THE MODERN JAZZ QUARTET 1993 ATLANTIC JAZZ 8"x10" B&W PUBLICITY PHOTO EX.COND.

Description

INTERNATIONAL SHIPPING MAY BE DISRUPTED BY INDIVIDUAL COUNTRIES PROTOCOLS, PLEASE BE AWARE OF THAT BEFORE BIDDING!! THANKS!! PLEASE CHECK UNDER THE SHIPPING TAB TO MAKE SURE I SHIP TO YOUR COUNTRY BEFORE BIDDING/BUYING.
THIS ITEM COMES FROM MY TIME AT A NATIONAL RADIO NETWORK WHERE I WAS THE MUSIC AND PROMOTIONS DIRECTOR FOR NEARLY 20 YEARS. A RECENT FIND. THIS IS A PHOTO OF THE ACTUAL ITEM FOR SALE, SORRY IF THE PICTURE(S) ARE A BIT BLURRY. I HAVE OTHER ITEMS FOR SALE, CHECK OUT MY OTHER AUCTIONS, THANKS! STARTING TO UNCLUTTER. THANKS.
EBAY DOESN'T ALLOW ITEM DESCRIPTIONS OR INFORMATION THAT HAVE HYPERLINKS, LIKE WIKI,ETC. SO IF YOU WANT MORE INFO PLEASE FEEL FREE TO LOOK IT UP YOUR SELF. I WILL TRY & AD WHAT I CAN. I DO NOT TAKE BEST OFFERS, BUT FEEL FREE TO ASK QUESTIONS.
THIS IS A COOL 8”x10” B&W PUBLICITY PHOTO SENT OUT BY THEIR THEN LABEL ATLANTIC JAZZ FOR THE 40
th
ANNIVERSARY ALBUM TITLED “MJQ & FRIENDS” THAT WAS THEIR LAST EVER STUDIO RELEASE, HAS THE FOUR MEMBERS, JOHN LEWIS, PERCY HEATH, CONNIE KAY AND MILT JACKSON. PHOTO CREDIT TO RICHARD DUNKLEY, DATED 1993. SORRY I DO NOT SEEM TO HAVE THE PRESS KIT THAT I AM SURE THIS PHOTO CAME WITH, BUT I DID SAVE THE PHOTO.
CONDITION: THIS HAS BEEN STORED FLAT, WITH OTHER PRESS MATERIALS, ETC. IN MY SMOKE FREE APT. , THERE IS A VERY VERY SLIGHT “CURVE” OF THE PHOTO, BUT WOULD BE PERFECT FRAMED.
THIS WILL MAIL OUT INSIDE A PROTECTIVE PLASTIC OUTER SLEEVE WITH CARD BOARD BACKING.
MORE ON THE ARTIST-
When Illinois-born pianist John Lewis composed the haunting theme Django in the early 50s, he gave jazz one of its most enduring compositions.
, the Belgian gypsy guitar genius, combined Lewis's fascination with both Bach and the blues – and, in the process, it defined the sound of the Modern Jazz Quartet, a group that was laidback long before anybody coined the term.
Formed from the rhythm section of Dizzy Gillespie's late-40s big band, the quartet discovered their cool, chamber-music sound in the early 50s, travelled the world for the next 20 years, came back by public demand in the 80s and continued to perform until their last recording in 1993.
Fans both inside and outside the jazz loop – the Modern Jazz
Quartet were one of the rare bands to be loved beyond the cognoscenti – simply referred to them as "the MJQ". Determined to bring jazz the respect afforded to classical musicians, the band wore tuxedos, played concert halls rather than nightclubs, and delivered recitals rather than jams. For all their classical associations, the MJQ vibrated with the spirit of jazz – particularly in earlier years, before its successful mix became a formula.
The band's core comprised pianist Lewis and vibraphone virtuoso Milt Jackson. They made a fascinating contrast,  and developed a distinctive musical chemistry. Lewis, who was steeped in classical music, enjoyed threading the characteristic phrasing and swing of jazz through structures like rondos and fugues – he anticipated today's cross-genre explorations by decades. Jackson, an improviser of far more bite and power than was usual for a player of his delicately chiming instrument, was more overtly rooted in bebop's intricately long-lined melodies, and the phrasing of the blues.
