Modern Jazz Quartet

All Music Guide:

Pianist John Lewis, vibraphonist Milt Jackson, bassist Ray Brown and drummer Kenny Clarke first came together as the rhythm section of the 1946 Dizzy Gillespie & His Orchestra and they had occasional features that gave the overworked brass players a well-deserved rest. They next came together in 1951, recording as the Milt Jackson Quartet. In 1952, with Percy Heath taking Brown's place, the Modern Jazz Quartet (MJQ) became a permanent group. Other than Connie Kay succeeding Clarke in 1955, the band's personnel was set. In the early days Jackson and Lewis both were equally responsible for the group's musical direction but the pianist eventually took over as musical director. The MJQ has long displayed John Lewis' musical vision, making jazz seem respectable by occasionally interacting with classical ensembles and playing concerts at prestigious venues, but always leaving plenty of space for bluesy and swinging improvising. Their repertoire, in addition to including veteran bop and swing pieces, introduced such originals as Lewis' "Django" and Jackson's "Bags' Groove." The group recorded for Prestige (1952-55), Atlantic (1956-74), Verve (1957), United Artists (1959) and Apple (1967-69) and, in addition to the many quartet outings, they welcomed such guests as Jimmy Giuffre, Sonny Rollins, the Beaux Arts String Quartet, a symphony orchestra conducted by Gunther Schuller, singer Diahann Carroll (on one piece), Laurindo Almeida, a big band and the Swingle Singers. Although the musicians all had opportunities to pursue individual projects, in 1974 Milt Jackson, tired of the constant touring and the limitations set on his improvising and he quit the group, causing the MJQ to have a final tour and break up. In 1981 Jackson relented and the Modern Jazz Quartet (which has recorded further albums for Pablo and Atlantic) became active again although on a more part-time basis. Connie Kay's health began to fade in the early '90s (Mickey Roker often filled in for him) and after his death in 1995, Albert "Tootie" Heath became his replacement.

Wikipedia:

The Modern Jazz Quartet (MJQ) was an influential music group established in 1952 and for most of their long career composed of John Lewis (piano, musical director), Milt Jackson (vibraphone), Percy Heath (double bass), and Connie Kay (drums).

Initially a side project for personnel from trumpeter Dizzy Gillespie's hard-swinging big band, the MJQ gradually became a full-time endeavor and one of the more prominent jazz bands of the post-WWII era. Under Lewis's leadership they carved their own niche by specializing in an elegant, restrained music (touching on bebop, cool jazz, third stream and classical music) that used sophisticated counterpoint yet nonetheless retained a strong blues feel. They introduced several jazz standards, including "Django" and "Bags' Groove".

Initially active into the 1970s until Jackson quit due to creative disagreement and frustration with their busy touring schedule, the MJQ reformed intermittently into the 1990s.

History[edit]

Milt Jackson, John Lewis, and drummer Kenny Clarke had originally played together in a quartet while in the Dizzy Gillespie orchestra from 1946 to 1950. Together with bassist Ray Brown they played during interludes designed to give the trumpeters time to recover from the challenging upper-register parts. This line-up recorded as the Milt Jackson Quartet in 1951.

Bassist Percy Heath joined the line-up in 1952 and the group became known as The Modern Jazz Quartet after John Lewis took over as Musical Director, a position which Jackson and Lewis had previously shared.

Connie Kay replaced Clarke as drummer in 1955.

In their middle years the group often played with classical musicians, but their repertoire consisted mainly of bop and swing era standards. Among the original compositions from the band's book are "Django" by Lewis (a tribute to the Belgian jazz guitar player Django Reinhardt), "Afternoon In Paris," also by Lewis, and Jackson's "Bags' Groove", the latter borrowing its composer's nickname.

The group was first signed by Prestige and later in the fifties with Atlantic. In the late 1960s, in between their two periods with Atlantic, they signed with Apple, the Beatles' label (the sole jazz group on the label), and released two albums: Under the Jasmin Tree (1968) and Space (1969). Both Apple albums were re-released on one CD at the end of October 2010, with a previously unreleased rendition of The Beatles' "Yesterday" (recorded during sessions for Space) added as a bonus track. The MJQ came to Apple through the first head of the label, Ron Kass. Kass was a jazz fan, and Under the Jasmine Tree was recorded in America prior to signing with Apple. The second Apple album Space was recorded at London's Trident Studios under the supervision of Apple A&R man, Peter Asher (of Peter and Gordon).

Jackson left the group in 1974 partly because he liked a freer flowing style of playing and partly because he was tired of playing for little money (compared to rock and roll stars). As there could be no Modern Jazz Quartet without the two principals Lewis and Jackson, the group disbanded after going out with a rollicking concert in November at Lincoln Center's Avery Fisher Hall.

In 1981 the MJQ reorganized to play festivals and later on a permanent six-months-per-year basis. When Kay's health began to suffer, he was replaced first by Mickey Roker and then by Albert "Tootie" Heath, Percy's brother. The MJQ's last recording was issued in 1993. Percy Heath, the last surviving original member, died in 2005.Cite error: There are <ref> tags on this page, but the references will not show without a {{reflist}} template (see the help page).

Style[edit]

The enigma of the MJQ's music-making was that each individual member could improvise with an exciting vibrancy but in toto the group specialised in genteel baroque counterpoint. Their approach to jazz attracted promoters who sponsored "jazz packet" concerts during the 1950s. One show would consist of several contrasting groups. The MJQ were ideal participants because no other group sounded like them. They provided a visual contrast as well, formally attired in their customary tuxedos.

The group played blues as much as they did fugues, but the result was tantalising when one considered the hard-swinging potential of each individual player. Their best-selling record, Django, typified their neo-classical approach to polyphony.

Filmography[edit]