posted: 2024-08-04 Milt Jackson Quintet Milt Jackson Quintet

This four-song EP features tracks cut by Milt Jackson (vibraphone) leading a quintet in a slightly expanded version of the Modern Jazz Quartet (MJQ). Joining Jackson on this June 16, 1954, date are Horace Silver (piano) – in place of regular MJQ keyboardist John Lewis – Percy Heath (bass) and Kenny Clarke (drums). However, perhaps most notable are the well-placed contributions from Henry Boozier (trumpet). There is an unmistakable bluesy interaction permeating this material, which no doubt is successfully pulled off by the uncanny communication between the parties. Silver, Heath, and Clarke had previously established themselves as a formidable rhythm section. Here, their sound seems to blend all the more fluently when guided by Jackson’s sweet tone and fluid execution. This is especially true on the pair of Silver originals, commencing the effort with the lively and intricate bop mastery of “Opus de Funk.”

Throughout Jackson’s solos, the pianist also provides substantial support via his alternate lines. According to Ira Gitler’s original rear jacket essay – included on the LP reissue – Silver’s “Buhaina” is “dedicated to the ubiquitous percussive work of chief Jazz Messenger, Art Blakey (drums).” This reading is particularly worth hearing as it is one of the rare instances where Boozier accompanies the ensemble, rather than as a soloist. The tune is spirited with plenty of well-placed twists corralling around one of Silver’s finest lead improvisations. “I’ve Lost Your Love” is a gorgeous and scintillating ballad co-penned by Jackson. His intonations yield an undercurrent of radiance beneath the otherwise darkly hued melancholy melody. “Soma” rounds out the set with the quintet getting deep down bluesy. Immediately, Jackson and Boozier establish a plaintive tune that wafts over the steady backbeat of Heath and Clarke, with Silver’s appropriately moody interjections throughout. As referred to earlier, Milt Jackson Quintet (1954) was coupled with a quartet of additional pieces documented during a December 22, 1952, session and issued as MJQ (1954). Nowhere is the artistry of Milt Jackson as readily apparent as it is on these sides.

Lindsay Planer, AllMusic