The Stork Club with Stork:
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from January 1, 2023
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With billows and blasts from choirs and orchesters
Buskers and talkers
Big bands and squawkers,
the Stork Club has retained its qualities of decaying elegance and dwindling significance since the late 1950s.
Sunday
Noon - 3pm
(EDT)
|
On
WFMU's
Give the Drummer Radio
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January 1, 2023: The Milt-Tennial
The Wizard of the Vibes turns 100 today. Milt Jackson, the great two-mallet vibraharpist from Detroit Michigan whose career spanned over 50 years, from pre-bop to bop, to third stream, and onward. A founder of the Modern Jazz Quartet, Jackson's singing, bluesy approach to the vibes reflects his origins as a singer in the church. Yup, we'll hear him sing a little, too.
Listen to this show:
Pop-up player!
| Artist | Track | Album | Comments | Images | Approx. start time |
|---|---|---|---|---|---|
| Slim Gaillard |
Gomen Nasai
|
Laughing in Rhythm: The Best of the Verve Years | Gomen Nasai Band – Slim Gaillard And His Shintoists: Bass – Ray Brown; Drums – Milt Jackson; Piano – Cyril Haynes; Tenor Saxophone – Ben Webster; Written-By – Benedict Mayers, Raymond Hattori - -Recorded late December 1952 or early January 1953 in New York City |
|
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| Miles Davis |
Bags' Groove (Take 2)
|
Bags' Groove | Bass – Percy Heath; Drums – Kenny Clarke; Piano – Thelonious Monk; Trumpet – Miles Davis; Vibraphone [Vibes] – Milt Jackson - - Recorded at June 29 & December 24, 1954 - Van Gelder Studio, Hackensack, New Jersey |
|
0:03:21 (Pop-up) |
| Modern Jazz Quartet |
Concorde
|
Concorde | Milt Jackson – vibraphone • John Lewis – piano • Percy Heath – bass • Connie Kay – drums • Recorded: July 2, 1955 - RVG |
|
0:12:42 (Pop-up) |
| DJ Milt to the Hilt | 0:16:19 (Pop-up) | ||||
| Milt Jackson |
Bright Blues
|
Ballads & Blues | Milt Jackson – vibes • Lucky Thompson - tenor saxophone; • John Lewis - piano; • Barry Galbraith, Skeeter Best – guitar • Oscar Pettiford - double bass • Kenny Clarke – drums - - Recorded in New York City on January 17, 1956 |
|
0:21:04 (Pop-up) |
| Sonny Rollins |
The Stopper
|
Sonny Rollins With The Modern Jazz Quartet | Sonny Rollins – tenor saxophone • John Lewis – piano • Milt Jackson – vibes • Percy Heath – bass • Kenny Clarke – drums • Tracks 1-4 recorded October 7, 1953 |
|
0:27:17 (Pop-up) |
| Modern Jazz Quartet |
Versailles
|
Fontessa | John Lewis – piano • Milt Jackson – vibraphone • Percy Heath – double bass • Connie Kay – drums • Recorded • January 22, 1956 and February 14, 1956 • Studio • New York City and Van Gelder Studio, Englewood Cliffs, NJ |
|
0:30:13 (Pop-up) |
| Milt Jackson, Art Farmer, Benny Golson, Tommy Flanagan, Paul Chambers, Connie Kay |
Thinking of You
|
Bags' Opus | Milt Jackson – vibes • Art Farmer - trumpet • Benny Golson - tenor saxophone • Tommy Flanagan - piano • Paul Chambers - bass • Connie Kay - drums • ◦ Recorded at Nola's Penthouse Sound Studios in New York City on December 28 & 29, 1958 |
|
0:33:34 (Pop-up) |
| Milt Jackson, Ray Brown, Cedar Walton |
Blues For Tomi-oka
|
