Billboard : 01/19/1957
Score of 85

One of the two MJQ re-issue packages available this month, both of which have been remastered and regrouped on 12-inch disks. The originals were big sellers, and sales should be even better now. The title tune is one of the MJQ’s best known and La Ronde Suite also is included. Nice Cover.

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Liner Notes by Ira Gitler

This is the original Modern Jazz Quartet, formed in the wake of their tenure with Dizzy Gillespie in 1952; the pianist, composer, arranger, mentor John Lewis, master drummer Kenny Clarke who had met John while in the Army and convinced him to stay in music, Percy Heath; the bearded, happy swinger whose powerful bass is utilized as another voice as well as a rhythm instrument and vibraphonist Milt Jackson, one of the major soloists in jazz.

Four of these tracks come from the Quartet’s second session for Prestige which took place in June of 1953.

The coronation counterpoint of The Queen’s Fancy heralds the proceedings. Some people have questioned John Lewis’ expeditions back into the 18th century. I like to agree with Nat Hentoff’s description of the feeling that is imparted to him of an 18th century cat, time-machined to now and wailing on a sunny morning in May. Jazz is a way of playing music and as always, the interpretation takes precedence over the material, or its source, in order of importance.

Delaunay’s Dilemma could not have been a severely trying one for the French jazz writer. Its atmosphere is one of happy, lilting movement and shows off the Quartet’s subtle swing. Percy Heath’s support is noteworthy.

The “American ballad form”, as John Lewis always refers to the slow-tempoed romantic songs (mostly standards), is enriched by Milt Jackson’s rendition of Autumn In New York.

Gershwin‘s But Not For Me is neatly swung by the ensemble for a chorus. After an interlude, Milt plays (and grunts) alone lor half a chorus, joined by Percy for the last half. Then John and Kenny make it a foursome again. The building process lifts the listener right along on its rising tide.

The sessions which produced the classic Django and the other remaining selections were well described by Robert Altshuler when they were originally issued on 10-inch LP. His descriptions were as pertinent now as they were then and I quote:

“John Lewis’ simply titled Django is in memory of the late French gypsy guitarist, Django Reinhardt who died in 1953. The form of the composition is developed with perfect pyramid-like symmetry. The thematic material for the entire work is stated in the two parts of the slow opening, and is used as the basis for the improvised sections. The opening statement is followed by vibraharp and piano solos (two choruses each) separated by an interlude which is in itself is a diminution of the second part of the opening theme. The work is concluded by a recapitulation of the opening material. One of the outstanding qualities of Django is that the strict formal design is not emphasized to the point of obviousness. Rather it is done with a disarming naturalness which is all the more convincing.

Milano, another example of “American ballad”, features Milt Jackson. The piece is dedicated to Italy’s Milan, always one of the great musical centers, and now fast becoming one of the most active jazz centers in Europe.

Oscar Pettiford and Dizzy Gillespie wrote One Bass Hit in those early days when these two musicians had a short-lived band of their own. Since Percy Heath won the 1954 Downbeat International Jazz Critics Poll as the outstanding new bassist, it was deemed appropriate to feature Percy in this string bass classic.

What was originally an integrated demonstration piece for drummer Kenny Clarke has since been expanded into a group La Ronde, displaying the solo dexterity of all the quartet members. None of the soloists occupy center stage un-attended. The strong ensemble sense of the group supplies firm support for each solo voice. Here is a blend of jazz improvisation and planned passages.”

I remember when the group decided to become a co-operative unit and took on the official title of Modern Jazz Quartet. Club owners were hard to convince and insisted on billing them as the Milt Jackson Quartet. Now MJQ is a household word. Just set at 33 1/3 and let them simmer slowly on your turntable. As a disc jockey who never plays their records might say (if he played their records), “Very tasty.”