarding Django or another album? I'm aware of their recording for three labels: Prestige, Atlantic and Pablo. Was there a difference in their music for the three labels?

Are any of their albums considered essential? What are their best? Has anyone considered the Prestige/Pablo box? Did the group suffer when Kenny Clarke left for France and was replaced by Connie Kay?

Has the group's music passed the test of time? Why was it famous in the sixties?

I'd be interested in your views.

[Stereojack]

Let me just start off by saying that I dearly love the MJQ, all periods, early and late, although I haven't always felt this way. In my younger days I was drawn to harder edged, more overt jazz, and found the MJQ's music too genteel. I resented that they played concert halls and wore tuxedos.

However, as I began to learn more about the individual members - John Lewis, who had recorded with Dizzy Gillespie, Charlie Parker, and Miles Davis; Milt Jackson, who had also recorded with Dizzy and Miles, and Ray Charles and John Coltrane, and was generally regarded as the leading vibraphonist in jazz in the 1950's and 60's; Percy Heath, who had played on about half of the records made in New York in the early-mid 50's, including some of my favorites by Miles; and Kenny Clarke, largely considered to be one of the founding fathers of modern jazz drumming; and when I began to form opinions of my own without totally relying on those of others who I thought knew more than I did, I slowly began to find merit in their music. At first I dismissed anything after Connie Kay joined, and found his style a little too precise and boring. Eventually as I began to discover their musical universe, which is theirs and theirs alone, I became more enamored and intrigued, first by the records they made with Sonny Rollins and Jimmy Giuffre, figuring that they must be hip if these guys played with them , and gradually I became a huge fan, eventually acquiring all of their records, early and late. And finally I actually came to prefer Connie Kay, whose style is an integral part of what makes the MJQ unique.

My personal favorites:

Django (Prestige, 1955)

Fontessa (Atlantic, 1956)

Blues At Carnegie Hall (Atlantic, 1966)

For Ellington (East West, 1988)

There are plenty more really good ones!

(edited for typo)

Edited March 21, 2006 by Stereojack

[jlhoots]

Let me just start off by saying that I dearly love the MJQ, all periods, early and late, although I haven't always felt this way. In my younger days I was drawn to harder edged, more overt jazz, and found the MJQ's music too genteel. I resented that they played concert halls and wore tuxedos.

However, as I began to learn more about the individual members - John Lewis, who had recorded with Dizzy Gillespie, Charlie Parker, and Miles Davis; Milt Jackson, who had also recorded with Dizzy and Miles, and Ray Charles and John Coltrane, and was generally regarded as the leading vibraphonist in jazz in the 1950's and 60's; Percy Heath, who had played on about half of the records made in New York in the early-mid 50's, including some of my favorites by Miles; and Kenny Clarke, largely considered to be one of the founding fathers of modern jazz drumming; and when I began to form opinions of my own without totally relying on those of others who I thought knew more than I did, I slowly began to find merit in their music. At first I dismissed anything after Connie Kay joined, and found his style a little too precise and boring. Eventually as I began to discover their musical universe, which is theirs and theirs alone, I became more enamored and intrigued, first by the records they made with Sonny Rollins and Jimmy Giuffre, figuring that they must be hip if these guys played with them , and gradually I became a huge fan, eventually acquiring all of their records, early and late. And finally I actually came to prefer Connie Kay, whose style is an integral part of what makes the MJQ unique.

My personal favorites:

Django (Prestige, 1955)

Fontessa (Atlantic, 1956)

Blues At Carnegie Hall (Atlantic, 1966)

For Ellington (East West, 1988)

There are plenty more really good ones!

(edited for typo)

You are correct, sir.

My favorites are mostly on Atlantic.

This impression of the MJQ as being effete is totally wrong.

They actually swing like crazy.

[Free For All]

Nice to see a thread on this group. One of my favorite recordings is "Dedicated To Connie", the 5/27/60 Slovenia concert.

[jazzman4133]

Does anyone know anything about the release "MJQ Live At The Theatre Royal, Bath". This was supposed to be a BBC release of a few years ago and seems to have never been released.

