The Last Concert (Live) The Modern Jazz Quartet

• 1 Softly, As in a Morning Sunrise 06:30
• 2 The Cylinder 05:31
• 3 Summertime 07:53
• 4 Trav'lin' 05:42
• 5 Blues in A Minor 07:50
• 6 One Never Knows 07:30
• 7 Bag's Groove 06:46
• 8 Confirmation 04:57
• 9 'Round Midnight 07:39
• 10 A Night in Tunisia 05:24
• 11 The Golden Striker 05:30
• 12 Skating in Central Park 06:37
• 13 Django 06:16
• 14 What's New? 07:15
• Total Runtime 01:31:20

Info for The Last Concert (Live)

Recorded live at Avery Fisher Hall, New York on November 25, 1974. This double live-album set features the Modern Jazz Quartet in its final concert (at New York City's Lincoln Center in 1974).

Though the group would later reunite in the early '80s, there is the distinct feel of retrospective here, looking back on a career of remarkable invention and artistry. Both qualities are in ample evidence during this performance, which showcases the remarkable solo and ensemble playing of John Lewis (piano), Milt Jackson (vibes), Percy Heath (bass), and Connie Kay (drums).

The quartet is most notable for its blend of a chamber approach (in its use of the small group with carefully articulated interplay) and the rootsy groove of jazz. Though European classicism inside syncopated swing is (in many ways) the very structure of jazz, the MJQ drove the marriage home. (Even in appearance, they commanded respect by wearing tuxedos on stage.) Whether on standards ('Summertime,' 'A Night in Tunisia') or excellent originals ('Django,' 'Bags' Groove'), the MJQ display--in addition to superior musicianship--an abiding interest in history, tradition, and the integrity of the music.

These traits help to make The Last Concert a suitably impressive exhibition by one of jazz's finest small ensembles. '...The group's ever changing repertoire was always special, and there are some classic modern jazz tunes here...' (Q-Magazine)

Milt Jackson, vibraphone
John Lewis, piano
Percy Heath, bass
Connie Kay, drums

Recorded on November 25, 1974 at Avery Fisher (Philharmonic) Hall, Lincoln Center for the Performing Arts, New York City
Engineered by Dave Hewitt
Mixed by Gene Paul
Produced by İlhan Mimaroğlu

Digitally remastered

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.