Lewis's softly struck chords behind sinewy double-bass lines (originally Ray Brown, and eventually Percy Heath) and the patter and murmur of the drums (originally Kenny Clarke, then Connie Kay) made an MJQ piece identifiable from the first bar. It was a chamber ensemble sound that emphasised bebop's shapely themes and baroque-related harmonies, but played down its emotional heat. As a result, the band seduced listeners who would otherwise have been discomfited by jazz, and its albums dominated the charts in the 50s and early 60s.
Some critics felt that the group deployed the mannerisms and gestures of classical music and jazz without getting to the emotional core of either, but at their best the MJQ exhibited traditional jazz virtues: unusual melodic conception, soulfulness, swing, and the blues. John Lewis went on to compose scores for films, ballets, symphony orchestras, stage plays and TV, and he significantly advanced the cause of the
music of the late 50s and early 60s. But the eloquence of Django, a piece still played by jazz musicians everywhere, is both his own epitaph and that of the Modern Jazz Quartet.
1 January 1923, Detroit, Michigan, USA, d. 9 October 1999, New York City, New York, USA. Jackson’s first professional engagement, at the age of 16, was in his home town, playing the vibraphone alongside tenor saxophonist Lucky Thompson (one year his junior). Jackson benefited from the 40s loose attitude towards band personnel, spending six years accompanying visiting musicians, as well as studying at Michigan State University. In 1945, Dizzy Gillespie heard him and invited him to join his band for a west coast tour. Later moving to New York, the brilliant young vibes player found himself much in demand, playing and recording with Howard McGhee and Thelonious Monk (including Monk’s classic 1951 session for Blue Note Records). A spell with Woody Herman (1949-50) and more work with Gillespie established him as the pre-eminent player on his instrument.
Jackson’s recording debut as a leader was for Gillespie’s Dee Gee label in 1951. He also had the depth of experience to play with both Ben Webster and Charlie Parker. In 1954, the Milt Jackson Quartet transformed itself into the Modern Jazz Quartet, with pianist John Lewis becoming musical director. For the next 20 years, Milt Jackson led a Dr Jeckyll and Mr Hyde existence, playing the consummately sophisticated music of the MJQ, all dressed in their famous tuxedoes, and leading his own dates in the swinging company of Coleman Hawkins, Lucky Thompson or Horace Silver. In 1961, Jackson accompanied Ray Charles on Soul Meeting, on which the soul singer restricted himself to electric piano and alto saxophone.
Sleeve note writers loved to debate how happy Jackson could be with the MJQ’s starchy charts. Certainly when he broke up the group in 1974, it was due to what he considered its financial exploitation rather than musical antagonism. Often the vibes were an instrument associated with the hot, swinging proto-R&B of big band leaders Lionel Hampton and Johnny Otis. By slowing the vibrato and giving the right-hand mallet sweeping lines like a saxophone, Jackson gave the instrument sensuality and soul. Not until the appearance of Bobby Hutcherson in the mid-60s did anyone come up with an alternative modern approach to playing it. Jackson’s harmonic sense was unerringly inventive and he also kept his ears open for new talent. He championed guitarist Wes Montgomery and recorded with him for Riverside Records (Bags Meets Wes). Jackson was a strong force in the reintegration of bebop with swing values and musicians, the very definition of what came to be known as ‘mainstream’ jazz. His own quintets included players such as Cedar Walton, Jimmy Heath and James Moody. The 70s were a hard period for jazz players, but even in the dated arrangements of Bob James on a record like Olinga (recorded in 1974 for CTI) his caressing, ebullient vibes playing shone through. The 80s jazz revival was reflected by the MJQ re-forming and appearing at countless jazz festivals. In 1985, Jackson toured Europe under his own name. The Pablo record label continued to document his music into the 90s. He died of liver cancer in October 1999.
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