[BruceH]

I'd just like to say that John Lewis is one of my favorite pianists in all of jazz.

[marcoliv]

my favorite is The Sheriff!!

Marcus Oliveira

[JSngry]

[sidewinder]

Does anyone know anything about the release "MJQ Live At The Theatre Royal, Bath". This was supposed to be a BBC release of a few years ago and seems to have never been released.

Can't say that I've ever heard of this one or seen it in UK shops. I'll take a look next time I'm shopping for CDs in Bath !

'Space' and 'Under The Jasmine Tree' are MJQ faves of mine. Will dig out the SAPCOR vinyl later tonight.

I'm also very fond of the early Prestige sessions (some of which have Kenny Clarke) and the Atlantic 2LP 'Last Concert'/'More From The Last Concert'.

One of the most incredibly civilised evenings I ever had was listening to a solo John Lewis recital - in fact I was standing right next to him with my drink - at a Toronto piano bar. Unforgettable..

Edited March 21, 2006 by sidewinder

[Peter Friedman]

The Modern Jazz Quartet occupies a special place in my collection. They were a very unique group who were able to build a special niche for themselves within the jazz world.Each member of the quartet fit in perfectly, and that includes both Kenny Clarke and Connie Kay. I agree with Stereojack who indicated that their music from all periods is terrific. I have just about everything they ever recorded in my own collection.

It is wonderful to be able to have such diversity within jazz so that we can listen to Art Blakey and the Jazz Messengers hard driving, gritty music and then turn to The MJQ for a very different type of listening experience.(Just an example)

It would be a very difficult task to select just one or two of their albums as my favorites. I would need to spend many hours re-listening to most of them before coming up with my desert island picks.

[Kalo]

I'd just like to say that John Lewis is one of my favorite pianists in all of jazz.

The Basie of bebop. I agree, a great jazz pianist, master of nuance, spare but telling...

I'm very glad that I saw the MJQ play at the Charles Hotel Ballroom in Cambridge, MA, towards the very end of their career. It was, amazingly, a sparsely attended gig, but they played for keeps.

Their original drummer Kenny Clarke is perhaps my favorite jazz drummer of all time, but his successor Connie Kay suited this band down to the ground.

[jostber]

Why was they called "Modern Jazz Society" on this record, and is this available anywhere(a classic according to the Penguin Jazz)?

http://www.amazon.co.uk/exec/obidos/ASIN/B...3659073-6952609

- Jostein

[king ubu]

Why was they called "Modern Jazz Society" on this record, and is this available anywhere(a classic according to the Penguin Jazz)?

http://www.amazon.co.uk/exec/obidos/ASIN/B...3659073-6952609

- Jostein

That's not an MJQ disc, but rather a John Lewis project - a third stream king of album. There's another "Modern Jazz Society" album out, two thirds of which are available on the Columbia/Sony/Legacy CD "Birth of Third Stream" (which is mainly a reissue of the album of that title, but adds four of six tracks from that other Modern Jazz Society album). Highly recommended, both CDs!

The Verve date features musicians such as Tony Scott (still [?] Anthony Sciacca then), Aaron Sachs, Stan Getz, Lucky Thompson and J.J. Johnson. It's indeed a beautiful one!

I think chances are not good that you'll find it new.

Here's the cover, keep your eyes open and be ready to pay a bit more than you'd usually pay for a used disc:

As for the MJQ - I'm just slowly getting into their music. But add me to the list of big John Lewis fans!

He was on my BFT, for those who don't believe me, and "Private Concert" (recently reissued in that anniversary or something series from Universal France) is a splendid record!

[brownie]

The Verve date features musicians such as Tony Scott (still [?] Anthony Sciacca then), Aaron Sachs, Stan Getz, Lucky Thompson and J.J. Johnson. It's indeed a beautiful one!

Tony Scott was under contract with RCA Victor at the time of that 'Modern Jazz Society' recording. His real name was used instead.

He also appeared as Sciacca on the Milt Hinton quartet date on Bethlehem (Tony Scott's group in fact) around the same time!

