Blues on Bach The Modern Jazz Quartet

• 1 Regret? 02:06
• 2 Blues In B Flat 04:58
• 3 Rise Up In The Morning 03:25
• 4 Blues In A Minor 07:53
• 5 Precious Joy 03:15
• 6 Blues In C Minor 08:00
• 7 Don´t Stop This Train 01:47
• 8 Blues In H (B) 05:46
• 9 Tears From The Children 04:25
• Total Runtime 41:35

Info for Blues on Bach

Blues on Bach was one of the last albums the The Modern Jazz Quartet made for Atlantic and parts of it find the group at its most precious.

'This album has an interesting concept, alternating four original blues with five adaptations of melodies from classical works by Bach. Blues on Bach music CDs The Modern Jazz Quartet had long been quite adept in both areas, and despite a certain lack of variety on this set (alternating back and forth between the two styles somewhat predictably), the music is largely enjoyable. Vibraphonist Milt Jackson, pianist John Lewis (doubling here on harpsichord), bassist Percy Heath, and drummer Connie Kay were still all very much in their musical prime during the 21st year of the MJQ's existence.' (Scott Yanow)

John Lewis, piano, harpsichord
Milt Jackson, vibraharp
Connie Kay, drums & percussion
Percy Heath, bass

Producer: Nesuhi Ertegun
Engineer: Gene Paul
Recorded at Atlantic Recording Studios, New York, NY (11/26/1973-11/27/1973)

The Modern Jazz Quartet were incredibly important in the development of jazz in the 1950s, and although they officially disbanded in 1974, they’ve reformed for both concerts and recordings several times since then, making them now an “evergreen” jazz band. It was not always so.

The Modern Jazz Quartet was originally formed as the Milt Jackson Quartet (which, conveniently, had the same initials, MJQ) and consisted of Jackson on vibraphone, John Lewis on piano, Percy Heath on bass and Kenny Clarke on drums. Of these, Clarke was the veteran of the group, a drummer who had been at Minton’s after-hours club in 1939, where Charlie Parker, Dizzy Gillespie, Thelonious Monk, Charlie Christian and Clarke invented “bebop” or bop, a harmonically advanced and challenging kind of new jazz.

Clarke served in the Army during World War II, and there he met and became friends with John Lewis, who was fresh out of the University of New Mexico where he’d studied anthropology and music. In 1946 both joined the Dizzy Gillespie Orchestra, the only bop big band, and there they met vibist Milt Jackson. Until then only two jazz musicians were well known for playing this electrified xylophone, Lionel Hampton (famous for his work in the ’30s with Benny Goodman and a band leader himself in the ’40s) and Red Norvo (whose early ’50s trio with guitarist Tal Farlowe and bassist Charles Mingus catapulted him from the swing era into modern jazz). Jackson was the first to adapt the instrument to a bop context. And also in Gillespie’s band they met Ray Brown, a bassist who appears on some early MJQ recordings.

In 1948 and 1949 Lewis and Clarke were also participants in the Miles Davis Nonet sessions for Capitol which were later dubbed Birth of the Cool. The group, nominally fronted by Davis, was a composer/arranger’s band, showcasing the writing of Gerry Mulligan, John Lewis, Gil Evans and John Carisi. Lewis contributed two originals and arranged three other pieces in the band’s repertoire. During this same period Jackson was making recordings for Blue Note, Prestige and Savoy, all small but important jazz labels.

The MJQ was formed in 1952; its first recording was the 10-inch Prestige album, Modern Jazz Quartet with Milt Jackson (PRLP-160), released in 1953, which is now valued at from $60 to $150, depending on condition. This was followed the same year by Modern Jazz Quartet, Volume 2 (PRLP-170), another 10-inch LP which has the same value. In 1955 the MJQ made two 12-inch albums, Concorde for Prestige (PRLP-7005) ($30 to $75), and Modern Jazz Quartet for Savoy (MG-12046) ($20 to $50). That year drummer Clarke dropped out and was replaced by Connie Kay, setting the personnel in place for the rest of the MJQ’s career.

But 1956 was the year in which everything came together for the group, and this was due to their signing with Atlantic Records. Atlantic was the reflection of the Ertegun brothers’ enthusiasms. The sons of Turkish diplomats, they loved R&B and jazz. Atlantic recorded Ray Charles, the Clovers, Ruth Brown, and a number of R&B groups for singles, and established an ambitious jazz program on LPs. Unlike Prestige and Savoy (and, to a lesser extent, Blue Note) – labels known for recording jam sessions – Atlantic spent time on preparations for each album, and many of Atlantic’s jazz albums were ambitious projects. (Source: www.holeintheweb.com)

This album contains no booklet.