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Night Mist Import

4 étoiles sur 5 1 commentaire client

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Page Artiste Milt Jackson


Détails sur le produit

  • CD (2 décembre 1994)
  • Nombre de disques: 1
  • Format : Import
  • Label: Mis
  • ASIN : B000000Z0K
  • Autres éditions : CD  |  Album vinyle
  • Moyenne des commentaires client : 4.0 étoiles sur 5 1 commentaire client
  • Classement des meilleures ventes d'Amazon: 605.334 en Musique (Voir les 100 premiers en Musique)
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Liste des titres

Disque : 1

  1. Blues In My Heart
  2. Double B
  3. Blues For Clyde
  4. A Matter Of Adjustment
  5. Night Mist Blues
  6. Other Bag Blues
  7. D.B. Blues

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Par Philiplo TOP 500 COMMENTATEURS le 24 octobre 2010
Format: CD Achat vérifié
Vous voulez un bon disque bien carré avec des valeurs sûres qui jouent sans vous prendre la tête. Le vibraphoniste Milt Jackson a réuni en avril 1980 quelques copains de longue date comme le trompettiste Harry "Sweets" Edison, le saxe ténor Eddie "Lockjaw" Davis, le saxe alto Eddie "Cleanhead" Vinson avec le pianiste Art Hillery, le grand contrebassiste Ray Brown et Larance Marable à la batterie.
Introduisons le CD dans le lecteur. Dès les premières notes de Harry Edison soutenu par la contrebasse de Ray, on est pris par ce blues lent intitulé "Blues in my heart". Les gars connaissent leur boulot! Le tempo change pour la composition de R. Brown "Double B". Le père "Lockjaw" prend les choses en main et entraine le septet dans un tempo d'enfer. Milt n'est pas en reste! Excellent "Night mist Blues", une composition aérienne de Ahmad Jamal qui donne la part belle à Milt Jackson. Ensuite un "Other Bag blues" où Milt sonne fort bien relayé par des cuivres en grande forme.
Et un "D.B. Blues" en guise d'adieu, interprété sans les souffleurs, dont on se prend à souligner le tempo.
Un disque qui ne donne pas le blues. On ne révolutionne pas le jazz, mais "P..." qu'est que c'est bon!
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Commentaires client les plus utiles sur Amazon.com (beta)

Amazon.com: HASH(0xa1c154ec) étoiles sur 5 2 commentaires
4 internautes sur 4 ont trouvé ce commentaire utile 
HASH(0x9797c99c) étoiles sur 5 Jazzin' the Blues - a Jam Session and a Tutorial 8 février 2012
Par D.R.L. - Publié sur Amazon.com
Format: CD
~ During the late 1970's into the early 1980's Norman Granz recorded numerous all-star jam sessions with a core group of musicians he had under contract. "Night Mist", recorded on 14 April 1980, is typical of these all-star jam sessions - not his best jam session; not his worst. This one features Milt Jackson (vibes) supported by Harry Sweets Edison (trumpet), Eddie Lockjaw Davis (tenor sax), Eddie Cleanhead Vinson (alto sax), Ray Brown (bass), Art Hillery (piano), and Lawrence Marble (drums) - all of whom played on many of Norman's other jam sessions. The arrangements are rather straight-ahead with a head statement followed by a sequence of soloists. As such, it is an enjoyable CD, although the recording quality is not the greatest. In some places soloists come in overly load and in some places the drums are too load. Having said that, Ray Brown's bass is clear and perfect throughout, as is Milt Jackson. Sound separation is also excellent, and each of the musicians contributes excellent solos.
~ The program, as one would expect for a Milt Jackson jam session, consists of the blues in various forms and shades. It is this variation of the standard 12-bar and 8-bar blues form from track to track that makes this CD special. Some tracks are not strictly the blues in terms of structure, but with these musicians they certainly feel like the blues.
~ For anyone interested in jazzin' the blues, this CD is a 46 minute tutorial.
2 internautes sur 2 ont trouvé ce commentaire utile 
HASH(0x97c02e04) étoiles sur 5 His Best As A Leader 29 mai 2010
Par Edward Abbott - Publié sur Amazon.com
Most of vibraphonist Milt Jackson's recordings as a leader have been at the head of a quartet or quintet.

This spirited set has a variety of "near blues" material being interpreted by an all-star septet featuring such unique voices as trumpeter Harry "Sweets" Edison, the tenor of Eddie "Lockjaw" Davis and altoist Eddie "Cleanhead" Vinson in addition to Jackson, pianist Art Hillery, bassist Ray Brown and drummer Larance Marable.

There are plenty of magical moments created on this set by these classic jazzmen. This is one of those magic moments in recorded jazz of the past century. All I can say find it, buy it. Very highly recommended as a must have.