Bags' Bag | Drums – Billy Higgins; Bass – Ray Brown; Fender Rhodes(?) – Cedar Walton; Soprano Saxophone – Jerome Richardson; Vibraphone – Milt Jackson Recorded at Filmways/Heider Recording, Hollywood, 21 January, 1980 |
|
0:37:54 (Pop-up) |
| Modern Jazz Quartet |
Skating in Central Park
|
European Concert Vol. 2 | Milt Jackson – vibraphone • John Lewis – piano • Percy Heath – bass • Connie Kay – drums • Recorded April 11–13, 1960 in Stockholm and Gothenburg, Sweden |
|
0:46:42 (Pop-up) |
| Cannonball Adderley, Milt Jackson |
Blues Oriental
|
Things Are Getting Better | Cannonball Adderley - alto saxophone • Milt Jackson - vibes • Wynton Kelly - piano • Percy Heath - bass • Art Blakey - drums • Recorded October 28, 1958 at Reeves Sound (New York City) |
|
0:52:48 (Pop-up) |
| Joe Pass, Milt Jackson, Ray Brown, Mickey Roker |
Caravan
|
A Celebration Of Duke | Bass – Ray Brown; Drums – Mickey Roker; Guitar – Joe Pass; Vibraphone – Milt Jackson; Written-By – Ellington, Irving Mills, Juan Tizol - - recorded at Group IV Studios, Hollywood, January 21, 1980. |
|
0:57:44 (Pop-up) |
| Milt Jackson, Ray Charles |
Cosmic Ray
|
Soul Brothers | Ray Charles – piano, alto saxophone • Milt Jackson – vibraphone, piano, guitar • Billy Mitchell – tenor saxophone • Skeeter Best – guitar • Oscar Pettiford – bass • Connie Kay – drums • Recorded September 12, 1957 |
|
1:02:23 (Pop-up) |
| Milt Jackson |
Kiss And Run
|
Jazz 'n' Samba | Milt Jackson – vibes; • Jimmy Heath - tenor saxophone ; • Barry Galbraith – guitar ; • Richard Davis – bass; • Connie Kay – drums; • Lillian Clark - vocals • • Recorded at Rudy Van Gelder Studio in Englewood Cliffs, New Jersey on August 7, 1964 |
|
1:07:44 (Pop-up) |
| Modern Jazz Quartet |
Cortege
|
One Never Knows (Original Film Score For No Sun In Venice) | Milt Jackson – vibraphone • John Lewis – piano • Percy Heath – bass • Connie Kay – drums • Recorded New York City; August 24, 1957, Music Inn, Lenox, MA |
|
1:11:05 (Pop-up) |
| DJ Vibin' and Imbibin' | 1:18:29 (Pop-up) | ||||
| Milt Jackson, Big Brass |
Morning Glory (What's Your Story)
|
For Someone I Love | Milt Jackson – vibes • Bill Berry, Dave Burns, Thad Jones, Clark Terry, Elmon Wright, Snooky Young - trumpet • Jimmy Cleveland, Quentin Jackson, Willie Ruff - trombone • Ray Alonge, Paul Ingraham and Julius Watkins - French horn • Major Holley - tuba • Jimmy Jones - piano • Richard Davis - bass • Connie Kay - drums • Melba Liston - arranger, conductor • • Recorded in New York City on August 5, 1963 |
|
1:25:25 (Pop-up) |
| Oscar Peterson, Milt Jackson |
Just You, Just Me
|
Two Of The Few | Piano – Oscar Peterson • Vibraphone – Milt Jackson • Rec’d: RCA Recording Studio New York City January 20, 1983 |
|
1:29:02 (Pop-up) |
| Milt Jackson |
Blue Monk
|
The Prophet Speaks | Bass – John Clayton; • Drums – Billy Higgins; • Piano – Cedar Walton; • Tenor Saxophone – Joshua Redman ; • Vibraphone – Milt Jackson; • Vocals – Joe Williams - - -1994 |
|
1:34:07 (Pop-up) |
| Modern Jazz Quartet |
Around the Blues
|
The Modern Jazz Quartet & Orchestra | Milt Jackson - vibraphone • John Lewis - piano • Percy Heath - bass • Connie Kay - drums • Unnamed orchestra (Südwestfunk?) conducted by Werner Heider and Gunther Schuller • Recorded • June 3 & 4, 1960 - - Stuttgart, West Germany |
|
1:40:36 (Pop-up) |
| Milt Jackson |
Deep In A Dream
|
