High Fidelity : September 1955

The Milt Jackson Quartet is the Modern Jazz Quartet without John Lewis. The omission is somewhat monumental and although Lewis’ replacement, Horace Silver, plays an amusing style of piano, the approach of a non-Lewis quartet is bound to be totally different than the approach of a Lewis quartet.

The difference is in the replacement of an integrated concept – or an attempt at an integrated concept – by the usual series of solo variations. Since Jackson is the principal figure involved in these variations, they come out swinging even when the tempo is as deadly slow as it is on My Funny Valentine which Jackson turns into an effective piece of jazz through pure muscular force, constantly prodding the dead beat and dancing around the funeral theme in whirligig fashion. Moonray and Stonewall give him an easier time and on the latter Silver manages one of his leering solos and is delightfully sly behind Percy Heath‘s bass solo. In many ways, this set was a challenge to Jackson as a leader, leavener and virtuoso, and two times out of three he comes out with colors flying. The recording, for the most part, is good although I heard an unpleasant, dragging echo on the vibes in the very slow numbers.

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San Francisco Chronicle
Ralph J. Gleason : 09/11/1955

For the past 20 years, there has been a succession of great performers on the vibraphone. First, Red Norvo, then Lionel Hampton, and, more recently, Milt Jackson and Cal Tjader.

But no one, since Hampton, has had the influence on other performers that Detroit-born Milt Jackson has had. Since his first appearance with the Dizzy Gillespie band and later with the Woody Herman Sextet, and, more recently, as leader of his own group and as a part of the wonderful Modern Jazz Quartet, Milt has established himself as the modern-day king of vibraphonists.

His most recent album, a 12-inch package for Prestige, The Milt Jackson Quartet, goes a long way in upholding this reputation. Superbly recorded, it presents Jackson with Percy Heath, bass; Connie Kay, drums, and Horace Silver, piano, on six excellent tunes. The particular attraction of the album for me is the remarkably fragile yet strongly swinging performances on the ballads, The Nearness of You and My Funny Valentine. The tunes all run a little longer than usual, and the level of performance is exceptionally high. This is a top-notch, modern jazz LP.

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Down Beat : 09/21/1955
Nat Hentoff : 4 stars

A relaxed, consistently tasteful blowing session on which Bags‘ quartet includes two other MJQ colleagues – Percy Heath and Connie Kay – as well as pianist Horace Silver. All are fine. The rhythm swings steadily; Horace’s solos indicated again how emotionally moving a pianist he is; Jackson takes the major share of solo space with assured inventiveness. On ballads as well as up tempos, Bags is excellent. He is even able to refreshed that much handled Valentine. It’s good, incidentally, to hear Moonray again. Stonewall is a blues-based original by Bags. In summary, a most restful though stimulating package.

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Liner Notes by Ira Gitler

It seems that sometimes 10 inch LPs do not suffice. When a musician is an important one (in the sense of having something to say) lovers of the jazz art cannot get enough of him. The 12 inch LP is the logical solution, that is until everyone can get a Rek-O-Kut turntable.

Prestige will utilize the 12 inch series in two ways. One will be to bring up to date the best work of the important musicians recorded at the company’s inception: Stan Getz, Lee Konitz, Miles Davis and Gerry Mulligan. Remastering will be done by Rudy Van Gelder who will bring the sound up to new standards. Each of these albums will contain significant recordings of the aforementioned musicians. The space afforded by the 12 inch LP will be used to present a collection of numerous short tracks (i.e. the 3 minute recording), and in the cases of Mulligan and Davis, the longer sides as well.

In new recording for the 12 inch series, although the short track will not be completely neglected, the main emphasis is on ample time for development of idea by the soloist and composer. As in the case of the reissues, the musicians are important ones – people who are contributing richly to the story of jazz.

Walter Milton Jackson, known as Milt or more esoterically “Bags”, is one of the important musicians whether considered in his own era or in relation to the overall history of jazz. In the tremendous vitality of his playing there is the embodiment of the best melodic and percussive aspects of his instrument. The contours of his lines flow much like a horn and his swing is a wonderful thing. Even on the ballads where he exhibits a tender soulfulness, Milt keeps things moving around in a way which illustrates perfectly that swinging is not necessarily playing fast or at an up tempo. Barry Ulanov described him in the 1954 Metronome Yearbook as “a performer not only of technical facility but also of delicate tone and subtle taste.”

Followers of modern music since the early Forties remember Milt for his work with the small group and big band of Dizzy Gillespie, Howard McGhees group and Woody Herman’s hand. He has acquired a vast new following through the success of the Modern Jazz Quartet, a success in which he has played a major part.

Accompanying Milt in this LP are pianist Horace Silver, bassist Percy Heath and drummer Connie Kay.

Horace is currently with Art Blakey’s Messengers. Petey and Connie are Milt’s team mates in the MJQ.

The Nearness of You, My Funny Valentine and I Should Care are given their usual ballad treatment but not in a usual way.

Wonder Why is a bright little tune from a recent movie, Moonray an old Artie Shaw opus and Stonewall a blues original by Milt taken up tempo.