Milt Jackson

He was particularly fond of the twelve-bar blues at slow tempos. On occasion, Jackson also sang and played piano.

Jackson was born on January 1, 1923, in Detroit, Michigan, United States, the son of Manley Jackson and Lillie Beaty Jackson. Like many of his contemporaries, he was surrounded by music from an early age, particularly that of religious meetings: "Everyone wants to know where I got that funky style. Well, it came from church. The music I heard was open, relaxed, impromptu soul music" (quoted in Nat Hentoff's liner notes to Plenty, Plenty Soul). He started on guitar when he was seven, and then on piano at 11. While attending Miller High School, he played drums, timpani and violin, and also sang in the choir. At 16, he sang professionally in a local touring gospel quartet called the Evangelist Singers. He took up the vibraphone at 16 after hearing Lionel Hampton play the instrument in Benny Goodman's band. Jackson was discovered by Dizzy Gillespie, who hired him for his sextet in 1945, then his larger ensembles. Jackson quickly acquired experience working with the most important figures in jazz of the era, including Woody Herman, Howard McGhee, Thelonious Monk, and Charlie Parker. In the Gillespie big band, Jackson fell into a pattern that led to the founding of the Modern Jazz Quartet: Gillespie maintained a former swing tradition of a small group within a big band, and his included Jackson, pianist John Lewis, bassist Ray Brown, and drummer Kenny Clarke (considered a pioneer of the ride-cymbal timekeeping that became the signature for bop and most jazz to follow) while the brass and reeds took breaks. When they decided to become a working group in their own right, around 1950, the foursome was known at first as the Milt Jackson Quartet, becoming the Modern Jazz Quartet (MJQ) in 1952. By that time Percy Heath had replaced Ray Brown. Known at first for featuring Jackson's blues-heavy improvisations almost exclusively, in time the group came to split the difference between these and Lewis's more ambitious musical ideas. Lewis had become the group's musical director by 1955, the year Clarke departed in favour of Connie Kay, boiling the quartet down to a chamber jazz style, that highlighted the lyrical tension between Lewis's mannered, but roomy, compositions, and Jackson's unapologetic swing. The MJQ had a long independent career of some two decades until disbanding in 1974, when Jackson split with Lewis. The group reformed in 1981, however, and continued until 1993, after which Jackson toured alone, performing in various small combos, although agreeing to periodic MJQ reunions. From the mid-1970s to the mid-1980s, Jackson recorded for Norman Granz's Pablo Records, including Jackson, Johnson, Brown & Company (1983), featuring Jackson with J. J. Johnson on trombone, Ray Brown on bass, backed by Tom Ranier on piano, guitarist John Collins, and drummer Roy McCurdy. In 1989, Jackson was awarded an Honorary Doctorate of Music from the Berklee College of Music. His composition "Bags' Groove" is a jazz standard. ("Bags" was a nickname given to him by a bass player in Detroit. "Bags" referred to the bags under his eyes.) He was featured on the NPR radio program Jazz Profiles. Some of his other signature compositions include "The Late, Late Blues" (for his album with Coltrane, Bags & Trane), "Bluesology" (an MJQ staple), and "Bags & Trane". Jackson died of liver cancer in Manhattan, New York at the age of 76. He was married to Sandra Whittington from 1959 until his death; the couple had a daughter.

Compilations I/We Had a Ball (Limelight, 1965) – rec. 1964 All Star Bags (Blue Note, 1976)[2LP] – rec. 1952-1957 Milt Jackson (Quintessence Jazz Series) (Pickwick, 1979) The Best of Milt Jackson (Pablo, 1980)

Vendome (Prestige, 1952) Modern Jazz Quartet, II (Prestige, 1955) Concorde (Prestige, 1955) Fontessa (Atlantic, 1956) The Modern Jazz Quartet at Music Inn (Atlantic, 1956) The Modern Jazz Quartet (Atlantic, 1957) The Modern Jazz Quartet and the Oscar Peterson Trio at the Opera House (Verve, 1957) The Modern Jazz Quartet Plays No Sun in Venice (Atlantic, 1958) – film score rec. 1957 The Modern Jazz Quartet at Music Inn Volume 2 (Atlantic, 1958) Music from Odds Against Tomorrow (United Artists, 1959) – soundtrack Third Stream Music (Atlantic, 1960) – rec. 1959–1960, including Sketch for Double String Quartet (1959) Pyramid (Atlantic, 1960) The Modern Jazz Quartet & Orchestra (Atlantic, 1960) European Concert (Atlantic, 1960) – live The Comedy (Atlantic, 1962) – recorded in 1960-1962 Lonely Woman (Atlantic, 1962) A Quartet is a Quartet is a Quartet (Atlantic, 1963) Collaboration with Laurindo Almeida (Atlantic, 1964) The Modern Jazz Quartet Plays George Gershwin's Porgy and Bess (Atlantic, 1965) – rec. 1964–1965 Jazz Dialogue with the All-Star Jazz Band (Atlantic, 1965) Concert in Japan '66 (Atlantic [Japan], 1966) Blues at Carnegie Hall (Atlantic, 1966) Place Vendôme with The Swingle Singers (Philips, 1966) Under the Jasmin Tree (Apple, 1968) – rec. 1967 Space (Apple, 1969) Plastic Dreams (Atlantic, 1971) The Legendary Profile (Atlantic, 1972) In Memoriam (Little David, 1973) Blues on Bach (Atlantic, 1974) – rec. 1973 The Last Concert (Atlantic, 1974) The Only Recorded Performance of Paul Desmond With The Modern Jazz Quartet with Paul Desmond (Finesse/Columbia, 1981) – rec. 1971 Reunion at Budokan 1981 (Pablo, 1981) Together Again: Live at the Montreux Jazz Festival '82 (Pablo, 1982) Echoes (Pablo, 1984) Topsy: This One's for Basie (Pablo, 1985) Three Windows (Atlantic, 1987) For Ellington (East West, 1988) MJQ & Friends: A 40th Anniversary Celebration (Atlantic, 1994) – rec. 1992–1993 Dedicated to Connie (Atlantic, 1995) – live rec. 1960 Lost Tapes: Germany 1956–1958 (Jazzhaus, 2013) – live rec: 1956–1958

CTI All-Stars, CTI Summer Jazz at the Hollywood Bowl (CTI, 1991)[2CD] – rec. 1972