The Ballad Artistry Of Milt Jackson | Milt Jackson – vibes • Don Hammond - alto flute • Romeo Penque - reeds • Max Cahn, Alexander Cores, Paul Gershman, Julius Held, Leo Kahn, Harry Katzman, Harry Lookofsky, David Nadien, George Ockner, Gene Orloff, Leonard Posner, Sol Shapiro - violin • Al Brown, Harold Coletta, Burt Fisch, David Mankowitz - viola • Maurice Brown, Charles McCracken, Harvey Shapiro, George Ricci - cello • Gloria Agostini - harp • Jimmy Jones - piano, arranger • Barry Galbraith, Chuck Wayne - guitar • Bill Crow, Milt Hinton - bass • Connie Kay - drums • Quincy Jones - arranger, conductor • Recorded May 1 and September 9 & 10, 1959 |
|
1:48:57 (Pop-up) |
| Modern Jazz Quartet |
Lonely Woman
|
Lonely Woman | Milt Jackson - vibraphone • John Lewis - piano • Percy Heath - bass • Connie Kay - drums • Recorded 1962 |
|
1:52:37 (Pop-up) |
| Milt Jackson & John Coltrane |
Bags & Trane
|
Bags & Trane | Milt Jackson — vibraphone • John Coltrane — tenor saxophone • Hank Jones — piano • Paul Chambers — bass • Connie Kay — drums • Recorded • January 15, 1959 • Atlantic Studios, New York City |
|
1:58:54 (Pop-up) |
| Milt Jackson |
For Someone I Love
|
Sunflower | Milt Jackson – vibes • Freddie Hubbard - trumpet, flugelhorn • Herbie Hancock - piano • Jay Berliner - guitar • Ron Carter - bass • Billy Cobham - drums • Ralph MacDonald - percussion • Romeo Penque - alto flute, English horn, oboe • Phil Bodner - flute, alto flute, piccolo, English horn • George Marge - clarinet, bass clarinet, alto flute, English horn • Max Ellen, Paul Gershman, Emanuel Green, Charles Libove, Joe Malin, David Nadien, Gene Orloff, Elliot Rosoff, Irving Spice - violin • Charles McCraken, George Ricci, Alan Shulman - cello • Margaret Ross - harp • Don Sebesky - arranger, conductor • • Recorded at Rudy Van Gelder Studio in Englewood Cliffs, New Jersey on December 12 & 13, 1972 • Recorded |
|
2:06:15 (Pop-up) |
| Sahib Shihab |
I'm a Fool to Want You
|
Companionship | Bass – Jimmy Woode Drums – Kenny Clarke Flute – Sahib Shihab Piano – Francy Boland Vocals – Milt Jackson Written-By – Frank Sinatra, Wolff, Herron - - Recorded between 1964–1970 in Cologne, West Germany |
|
2:16:33 (Pop-up) |
| DJ | 2:21:05 (Pop-up) | ||||
| The Howard McGhee Sextet With Milt Jackson |
Sweet And Lovely
|
The Howard McGhee Sextet With Milt Jackson | Howard McGhee - trumpet • Milt Jackson - vibraphone; • Jimmy Heath - alto saxophone, • Will Davis - piano • Percy Heath - bass • Joe Harris - drums • Recorded December 24-31, 1947 (all recorded in Chicago for the Vitacoustic Records label) |
|
2:25:51 (Pop-up) |
| Modern Jazz Quartet |
Midsommer
|
The Modern Jazz Quartet At Music Inn Vol. 2 | Milt Jackson - vibraphone • John Lewis - piano • Percy Heath - bass • Connie Kay - drums • Recorded • August 3 & 31, 1958 • The Music Inn, Lenox, Massachusetts |
|
2:28:50 (Pop-up) |
| Ray Brown, Milt Jackson |
Lazy Theme
|
Ray Brown/Milt Jackson | Milt Jackson – vibes • Ray Brown - bass • Ernie Royal, Clark Terry, Snooky Young - trumpet • Jimmy Cleveland, Urbie Green, Tom McIntosh, Tony Studd - trombone • Ray Alonge - French horn • Bob Ashton, Danny Bank, Jimmy Heath, Romeo Penque, Jerome Richardson, Phil Woods - reeds • Hank Jones - piano • Grady Tate - drums • Oliver Nelson, Jimmy Heath - arranger, conductor; written by Oscar Peterson - • Recorded • January 4 & 5, 1965 |
|