And count me too as a fan of the Modern Jazz Quartet going way back to the time Kenny Clarke was still the drummer!

Edited March 22, 2006 by brownie

[king ubu]

The Verve date features musicians such as Tony Scott (still [?] Anthony Sciacca then), Aaron Sachs, Stan Getz, Lucky Thompson and J.J. Johnson. It's indeed a beautiful one!

Tony Scott was under contract with RCA Victor at the time of that 'Modern Jazz Society' recording. His real name was used instead.

He also appeared as Sciacca on the Milt Hinton quartet date on Bethlehem (Tony Scott's group in fact) around the same time!

Yup, I have the Hinton - nice one, too! I thought they were somewhat earlier, but then he had in fact his name changed by then for good?

As for very early MJQ, count me in! I have one of those Sagajazz discs called "Early MJQ" - it doubles up some early Prestige material and also the Blue Note that's on "Wizard of the Vibes" (RVG - to get if only for the sides with Bags & Monk!), but it includes 8 Dee Gee sides that I haven't got elsewhere. Very fine playing there! Klook is on drums, and I think the bass player on a few dates is also someone else (not Percy Heath).

[JSngry]

Anthony Sciacca was using the professional name of "Tony Scott" in the 1940s.

[king ubu]

Anthony Sciacca was using the professional name of "Tony Scott" in the 1940s.

Thanks! Scott is someone I'm not that familiar with (yet)...

[brownie]

As for very early MJQ, count me in! I have one of those Sagajazz discs called "Early MJQ" - it doubles up some early Prestige material and also the Blue Note that's on "Wizard of the Vibes" (RVG - to get if only for the sides with Bags & Monk!), but it includes 8 Dee Gee sides that I haven't got elsewhere. Very fine playing there! Klook is on drums, and I think the bass player on a few dates is also someone else (not Percy Heath).

Ray Brown was the bass player on an early date on Dee Gee when the quartet was recording as the Milt Jackson Quartet!

[BruceW]

The MJQ was so definitive of jazz in those days. They could swing, play blues, and of course play original out front music incorporating classical aspects of music into their jazz themes.

It is almost impossible to pick the "best" album of the MJQ but I think the "Carniege Hall" and "Last Concert" albums best defined them.

[garthsj]

After a sunny week diving in Cozumel, I come to this discussion a little late, so everything that needs to be said has been said. I just counted 45 MJQ CDs and 3 Box sets of MJQ material on my shelves (I include the Milt Jackson "Early Modern" on Savoy as a proto-MJQ project) ... I say this not to brag (as I am sure that Peter F. probably has a larger collection) but more to show my LOVE of their music, and my intense committment to it since acquiring my first 10" in 1954 (I have also not included the 24 John Lewis separate CDs in this counting).

Favorites .... "The Last Concert" 2-CD set has it all ... and I have always been mesmerized by John Lewis's "creative" comping behind Milt Jackson on the the "Fontessa" b-side -- the first time I became aware of this joyful aspect of their ensemble playing. I can honestly say that as many times as I have listened to this group, I always seem to disover something new in further listenings. Leaning back in my leather chair, a glass of good wine in my hand, in a dim light late at night, listening to the MJQ swinging away is as close to heaven as I can get here on this earth.

Garth,

Houston.

[GA Russell]

Well, whoever it was who said a year ago that Django was one of their best albums, I'm grateful.

As stated above, I got the new RVG of Django. I don't have any previous release to compare it to, but it sounds great to me on my inexpensive system, except for a brief passage where Percy Heath's bass is overmodulating (I suspect that was a problem from the original recording).

The group's sound is not as lush as the later recordings I have heard. Perhaps that is a reflection of how Milt Jackson had his vibes set up, or perhaps John Lewis changed his desires over the years.

I expect that I'll be playing this one a lot on Sunday afternoons.

By the way, Percy Heath's bass is quite loud, reminding me of Scott LaFaro's equal footing with Bill Evans on the Village Vanguard, 1961 box. I wonder if that is something Van Gelder did in the remastering, or whether it was always as loud and up front as this.