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     Milt Jackson
 
 

Born: Jan 1, 1923 in Detroit, MI
Died: Oct 9, 1999 in New York, NY
Genre: Jazz
Styles: Bop, Post-Bop, Hard Bop, Modern Big Band, Mainstream Jazz, Standards, Chamber Jazz, Third Stream, Jazz Instrument, Vibraphone/ Marimba Jazz
Instruments: Vibraphone

Before Milt Jackson, there were only two major vibraphonists: Lionel Hampton and Red Norvo. Jackson soon surpassed both of them in significance and, despite the rise of other players (including Bobby Hutcherson and Gary Burton), still won the popularity polls throughout the decades. Jackson (or "Bags" as he was long called) was at the top of his field for 50 years, playing bop, blues, and ballads with equal skill and sensitivity.

Milt Jackson started on guitar when he was seven, and piano at 11; a few years later, he switched to vibes. He actually made his professional debut singing in a touring gospel quartet. After Dizzy Gillespie discovered him playing in Detroit, he offered him a job with his sextet and (shortly after) his innovative big band (1946). Jackson recorded with Gillespie, and was soon in great demand. During 1948-1949, he worked with Charlie Parker, Thelonious Monk, Howard McGhee, and the Woody Herman Orchestra. After playing with Gillespie's sextet (1950-1952), which at one point included John Coltrane, Jackson recorded with a quartet comprised of John Lewis, Percy Heath, and Kenny Clarke (1952), which soon became a regular group called the Modern Jazz Quartet. Although he recorded regularly as a leader (including dates in the 1950s with Miles Davis and/or Thelonious Monk, Coleman Hawkins, John Coltrane, and Ray Charles), Milt Jackson stayed with the MJQ through 1974, becoming an indispensable part of their sound. By the mid-'50s, Lewis became the musical director and some felt that Bags was restricted by the format, but it actually served him well, giving him some challenging settings. And he always had an opportunity to jam on some blues numbers, including his "Bags' Groove." However, in 1974, Jackson felt frustrated by the MJQ (particularly financially) and broke up the group. He recorded frequently for Pablo in many all-star settings in the 1970s, and after a seven-year vacation, the MJQ came back in 1981. In addition to the MJQ recordings, Milt Jackson cut records as a leader throughout his career for many labels including Savoy, Blue Note (1952), Prestige, Atlantic, United Artists, Impulse, Riverside, Limelight, Verve, CTI, Pablo, Music Masters, and Qwest. He died of liver cancer on October 9, 1999, at the age of 76.

- Scott Yanow (All Music Guide)

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Джексон Милт "Бэгс" (Bags) (р. 1 января 1923, Детройт, Мичиган) - американский джазовый музыкант (вибрафон, фортепиано, гитара, вокал, руководитель ансамбля, бэндлидер, композитор, аранжировщик).

Обучаться музыке начал в 11 лет (фортепиано, гармония, вокал). Пел в церковном хоре. Продолжил музыкальное образование в колледже штата Мичиган. В 1942 стал выступать в местных оркестрах, пока его не "открыл" (в том же году) "Диззи" Гиллеспи, который через некоторое время пригласил его в Нью-Йорк и привлек к участию в боп-сессиях, а также предложил ему ангажементы в своих ансамблях, в 1946 - в биг-бэнде. В дальнейшем играл с Ховардом Макги, Теддом Демероном, Телониусом Монком, Коулменом Хокинсом, в оркестре Вуди Германа (SECOND HERD), где заменил Терри Гиббса (1949-50). В 1950-52 вновь сотрудничал с Гиллеспи как пианист и вибрафонист. Работая в биг-бэнде Гиллеспи, организовал комбо совместно с членами ритм-группы этого оркестра (Джоном Льюисом, Реем Брауном и Кенни Кларком) - по принципу "оркестр в оркестре". Ансамбль назывался MILT JACKSON QUARTET. В 1951 биг-бэнд Гиллеспи распался, а квартет начал самостоятельное существование (до 1974), получив новое название (с теми же "инициалами") - MODERN JAZZ GUARTET (MJQ) - и нового руководителя Джона Льюиса. В составе квартета Джексон совершил многочисленные турне в Европу, участвовал в джазовых фестивалях. С 1957 - доцент Школы джаза в Леноксе (Массачусетс), директором которой стал Дж. Льюис. Писал музыку для кинофильмов (например, Odds Against Tomorrow, 1959). Выступал с собственным ансамблем и биг-бэндом, сотрудничал с различными музыкантами, в том числе с Джимми Хитом, "Сонни" Роллинсом, Хорэсом Сильвером, Роном Картером, Фрэнком Уэссом, Куинси Джонсом и другими.