2:35:49 (Pop-up) |
| Milt Jackson Septet |
Blues In My Heart
|
Night Mist | Alto Saxophone – Eddie "Cleanhead" Vinson; Bass – Ray Brown; Drums – Larance Marable; Piano – Art Hillery; Tenor Saxophone – Eddie "Lockjaw" Davis; Trumpet – Harry "Sweets" Edison*; Vibraphone – Milt Jackson — - Recorded April 14th 1980 at Spectrum Studios, Venice, California Producer – Norman Granz |
|
2:40:39 (Pop-up) |
| Dizzy Gillespie |
Birk's Works
|
Dee Gee – 3600 78" - B-Side | Bass – Percy Heath; Drums – "Kansas" Fields*; Guitar – Kenny Burrell; Tenor Saxophone – John Coltrane; Trumpet – Dizzy Gillespie; Vibraphone – Milt Jackson - Recorded in Detroit, MI, March 1, 1951 |
|
2:46:11 (Pop-up) |
| Joe Pass, Milt Jackson, Ray Brown |
Blue Bossa
|
The Big 3 | Milt Jackson – vibes • Joe Pass - guitar • Ray Brown - bass • Recorded • August 25, 1975 • Studio |
|
2:49:16 (Pop-up) |
| Milt Jackson |
Flying Saucer
|
Live At The Museum of Modern Art | Milt Jackson – vibes • James Moody - flute, vocals • Cedar Walton - piano • Ron Carter - bass • Otis "Candy" Finch - drums • • Recorded at The Museum of Modern Art in New York City on August 12, 1965 |
|
2:54:17 (Pop-up) |
| Modern Jazz Quartet |
Vendome
|
Pyramid | Milt Jackson - vibraphone • John Lewis - piano • Percy Heath - bass • Connie Kay - drums • Recorded • August 22 & 25 and December 21, 1959 and January 15, 1960 • Music Inn, Lenox, Massachusetts and Capitol Studios, New York City |
|
2:59:22 (Pop-up) |
| Milt Jackson, Coleman Hawkins, Kenny Burrell, Tommy Flanagan, Connie Kay |
Stuffy
|
Bean Bags | Milt Jackson – vibes • Coleman Hawkins - tenor saxophone • Tommy Flanagan - piano • Kenny Burrell - guitar • Eddie Jones - bass • Connie Kay - – drums • Recorded • September 12, 1958 • New York City |
|
3:01:48 (Pop-up) |
| The Modern Jazz Quartet |
The Jasmine Tree
|
More From The Last Concert | Bass – Percy Heath; Drums – Connie Kay; Piano – John Lewis; Vibraphone [Vibraharp] – Milt Jackson - - Recorded on November 25, 1974 at Avery Fisher Hall, New York City |
|
3:07:28 (Pop-up) |
| DJ Vibe Bar | 3:11:29 (Pop-up) | ||||
| Milt Jackson |
That's In
|
In A New Setting | Milt Jackson – vibes • Jimmy Heath - flute, tenor saxophone • McCoy Tyner - piano • Bob Cranshaw - bass • Connie Kay - drums • • Recorded in New York City on December 9, 1964 |
|
3:16:27 (Pop-up) |
| Thelonious Monk |
Misterioso
|
Genius of Modern Music Vol. 1 | Piano Thelonious Monk; Bass – John Simmons; Drums – Shadow Wilson; Vibraphone – Milt Jackson - - rec'd: 15, 24 October and November 21, 1947 |
|
3:19:23 (Pop-up) |
| The Modern Jazz Quartet |
The Blue Necklace
|
Under The Jasmin Tree | Milt Jackson – vibraphone; John Lewis – piano; Percy Heath – bass; Connie Kay – drums; - - Recorded and released on the Apple label, December 12, 1967 |
|
3:22:43 (Pop-up) |
| The Modern Jazz Quartet |
La Cantatrice
|
The Comedy | Milt Jackson – vibraphone; • John Lewis – piano; • Percy Heath – bass; • Connie Kay – drums; • Diahann Carroll – vocals -- • Recorded October 20, 1960 and January 22, 23 & 24, 1962 • New York City |
|
3:27:32 (Pop-up) |
| Miles Davis |
Changes
|
Miles Davis & Milt Jackson: Complete Recordings | Miles Davis – trumpet Milt Jackson – vibraphone; Ray Bryant – piano; Percy Heath – bass; Art Taylor – drums - - Recorded August 5, 1955 by Rudy Van Gelder - Hackensack, NJ |
