Miles Davis and Milt Jackson Quintet/Sextet

Editorial Reviews

All Music Guide - Scott Yanow
One of the most obscure of his Prestige recordings, this CD only contains a half-hour of music but the quality is fairly high. Davis is heard outside of his regular group, playing with vibraphonist Milt Jackson, pianist Ray Bryant who was left out of the personnel listing, bassist Percy Heath, drummer Art Taylor and, on two of the four numbers, altoist Jackie McLean. This set formerly known as Miles Davis and Milt Jackson is highlighted by "Dr. Jackle" and "Minor March."
All Music Guide
Less heralded than their collaboration with Thelonious Monk (as documented on Bags' Groove and Miles Davis and the Modern Jazz Giants), this August 5, ...
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Editorial Reviews

All Music Guide - Scott Yanow
One of the most obscure of his Prestige recordings, this CD only contains a half-hour of music but the quality is fairly high. Davis is heard outside of his regular group, playing with vibraphonist Milt Jackson, pianist Ray Bryant who was left out of the personnel listing, bassist Percy Heath, drummer Art Taylor and, on two of the four numbers, altoist Jackie McLean. This set formerly known as Miles Davis and Milt Jackson is highlighted by "Dr. Jackle" and "Minor March."
All Music Guide
Less heralded than their collaboration with Thelonious Monk (as documented on Bags' Groove and Miles Davis and the Modern Jazz Giants), this August 5, 1955 session with vibraphonist Milt Jackson was Davis' last all-star collaboration before the formation of his first classic quintet. It marked a farewell to an older generation of acolytes and fellow travelers; Davis was entering a new era of leadership and international stardom, and generally he would only record with his working groups. Quintet/Sextet is notable for two compositions by Jackie McLean: "Dr. Jackle" and "Minor March" (it appears on his famous 1959 Blue Note date New Soil as "Minor Apprehension"). The former is a Charlie Parker-ish line featuring a masterful Milt Jackson symposium on the blues -- Davis' typically lyric approach, a tart, spacious flight from McLean, and a soulful, dancing Ray Bryant. The latter is a mysterious minor figure with jabbing rhythm breaks and a joyous bridge that recalls "Tempus Fugit." McLean's vaulting cadences and fervent cry anticipate the rapture of his mature style, and Bryant takes a harmonically adventuresome solo. Elsewhere, the group digs into the Bud Powell-like changes of Ray Bryant's low, slow "Changes" (over the rock-solid groove of Percy Heath and Art Taylor), and the quirky harmonies and angular melodies of Thad Jones' "Bitty Ditty." "Changes" inspires a lovely muted statement from Davis, and illustrates Bryant's unique blend of blues, sanctified gospel, and bebop. Davis and Jackson combine for pungent voicings on the head to "Bitty Ditty," then demonstrate their elegant mastery of harmony and swing. Both are inspired by the shape of Jones' line, and are completely unfazed by its intricacies.
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Product Details

  • Release Date: 7/1/1991
  • Label: Ojc
  • UPC: 025218111225
  • Catalog Number: 12
  • Sales rank: 17,621

Tracks

Disc 1
  1. 1 Dr. Jackle - Milt Jackson Quintet (8:55)
  2. 2 Bitty Ditty - Milt Jackson Quintet (6:37)
  3. 3 Minor March - Milt Jackson Quintet (8:17)
  4. 4 Changes - Milt Jackson Quintet (7:10)
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Album Credits

Performance Credits
Miles Davis Primary Artist, Trumpet, Track Performer
Ray Bryant Piano
Milt Jackson Vibes, Track Performer
Art Taylor Drums
Percy Heath Bass
Jackie McLean Alto Saxophone
Technical Credits
Milt Jackson Vibe Master
Rudy Van Gelder Engineer
Ira Gitler Liner Notes
Bob Weinstock Producer
Martin Williams Liner Notes
Joe Tarantino Mastering
William Martin Liner Notes
Steve Hoffman Mastering
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