Track Listing:

Blues in My Heart
Double B
Blues for Clyde
A Matter of Adjustment
Night Mist Blues
Other Bag Blues
D.B. Blues

The Septet:

Milt Jackson - Vibraphone
Ray Brown - Bass
Eddie "Lockjaw" Davis - Sax (Tenor)
Harry "Sweets" Edison - Trumpet
Art Hillery - Piano
Larance Marable - Drums
Eddie "Cleanhead" Vinson - Sax (Alto)

Recorded April 14, 1980 on the Pablo Label and is catalog number D2312124

Liner Notes by Benny Green

Review:

Jazz musicians spent half their lives playing the blues. Why this should be so has not to date been satisfactorily explained by the professors, but whatever the reasons, it is certainly a fact of the improvisors life that the twelve bar sequence shown as the blues has proved so indispensible a property to the instrumentalist as to have survived all evolutions in jazz style no matter how arcane the harmonic innovations those changes in style have incorporated. The blues were at least as essential to Charlie Parker as they were to King Oliver; indeed, the historian looking for proof that the thread of continunity still runs through the history of the music always ends up proving his case by quoting the ubiquity of the blues. Gradually the tradition has grown, that to play the blues is the acid test for every jazz musician, the theory being that no matter how daintily he treads the measures of the art-songs like "Body and Soul" and "The Man I Love". It is when he plays the blues that his judges will be able to take his true measure.

What follows from all this is that there are bound to occur the odd moments when the musician, about to play the blues for perhaps the ten thousandth time in his professional life, pauses and wonders for a moment what he might be able to do to imbue his improvisarions with the fizz of novelty. The general listener might wonder why, if this is the case, the musician does not simply elect to play something else, which quite misses the point. It is not that the instrumentalist is bored with the blues; on the contrary, he loves them to distraction and is always looking for ways to demonstrate that love. What he sometimes feels like doing is not to fling the blues aside, but dream up a few devices which will cast a fresh light upon them, rather like an experience traveler might prefer to return to the same old haven at the end of his journey, but approaches the place by a subtly different route. It is the quest for discovery of ,that subtly different route, and the discovery of, that subtly different route which animates the soloist on this album.

Jackson and company have in effect produced an examination paper for the advanced students in the blues, for although none of the seven tracks which make up the album could ever have existed were if not for the blues, most of them are not quite the blues, or are the blues plus, or the blues minus, or the blues sideways, or the blues upside down, so that before he can sit back and luxuriate in the familiar contours of jazz's most venerable formula, the listener will have been well advised to sort out in his own mind what is going on in the mind of "Bags", "Cleanhead", "Sweets", "Jaws" and company, especially as he might easily get lulled into a false sense of security by "A Matter Of Adjustment", which really is the classic, conventional blues.

"Blues For Clyde" too might be defined as a blues, except that the whole shooting match has been shifted from the major to the minor tonality. The minor blues is not quite unknown in jazz; since the emergence of the new modernism of the 1940's the occasional experiment in that direction has taken place. Its effect is unagruably of the blues, but the blues with a sweetly shadowed face. "Other Bag Blues" which follows it, demonstrates the difference. As it happens "Other Bag Blues" marks a return to the customary blues formula, except that here the soloists are seeking their stimulus through slowing of the tempo. Indeed, slowing or speeding the tempo is one of the two main sources of relief from routine for the habitual blues player, the other being a recourse to this or that key. It is obvious that a fast blues in say F, will present quite a different instrumental landscape to the player from say a slow blues in Ab and so on.

Both "Night Mist Blues" and "Blues In My Heart" take a different kind of liberty with the classic formula, by reducing the length of the theme to eight bars. Once or twice in popular song, the composer has worked this trick. Examples being "I Want A Little Girl" and "I'm Just A Lucky So and So", where the eight bar tune catches a surface impression of the twelve bar blues by stressing that vital chord movement in the fourth bar which incorporates a dominant seventh leading into a new tonality. One may wonder, after all this action, what was left for the musicians to do in this album without forsaking the blues form alltogether. The answer come with "D.B. Blues" and "DoubleD", the most ingenious variations of all. In "D.B. Blues" the players use the blues formual by playing two choruses and then inserting the bridge of "I Got Rhythm" which makes a full chorus of 44 bars 12-12-8-12.

Even more remarkable in "DoubleD", each solist modulates into a new key, so that while Harry Edison blows his jazz in Bb, Cleanhead folows by moving up by the interval of a fourth into the key Eb. Jaws moves up another fourth into Ab, leaving Milt to tackle the frightful complexities of the key of Db. This means that each soloist presents a portrait of the view as seen from a different window, with the added complxity that Ray Brown and Art Hillery, as accompanists, are obliged to play in each new key as it comes up. It hardly needs saying that you have to be a master to work these tricks, and there is not a man on the session who is not a complete master in every sense of the word. I do think that Milt, in addition to being a master is also a genius

End Review:

Just before the Modern Jazz Quartet reformed Milt Jackson put out this great album with some of the best in the business. This remains to this day as one of his finest works, if not the best he did as leader on an album. Make no mistake you should have this in your library.
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