|
3:33:13 (Pop-up) |
| Milt Jackson |
Stairway to the Stars
|
Milt Jackson & Wes Montgomery Bags Meets Wes! / Milt Jackson Quartet | Milt Jackson – vibraphone • Wes Montgomery – guitar • Wynton Kelly – piano • Sam Jones – double bass • Philly Joe Jones – drums • Recorded • December 18–19, 1961 |
|
3:40:22 (Pop-up) |
| Stanley Turrentine with Milt Jackson |
Sister Sanctified
|
Cherry | Stanley Turrentine - tenor saxophone • Milt Jackson - vibraphone • Bob James - piano, electric piano, arranger • Cornell Dupree - guitar • Ron Carter - bass • Billy Cobham - drums • Weldon Irvine Jr. - arranger (#6, 7) Recorded May 17, 18 and 24, 1972 Studio Van Gelder Studio, Englewood Cliffs, NJ |
|
3:43:56 (Pop-up) |
| Milt Jackson |
Sermonette
|
Plenty, Plenty Soul | Milt Jackson – vibes • Joe Newman - trumpet • Lucky Thompson - tenor saxophone • Horace Silver - piano • Oscar Pettiford - bass • Connie Kay - drums • Recorded • January 5 & 7, 1957 |
|
3:49:45 (Pop-up) |
| DJ Good Vibratings | THANKS ALL FOR COMING TO THE CLUB TODAY!! I ENJOYED IT IMMENSE-LIKE!! MANY MANY MANY MWAH'S!! | 3:55:11 (Pop-up) |
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Listener comments!
Andrew in Toronto:
Happy New Year!
listener james from westwood:
fred:
Stork:
Revolution Rabbit Nov63:
...& I've *still* never seen MarySears...
hyde:
doctorjazz:
adamdoesit:
doctorjazz:
Andrew in Toronto:
Stork:
TDK60:
Stork:
Stork:
doctorjazz:
Revolution Rabbit Nov63:
' Milton Jackson (January 1, 1923 – October 9, 1999), nicknamed "Bags", was an American jazz vibraphonist, usually thought of as a bebop player, although he performed in several jazz idioms. He is especially remembered for his cool swinging solos as a member of the Modern Jazz Quartet and his penchant for collaborating with hard bop and post-bop players.
A very expressive player, Jackson differentiated himself from other vibraphonists in his attention to variations on harmonics and rhythm. He was particularly fond of the twelve-bar blues at slow tempos. On occasion, Jackson also sang and played piano. '
Revolution Rabbit Nov63:
Jeff Golick:
Hey all you swells. Fancy meeting you here. Do it to us, @Stork!
doctorjazz:
Stork:
fred:
Stork:
Stork:
doctorjazz:
Stork:
adamdoesit:
Revolution Rabbit Nov63:
🐇Hare seeks to nurture & make safe
- while ♏︎Scorpio seeks to penetrate & even deconstruct.
'Revolution Rabbit' is an attempt to acknowledge & embrace a fundamental paradox - like 'Ninja Turtle'. (I'd throw GenX in there too...)
Water Element in the Chinese System correlates to ☿Mercury, a bit counterintuitively for the Westerner ...& so communication & nervous energy as well as emotion & sensitivity. Which is 🐇Hare enuff already...
♏︎Scorpio of course in the Western System is the Fixed Water Element sign - so similar in the Emotional ~ Intuitive business...
A serious reduction of both Systems of course. In the Chinese on has an Hour, Day & Month too (the Four Pillars) - for starters...
doctorjazz:
J T. Ramsay:
Listener Robert:
Stork:
fred:
WR:
Stork:
Revolution Rabbit Nov63:
adamdoesit:
chresti:
Stork:
WR:
WR:
WR:
Stork:
fred:
doctorjazz:
Revolution Rabbit Nov63:
www.facebook.com...
Stork:
Stork:
doctorjazz:
Dean:
adamdoesit:
Michael 98145:
2022 has been shredded and already rotting in the compost. 2023 CE is fresh and clean (so far).
