Sealed LP: Milt Jackson: Opus de Funk

$

25

Milt Jackson: Opus de Funk

FACTORY SEALED LP

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Songs

• Opus de Funk
• Buhaina
• I've Lost Your Love
• Soma
• Wonder Why
• My Funny Valentine
• Stonewall
• I Should Care
• Nearness of You
• Moon Ray
• Ruby My Dear
• Sealer
• None Shall Wander
• Ruby
• Invitation
• Stella by Starlight
• Too Close for Comfort
• Poom a Loom

Credits

Percy Heath: Bass

• Henry Boozier: Trumpet
• Kenny Clarke: Drums
• Milt Jackson: Vibraphone, Main Performer
• Horace Silver: Piano

Album Review

This disc features songs cut by Milt Jackson (vibraphone), Kenny Clarke (drums), Percy Heath (bass), Horace Silver (piano), and Henry Boozier (trumpet). While these tunes have shown up in a number of configurations, Opus de Funk (1995) centers on several pieces documented during a June 1954 session. The title composition is a Jackson original, swinging heavily with his trademark honey-toned glisten and freewheeling melody, perfectly capturing the performer's effervescent essence. Although melodically intricate, the tag team of Boozier and Jackson lead effortlessly into a sublime solo from the latter. "Buhaina" was penned by Silver and dedicated to Art Blakey (drums), perhaps in reference to the complex syncopation. The lines are given further resonance thanks to Boozier, whose instrumental fluidity deftly matches that of Jackson. On the other side of the spectrum is the dusky balladry of "I've Lost Your Love." His supple embrace adorns with a lyrical yet restrained passion. "Soma" is another Jackson-penned number that instantly unleashes a potent blues vibe, carrying over Heath and Clarke's solid rhythm section. The remainder of Opus de Funk boasts material from an equally impressive lineup with Kenny Dorham (trumpet), Jimmy Heath (tenor sax), Tommy Flanagan (piano), Ron Carter (bass), and Modern Jazz Quartet member Connie Kay (drums). Among the highlights are the interpretation of Thelonious Monk's "Ruby, My Dear" and the luminous "Stella by Starlight." Although Opus de Funk would not rate as one of Jackson's most commanding works, inclined parties should consider it a worthwhile codicil to their collection. ~ Lindsay Planer, All Music Guide

Biography

Milt Jackson biography by Scott Yanow, All Music Guide

Before Milt Jackson, there were only two major vibraphonists: Lionel Hampton and Red Norvo. Jackson soon surpassed both of them in significance and, despite the rise of other players (including Bobby Hutcherson and Gary Burton), still won the popularity polls throughout the decades. Jackson (or "Bags" as he was long called) was at the top of his field for 50 years, playing bop, blues, and ballads with equal skill and sensitivity.

Milt Jackson started on guitar when he was seven, and piano at 11; a few years later, he switched to vibes. He actually made his professional debut singing in a touring gospel quartet. After Dizzy Gillespie discovered him playing in Detroit, he offered him a job with his sextet and (shortly after) his innovative big band (1946). Jackson recorded with Gillespie, and was soon in great demand. During 1948-1949, he worked with Charlie Parker, Thelonious Monk, Howard McGhee, and the Woody Herman Orchestra. After playing with Gillespie's sextet (1950-1952), which at one point included John Coltrane, Jackson recorded with a quartet comprised of John Lewis, Percy Heath, and Kenny Clarke (1952), which soon became a regular group called the Modern Jazz Quartet. Although he recorded regularly as a leader (including dates in the 1950s with Miles Davis and/or Thelonious Monk, Coleman Hawkins, John Coltrane, and Ray Charles), Milt Jackson stayed with the MJQ through 1974, becoming an indispensable part of their sound. By the mid-'50s, Lewis became the musical director and some felt that Bags was restricted by the format, but it actually served him well, giving him some challenging settings. And he always had an opportunity to jam on some blues numbers, including his "Bags' Groove." However, in 1974, Jackson felt frustrated by the MJQ (particularly financially) and broke up the group. He recorded frequently for Pablo in many all-star settings in the 1970s, and after a seven-year vacation, the MJQ came back in 1981. In addition to the MJQ recordings, Milt Jackson cut records as a leader throughout his career for many labels including Savoy, Blue Note (1952), Prestige, Atlantic, United Artists, Impulse, Riverside, Limelight, Verve, CTI, Pablo, Music Masters, and Qwest. He died of liver cancer on October 9, 1999, at the age of 76.

• This record came from a record store called "Phantasmagoria" which was located in Allentown, Pennsylvania. Phantasmagoria went out of business in 1978. I purchased most of their unsold inventory some years later when I owned "Music Madness" - a new & used record store in Catasauqua.
• Phantasmagoria used round colored stickers to indicate the price of the albums. They had a sign on the wall with the color sticker combinations for the customers to use so they knew the price of the albums. Most of the albums still have these stickers on them, and in some rare cases, the stickers are written on. Some of the records have prices on them. This is the price you would have paid for the record in 1978 if you would have bought it at Phantasmagoria. Please don't confuse these prices with their current value.
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