Первый и наиболее значительный вибрафонист модерн-джаза. Выдвинулся на джазовой сцене во 2-й половине 40-х годов - уже после "Реда" Норво и Лайонела Хемптона, но, несмотря на свою молодость, вскоре превзошел их по популярности. Создатель современной манеры игры на вибрафоне. Первоначально приобрел известность как музыкант бибопа (школа Чарли Паркера - "Диззи" Гиллеспи), впоследствии (в период сотрудничества с Дж. Льюисом в MJQ) придерживался главным образом ориентации на радикальный кул-джаз и смежные с ним направления ("третье течение", "барок-джаз", "плэй-Бах"-джаз, отчасти симфоджаз); к концу 60-х годов вновь стал более активно разрабатывать стилевые элементы бопа и свинга. Проявил также интерес к прогрессив-джазу, не обошел вниманием соул и фанк. Преимущественно культивировал утонченный, рафинированный камерно-концертный стиль, во многом перекликающийся с европейской академической музыкой различных эпох, однако при этом не утратил связи с традициями блюза и негритянской духовной музыки, органично соединив специфически джазовые качества и приемы блюзового интонирования с европеизированными принципами и средствами выражения.

Имеет многочисленных подражателей и последователей среди молодых музыкантов современного джаза (наиболее одаренные из них - Гэри Бертон, Том ван дер Гельд и Уолт Диккерсон).

mega.km.ru/rock

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Milt Jackson pours on the heat in his latest release on Qwest records, Burnin' In The Woodhouse. Teaming up with some of today's most accomplished young jazz musicians (Benny Green, piano; Kenny Washington, drums; Christian McBride, bass; Nicholas Payton, trumpet; Jesse Davis, alto saxophone and Joshua Redman on tenor saxophone), Milt has once again delivered the goods, with sophistication, humor, warmth and distinction.

Vibraphone virtuoso, Milt Jackson is one of the seminal figures in jazz, having played and collaborated with such pioneers as Dizzy Gillespie, Charlie Parker, Thelonious Monk and Coleman Hawkins. His career spans six decades, with well over 120 albums to his credit.

In 1952, Milt Jackson co-founded the legendary Modern Jazz Quartet, whose popularity, attests Milt, "was a product of their uncanny ability to take classical music and improvise on it, integrating it with jazz and pop." And once again on Burnin' In The Woodhouse, Milt Jackson is mixing metaphor and crossing lines to create unforgettable and enduring music imprinted with his unparalleled elegance and finesse.

Milt says, "I originally started out as a singer, doing gospel duets with my brother Alvin when I was only seven. Then I took piano when I was eleven and twelve...till the money ran out. I got the rest of my musical training in high school. I ended up playing vibes because they are the instrument most like the human voice, with one exception: once a singer adapts a style, it doesn't usually change much, but with the vibes there is so much variation and you can endlessly improvise so many different styles of music."