Stork:
Stork:
Stork:
fred:
Stork:
Revolution Rabbit Nov63:
Can't remember ever not liking Jazz. Lucky enuff to have an older brother who'd on occasion tell me things about what the roots of everything were ...& that Black poeple had usually been there far earlier & I'd better pay attention ! Which was enuff.
Also what I call 'Stealth Jazz' - where ...& when - Cartoons & Kid's Shows would have Real Jazz - yer CharlieBrowns & many things actually.
It was, however, getting LPs out of the Public Library that grabbed me & shoved me across the threshold absolutely. We've discussed a few times the Smithsonian Multi-LP collections & the like. What a fabulous overview of the long History ! Up to Ornette & Cecil. Owe a lot to that. & - Coltrane hit me like a bolt straight vertically ought of the blue. Done deal.
fred:
TDK60:
Revolution Rabbit Nov63:
Stork:
Stork:
Michael 98145:
abbazabba:
TDK60:
Stork:
adamdoesit:
It's a sparkling afternoon here in New York, so I'm going to head out on the bike for a bit. If I don't make it back before the end; but, if not, I want to express my gratitude to alla youse -- DJ Stork, doctorjazz, fred, RevRabb, dean, WR, Michael 98145, TDK, den mother chresti, David in Absentia, anyone I might've missed -- for a year of great music on Sundays. 2022 was challenging in so many ways. I'm grateful to have been able to come here, meet with all of you, imbibe a few virtual cocktails, and listen. It helped get me through.
Revolution Rabbit Nov63:
As it turns out ...virtually impossible.
Revolution Rabbit Nov63:
redkayak:
Adios '22, welcome '23 :)
TDK60:
Stork:
redkayak:
TDK60:
Stork:
Michael 98145:
Stork:
Michael 98145:
Michael 98145:
TDK60:
fred:
Michael 98145:
Revolution Rabbit Nov63:
Revolution Rabbit Nov63:
Michael 98145:
Stork:
Revolution Rabbit Nov63:
Stork:
Revolution Rabbit Nov63:
...T-Shirts in the lobby
...this place'll be solvent yet...
Stork:
Revolution Rabbit Nov63:
fred:
watchpocket:
Also a big big thank you for this very enjoyable Milt-tennial and for your commitment to and encyclopedic knowledge of the American Classical music known as jazz and your ongoing commitment to great radio.
I would hear jazz on the radio as a kid and I would crank it. But when Bitches Brew came out I picked it up right away and was officially sold on what was called jazz but is really a treasure trove of transcendent incantations.
Already doing radio at that time I presented B-Brew to a mostly mystified audience yet still got calls wanting to know what it was. Music, radio, freedom, improvisation, wonderful things all.
Speaking of radio, don't know if you've ever seen my little piece of the history of underground radio, but you can peruse it here at your leisure: watchpocket.net...
Happy New Year, Stork, and to all Stork Club aficonados!
Dean:
fred:
doctorjazz:
Revolution Rabbit Nov63:
doctorjazz:
Stork:
WR:
doctorjazz:
Revolution Rabbit Nov63:
fred:
Stork:
doctorjazz:
Stork:
doctorjazz:
Bags/Trane and similar to John Lewis in the MJQ.
Michael 98145:
hyde:
Stork:
hyde:
Stork:
duke:
watchpocket:
Stork:
abbazabba:
Stork:
abbazabba:
Stork:
coelacanth∅:
Stork:
Stork:
abbazabba:
Stork, that sucks. Poor guy. I’m glad I don’t live next to him
doctorjazz:
TDK60:
fred:
Stork:
TDK60:
Stork:
headcleaner:
TDK60:
Stork:
Michael 98145:
doctorjazz:
WR:
en.wikipedia.org...
Had not known that.
Stork:
WR:
Stork:
Revolution Rabbit Nov63:
doctorjazz:
Stork:
fred:
Revolution Rabbit Nov63:
coelacanth∅:
WR:
Revolution Rabbit Nov63:
Any overlap I wonder ?
