Tired of the overwhelming deluge of bad news, politics, and the repetitive minutia of the meta? Seeking refuge from the chaos and mayhem?
Follow me into the cobweb encrusted, dusty part of the ol’ jazz collection.
While searching for something a bit more suited to a pleasant late Sunday afternoon, I came across a real gem of an album, two albums really, compiled on a now out of print CD from Atlantic Jazz. one that meets my criteria as “Solid, Top to Bottom”.
Catch you on the flip…
Recorded in 1957 and 1958 for Vanguard Jazz, originally released as separate albums, and rereleased in 1989 as a two disc set, and now out of print. {Note: used copies are still available so keep your eyes, and ears open]
Ray Charles Milt Jackson Soul Brothers Soul meeting
Atlantic Jazz 7 8191-2
All jazzers are familiar with the 12 bar blues. It is, after all, a staple of American music. In the wrong hands, it can sound artificial, sometimes mundane. In the right ones, though, it can be succulent, sweet, and profoundly beautiful. Ladies and gentlemen: I have never in my life heard a better jazz/blues album (actually two in one) than this one right here.
From the first grinding minute of the opening “How Long Blues,” to the soul-infused, uptempo “Hallelujah, Got to Love Her So,” Ray Charles and Milt Jackson deliver us a plethora of approaches to the blues, all stunners in their own way. And unlike many collaborations, Charles and Jackson are good foils for eachother. Charles, drenched as he was in gospel/soul, solos in a slower, more mournful style, while the veteran jazzer Milt Jackson takes a more meandering ‘be-bop’ approach. Put them together, and you get a fusion most electric.
While I happen to think that Charles is the ‘scene-stealer’ on these two albums (witness the 5 minute piano solo in “The Genius After Hours” for a great example), both soloists are certainly in top form. But that is what makes this record so great to listen to: despite their different approaches to blues soloing, both players bring everything they have to the table, and the result is a sweet delight.
In closing, if you like a more straight ahead bop style, this disc might come off as too slow for you. Most of the tracks are in mid and slow tempos (a few of which are out-and-out grinders)! The tracks are more about soul than chops. This is fine by me, but might not be to some jazzers tasts (especially if you know Milt Jackson primarily from the Modern Jazz Quartet’s recordings.) But if you want soul drenched blues, this is one of the best albums you can get!
K.S. Currie
Pretty much says it all. This is a splendid album(s) showcasing a sides of two amazing musicians that is rarely seen. In addition to Brother Ray on piano and alto sax, yes he could play it – very well ASAMoF, Bag’s on vibraharp and piano; you’ll be treated to the likes of Oscar Pettiford on bass, Skeeter Best on guitar, Connie Kay drums, and Billy Mitchell on tenor…not too shabby a line up and that’s just Disc 1. On Disc 2 you’ll also find Kenny Burrell on guitars. Percy Heath on the bass and Art Taylor keeping time on the drum kit.
14 tracks and an hour and a half of heaven…Very Highly Recommended
Enjoy
Time for another cold one and Disc 2.
Later
Peace