With Milt's ongoing musical exploration and invention, he has not only gained the respect of his peers and a host of devoted fans, but his talent has also been acknowledged here in the U.S. and around the world. A National Music Award, the French Bicentennial Award, an honorary doctorate from the Berklee College of Music, as well as a place among the jazz elite in Downbeat Magazine's Hall Of Fame affirm his abiding impact on the world of music in general and jazz in particular.

One of the reasons that Milt Jackson has been successful on so many fronts is that in being true to his own muse, he never forgets his audience. His form of jazz is as inclusive as possible. "I want to do songs that the audience can identify with, so I always include some standards with tunes that are new or have not been recorded extensively."

Describing Burnin' In The Woodhouse's lineup of classic and original songs, Milt says, "'Brother K' is especially meaningful to me, not only because it is dedicated to Dr. Martin Luther King, but because Dizzy Gillespie wrote it and I got my start with him. I wrote the title track ('Burnin' In The Woodhouse') for this project and it combines the names of my two good friends, Art Woods and my barber Dave House. It's always special when you create something new. 'It Only Happens Once' was a really spontaneous thing. Benny Green is a big Nat King Cole fan and one day while we were recording, he suggested we do the tune. I'd never heard it before and we did it on the spot, so the title is perfect...for me, it really 'Only Happened Once.'" Milt adds, "Most of the songs on this album were completely new for me." Also included on the album is a version of Cedar Walton's "A Bell For Bags," plus "Bop Ag'in," "The Masquerade Is Over" and the disc's incredibly rich and steamy final track, "Soulmates."

"Soulmates" aptly describes the distinguished group of young musicians that Milt assembled for Burnin' In The Woodhouse. Milt comments, "On the past two albums I played with old friends from the jazz world, along with newcomers like Joshua Redman; this time around, I played entirely with young innovators, artists who are trying to keep the tradition of classic jazz, bebop jazz and modern jazz alive. I'd heard all of them in various settings and had played with some like Benny Green, Christian McBride and, of course, Joshua (who was featured on Milt's last chart topping album The Prophet Speaks). I'd love to do a tour with the group, but they're all band leaders in their own right and very busy...Oh well, you never know."

Milt Jackson chose his wife Sandra K. Jackson and his daughter Chyrise M. Jackson to produce the album, "because they have great instincts and nobody knows me and my music better." Mrs. Jackson concurs, "Milton felt we had the insight to bring out the best of what he has to offer." When asked how she liked the experience she declares, "It was good, very good. Everybody involved loved it." Milton is quick to add, "They'll probably be producing my next album, too."

And that's the quintessential Milt Jackson, always looking to the future, while keeping alive the great traditions in jazz... and always looking ahead to the next opportunity to create, interpret, improvise, innovate and celebrate music-in all its manifold expressions.


Ресурсы сети, связанные с исполнителем:
www.npr.org/templates/story/story.php?storyId=97083200 About on 'NPR Jazz profile'
musicians.allaboutjazz.com/musician.php?id=7936 Biography & articles on 'All About Jazz'
en.wikipedia.org/wiki/Milt_Jackson About from 'wikipedia'
en.m.wikipedia.org/wiki/Milt_Jackson About from 'wapedia.mobi' [mobile]
   
Поиск видео (Video Search) :  