Revolution Rabbit Nov63:
Stork:
Michael 98145:
Jeff Golick:
coelacanth∅:
Jeff Golick:
TDK60:
Stork:
Stork:
Stork:
doctorjazz:
Michael 98145:
doctorjazz:
Dean:
Dean:
coelacanth∅:
Stork:
Stork:
Michael 98145:
Michael 98145:
Dean:
At least Sweets ain't Spats.
doctorjazz:
doctorjazz:
Revolution Rabbit Nov63:
...course I didn't have to try & play with him...
Dean:
Stork:
Stork:
Michael 98145:
doctorjazz:
Revolution Rabbit Nov63:
en.wikipedia.org...
- with Atlantic for miles on either side...
Dean:
Stork:
Revolution Rabbit Nov63:
Dean:
Stork:
Stork:
Michael 98145:
doctorjazz:
Revolution Rabbit Nov63:
...wonder what the story is precisely with them on the label !
doctorjazz:
Revolution Rabbit Nov63:
adamdoesit:
hyde:
doctorjazz:
Stork:
"The Jasmin Tree" was originally released in 1968, followed by "Space" in 1969. Both shine brightly in the Quartet's extensive catalogue, not just for their brilliantly understated melodic statements, their fluid, organic jazz, but for the era-defining psychedelic artwork that adorned their sleeves, and the fact that they appeared on Apple. The vast majority of the MJQ’s albums appeared under the aegis of the US music industry giant and jazz trailblazer that was Atlantic Records.
Although The Beatles once famously sang that they had no kick against modern jazz, they couldn’t honestly claim to be responsible for bringing about the MJQ's two-album secondment to Apple. In fact, the instigator of this short but happy union was the first Head of Apple Records, the fondly remembered Ron Kass. Ron was the seasoned American record company professional head-hunted from Liberty Records. He was also the biggest jazz fan at Apple’s HQ, 3 Savile Row in London. "I loved Ron, he was exactly what we needed,” recalls Peter Asher, Apple's Head of A&R at the time. “He was knowledgeable, he knew the state of the business. He had the smooth American suit-and-tie thing going, which was what we thought Apple had to have in order to interface with the business world and the Capitol (EMI) world. We liked him, he understood us.”
Peter continues: "The Modern Jazz Quartet came to Apple because Ron Kass was very friendly with Monte Kay, their manager. And Ron said, ‘Wouldn't it be cool for the MJQ to do an album on Apple?’ Ron's pitch was that it would make them a lot of new fans, as some Beatles fans would listen to the MJQ just because it was on Apple, and Monte really liked the idea...."
A more unlikely match of artists and label you will rarely find -- the dignified, classically influenced, indelibly Afro-American Modern Jazz Quartet and the Beatles' Apple Corps, Ltd. But Apple in its Rocking '60s heyday was one of the most daringly eclectic labels on the scene, and as the sole jazz act on the roster, the MJQ was given complete artistic freedom, with no electric guitars or period psychedelia apart from the misleading cover art. The program is more or less standard, poised, painstakingly structured, gently swinging MJQ fare, the group's contrapuntal interplay as telepathic as ever. The most distinctive of John Lewis' compositions is the revolving minor-key theme of "Three Little Feelings, Pt. 1" (part of a three-movement suite), while "The Blue Necklace" has a bell going off like that of a cash register, and Milt Jackson is clearly in his element on the gospel-ish "The Jasmin Tree." An extremely rare LP even when it was in print -- the Beatles' rock audience ignored it, and MJQ's fans couldn't find it.
coelacanth∅:
Stork:
Revolution Rabbit Nov63:
Stork:
TDK60:
Revolution Rabbit Nov63:
...Apple.
Bär:
hyde:
doctorjazz:
doctorjazz:
coelacanth∅:
Michael 98145:
Stork:
hyde:
Michael 98145:
doctorjazz:
adamdoesit:
TDK60:
doctorjazz:
fred:
doctorjazz:
Stork:
Stork:
Michael 98145:
Hopatcong Doug:
doctorjazz:
en.wikipedia.org...
coelacanth∅:
hyde:
doctorjazz:
Great week/new year all, Happy Healthy!
Revolution Rabbit Nov63:
WR:
Thank you, Stork! Onward.
adamdoesit:
Michael 98145:
Off to cook a few eggs.
Revolution Rabbit Nov63:
WR:
fred:
Stork:
Listener Robert:
Stork: