Milt Jackson with The Ray Brown Big Band • Memphis Jackson

Milt Jackson made a name for himself as a member of the Modern Jazz Quartet before he started making solo albums as well. According to the liner notes, Jackson and bassist Ray Brown would get together during the summers and play and record together. On Memphis Jackson the two went for a Soul-Jazz sound. That’s heard on Uh-Huh, an upbeat big band jam. One Mint Julep (One Way) features a nice bass line by Brown accentuated by horn stabs that eventually leads into Jackson’s vibes playing. Oh Happy Day starts off very subdued before the horns start blaring away and the rhythm picks up, while Braddock Breakdown has a real 60s swing to it. Memphis Junction and Enchanted Lady are two mellow Soul-Jazz numbers, while Queen Mother Stomp has the same pace, but gets a little funky thanks to more great playing by Brown on the bass. The album finishes on a jazzier note with One Mint Julep (The Other Way) and Picking Up The Vibrations.

Complte info:  http://www.thejazzrecord.com/records/2017/1/21/milt-jackson-with-the-ray-brown-big-band-memphis-jackson

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Milt Jackson se hizo un nombre como miembro del Cuarteto de Jazz Moderno antes de que empezara a hacer álbumes en solitario también. De acuerdo con las notas de la línea, Jackson y el bajista Ray Brown se reunían durante los veranos y tocaban y grababan juntos. En Memphis Jackson los dos buscaban un sonido Soul-Jazz. Eso se escucha en Uh-Huh, un alegre jam de una gran banda. One Mint Julep (One Way) tiene una bonita línea de bajo de Brown acentuada por puñaladas de trompa que eventualmente lleva a las vibraciones de Jackson. Oh Happy Day comienza muy apagado antes de que las trompetas empiecen a sonar y el ritmo se acelere, mientras que Braddock Breakdown tiene un verdadero swing de los 60. Memphis Junction y Enchanted Lady son dos números de Soul-Jazz, mientras que Queen Mother Stomp tiene el mismo ritmo, pero se pone un poco más funky gracias a la gran actuación de Brown en el bajo. El álbum termina en una nota más jazzística con One Mint Julep (The Other Way) y Picking Up The Vibrations.

Tracks list:
1. Uh-Huh [Mobley] 3:48
2. One Mint Julep ( One Way ) [Toombs] 2:33
3. Oh Happy Day [Hawkins/Rimbault/Traditional] 3:30
4. Memphis Junction [Brown] 2:49
5. Queen Mother Stomp [Jackson] 6:30
6. Braddock Breakdown [Brown] 3:40
7. A Sound For Sore Ears [Heath] 3:02
8. Enchanted Lady [Jackson] 5:06
9. One Mint Julep ( The Other Way ) [Toombs] 2:44
10. Picking Up The Vibrations [Brown] 4:11


credits:
Alto Saxophone – Ernie Watts (tracks: A1, A2, A3, B4)
Baritone Saxophone – Jim Horn (tracks: A1 to A3, B1, B2, B4, B5),
John Lowe (tracks: B1, B2, B5)
Bass – Ray Brown, Wilton Felder
Drums – Carl (Cubby) O'Brien* (tracks: B1, B2, B5),
Earl Palmer (tracks: A1 to A3), Paul Humphries* (tracks: A4, A5, B3)
Electric Piano – Joe Sample (tracks: A4, A5, B3)
Flugelhorn – Harry Edison (tracks: A1 to A3, B1, B2, B4, B5)
Guitar – Fred Robinson*, Howard Roberts (tracks: A4, A5, B3)
Percussion – Victor Feldman (tracks: A4, A5, B3)
Piano – Mike Melvoine* (tracks: A1 to A3, B1, B2, B4, B5)
Tenor Saxophone – Harold Land (tracks: A1 to A3, B4),
Teddy Edwards (tracks: A4, A5, B1, B2, B3, B5)
Trombone – Jimmy Cleveland (tracks: B1, B2, B5),
Randy Aldcroft (tracks: A1 to A3, B4)
Trombone [Bass] – Kenny Shroyer (tracks: B1, B2, B5)
Trumpet – Al Aarons (tracks: A4, A5, B3),
Bud Brisbois (tracks: B1, B2, B5),
Buddy Childers (tracks: A1 to A3, B4),
Harry Edison (tracks: A1 to A3, B1, B2,B4,B5),
John Audino (tracks: A1 to A3, B4),
Ollie Mitchell (tracks: B1, B2, B5)
Tuba – John T. Johnson* (tracks: A1 to A3,B4)
Vibraphone – Milt Jackson (tracks: All)

A1, A2, A3, B1, B2, B4 & B5 Recorded 9 October, 1969,
at Annex Recording Studios, Los Angeles.
A4, A5, B3 Recorded 10 October, 1969,
at Annex Recording Studios, Los Angeles.
Engineer – Dave Wichmann*, Thorn Nogar
Producer – Ed Michel

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