CD коллекции, связанные с исполнителем:
  как основной исполнитель ...
 Milt Jackson - 'Bags And Trane' - 1959, Atlantic
 Milt Jackson - 'Milt Jackson & Ray Brown Jam: Montreux 77' - 1992, Pablo, OJC
 Milt Jackson - 'Milt Jackson Quartet' - 1956, OJC
 Milt Jackson - 'Plenty, Plenty Soul' - 1989, Atlantic
 Milt Jackson - 'Statements' - 1961, Impulse!, Audi
  как основной соисполнитель ...
 Ray Brown - 'With The All-Star Big Band. Ray Brown, Milt Jackson' - 2012, Verve-Japan
 Ray Charles - 'Soul Brothers, Soul Meeting' - 1990, Atlantic
 Miles Davis - 'The Musings Of Miles. Miles Davis And Milt Jackson Quintet / Sextet' - 1955, Prestige, Азбука Звука
 Oscar Peterson - 'Very Tall' - 1961, Verve, Азбука Звука
  как соисполнитель ...
 Dee Dee Bridgewater - 'Dear Ella' - 1997, Verve
 Miles Davis - 'Bags' Groove' - 1957, OJC
 Dizzy Gillespie - 'Groovin' High' - 1992, Savoy
 Dizzy Gillespie - 'Odyssey 1945-1952' - 2002, Savoy Jazz
 Dizzy Gillespie - 'The Champ' - 1956, Columbia
 Coleman Hawkins - '1946-1947' - 1999, Classics
 Lena Horne - 'Being Myself' - 1998, Blue Note
 Hank Jones - 'Une Anthologie 1947-1956' - 2008, Nocturne, BDjazz
 Quincy Jones - 'Gula Matari' - 1970, A&M, IMS
 Quincy Jones - 'I Never Told You' - Universal
 Quincy Jones - 'Smackwater Jack' - 1971, A&M
 Quincy Jones - 'The Original Jam Sessions 1969' - 2004, Concord Jazz
 Quincy Jones - 'This Is How I Feel About Jazz' - 1956, Impulse!
 Howard McGhee - '1946-1948' - 1999, Classics
 Howard McGhee - '1948' - 1999, Classics
 Thelonious Monk - 'Ken Burns Jazz' - 2000, Columbia, Legacy
 Thelonious Monk - 'The Best Of The Blue Note Years' - 1991, Blue Note
 Thelonious Monk - 'The Complete Blue Note Recordings' - 1994, Blue Note
 Thelonious Monk - 'Thelonious Monk The Composer' - 1998, Giants Of Jazz
 Frank Morgan - 'Bird Calls, Vol. 2' - 1954, Savoy
 Fats Navarro - 'Dameronia' - 1999, Jazz Archives
 Fats Navarro - 'The Complete Blue Note And Capitol Recordings Of Fats Navarro And Tadd Dameron' - 1995, Blue Note
 Joe Pass - 'Quadrant' - 1991, OJC
 Oscar Peterson - 'Big Six At The Montreux Jazz Festival 1975' - 1975, Original Jazz Classics
 Oscar Peterson - 'Live At The Town Hall' - 1997, Telarc Jazz
 Annie Ross - 'Four Classic Albums Plus' - 2009, Avid Jazz
 The Modern Jazz Quartet - 'Blues At Carnegie Hall' - 1966, Mobile Fidelity
 The Modern Jazz Quartet - 'Blues On Bach' - 1974, Atlantic
 The Modern Jazz Quartet - 'Dedicated To Connie' - 1960, Atlantic
 The Modern Jazz Quartet - 'Fontessa' - 1989, Atlantic
 The Modern Jazz Quartet - 'Lonely Woman' - 1992, Atlantic
 The Modern Jazz Quartet - 'Music From 'Odds Against Tomorrow'' - 1990, Blue Note
 The Modern Jazz Quartet - 'Pyramid' - 1960, Atlantic
 The Modern Jazz Quartet - 'Scandinavia, April 1960' - 1996, Giants Of Jazz
 The Modern Jazz Quartet - 'The Last Concert' - 1974, Rhino
 The Modern Jazz Quartet - 'The Sheriff. Collaboration' - 2002, Atlantic, Азбука Звука
 The Swingle Singers - 'Compact Jazz: Swingle Sisters' - 1987, Verve
 The Temptations - 'For Lovers Only' - 1995, Motown
 Stanley Turrentine - 'Cherry' - 1972, CBS Records
 Barney Wilen - 'Un Temoin Dans La Ville. Jazz Sur Seine' - 1959, Fontana
 


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  Последние изменения в документе сделаны 30/05/2016 16:51:10

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