A1 	Home 	2:51
A2 	Django 	6:08
A3 	One Never Knows 	4:15
A4 	Animal Dance 	3:31
B1 	Intima 	5:13
B2 	The Golden Striker 	5:36
B3 	Ralph's New Blues 	6:28

Alto Saxophone [All-Star Jazz Band] – Charlie Mariano, Phil Woods
Baritone Saxophone [All-Star Jazz Band] – Wally Kane
Bass – Percy Heath
Drums – Connie Kay
Piano – John Lewis 
Tenor Saxophone [All-Star Jazz Band] – Richie Kamuca, Seldon Powell
Trombone [All-Star Jazz Band] – Jimmy Cleveland, Kai Winding, Tony Studd
Trumpet [All-Star Jazz Band] – Bernie Glow, Clark Terry, Ernie Royal, Snooky Young
Vibraphone – Milt Jackson

This is an unusual record in The Modern Jazz Quartet's discography for it matches The MJQ (vibraphonist Milt Jackson, pianist John Lewis, bassist Percy Heath and drummer Connie Kay) with an all-star big band that is comprised of a dozen horns and guitarist Howard Collins. Unfortunately the orchestra (which has a pretty impressive lineup) is used exclusively for backup of the rhythm section and none of the horns have any solos. The music, which is highlighted by new versions of such standbys as "Django," "Ralph's New Blues" and "The Golden Striker," is enjoyable enough although this LP does not live up to its potential. ---Scott Yanow, Rovi

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1.	Don’t Stop This Train
2.	Blues In B
3.	Blues In A Minor
4.	Blues In C Minor
5.	Alexander’s Fugue
6.	Minor Love
7.	Legendary Profile

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

Pianist John Lewis, vibraphonist Milt Jackson, bassist Ray Brown and drummer Kenny Clarke first came together as the rhythm section of the 1946 Dizzy Gillespie & His Orchestra and they had occasional features that gave the overworked brass players a well-deserved rest. They next came together in 1951, recording as the Milt Jackson Quartet. In 1952, with Percy Heath taking Brown's place, the Modern Jazz Quartet (MJQ) became a permanent group. Other than Connie Kay succeeding Clarke in 1955, the band's personnel was set. In the early days Jackson and Lewis both were equally responsible for the group's musical direction but the pianist eventually took over as musical director. The MJQ has long displayed John Lewis' musical vision, making jazz seem respectable by occasionally interacting with classical ensembles and playing concerts at prestigious venues, but always leaving plenty of space for bluesy and swinging improvising. Their repertoire, in addition to including veteran bop and swing pieces, introduced such originals as Lewis' "Django" and Jackson's "Bags' Groove." The group recorded for Prestige (1952-55), Atlantic (1956-74), Verve (1957), United Artists (1959) and Apple (1967-69) and, in addition to the many quartet outings, they welcomed such guests as Jimmy Giuffre, Sonny Rollins, the Beaux Arts String Quartet, a symphony orchestra conducted by Gunther Schuller, singer Diahann Carroll (on one piece), Laurindo Almeida, a big band and the Swingle Singers. Although the musicians all had opportunities to pursue individual projects, in 1974 Milt Jackson, tired of the constant touring and the limitations set on his improvising and he quit the group, causing The MJQ to have a final tour and break up. In 1981 Jackson relented and the Modern Jazz Quartet (which has recorded further albums for Pablo and Atlantic) became active again although on a more part-time basis. Connie Kay's health began to fade in the early '90s (Mickey Roker often filled in for him) and after his death in 1995, Albert "Tootie" Heath became his replacement. ---scott Yanow, Rovi

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1.Ralphs new blues 
2.All of you 
3.Ill remember april 
4.Gershwin potpourri 
5.Softly as in a morning sunrise
6.Concorde

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

After issuing 10" EPs for several years, Concorde (1955) marked two significant touchstones in the five-plus-decade career of the Modern Jazz Quartet (MJQ). One of those was the replacement of co-founder Kenny Clarke (drums) with former Lester Young quintet member Connie Kay (drums), who joined in time for the other hallmark -- this, the MJQ's very first full-length long-player. Kay remained with the combo for the better part of four decades, until his passing in 1994. The transition between percussionists is both smooth as well as sensible. Kay's understated rhythms and solid timekeeping are perfectly suited to the clever arrangements and sophisticated sound of Milt Jackson (vibraphone), John Lewis (piano) and Percy Heath (bass). One MJQ constant is the blend of classic covers and stunning original compositions that comprise their releases. Concorde is certainly no exception as the effort kicks off with a mid-tempo Jackson's "Ralph's New Blues." Immediately, Kay's contributions are ample yet discrete, as he interacts with a consistent backbeat, supporting the tasty vibe runs and improvisations from the tune's author. The title track "Concorde" is the other tune to be derived from within the band. Lewis' effervescent syncopation drives through the heart of the melody, with the pianist laying down essential interplay. Once again Kay impresses with well-placed ringing interjections that never overpower the soloist. Most notable among the reworked popular standards are the slightly brooding opulence of Cole Porter's "All of You" and the fugal, if not slightly Third Stream approach taken on "Softly, As in a Morning Sunrise" from the short-lived collaborations of Sigmund Romberg and Oscar Hammerstein II. However, the centerpiece is undoubtedly the four selections within the "Gershwin Medley." The interpretations of "Soon," "For You, For Me Forevermore," "Love Walked In" and "Our Love Is Here to Stay" are nothing short of definitive. They collectively provide keen insight into the inner-workings of the MJQ and their collective abilities to improvise with purpose, rather than simply combining aimless solos. All manner of post-bop jazz listeners will find much to enjoy throughout Concorde. ---Lindsay Planer, Rovi

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1.Django 
2.One bass hit 
3.La ronde suite 
4.The queens fancy 
5.Delaunays dilemma 
6.Autumn in New York 
7.But not for me 
8.Milano

Kenny Clarke - Drums
Percy Heath - Bass
Milt Jackson - Vibraphone
John Lewis - Piano

Hailing from a trio of Modern Jazz Quartet (MJQ) sessions, Django (1955) contains some of the earliest sides that Milt Jackson (vibraphone), John Lewis (piano), Percy Heath (bass) and Kenny Clarke (drums) recorded for Prestige Records. Initially, the combo was part of Dizzy Gillespie's influential backing band and after a change in drummers (to Connie Kay), they continued as one of the more sophisticated aggregates of the post-bop era. The album commences with Lewis' sublime and serene title track "Django," dedicated to the memory of guitarist extraordinaire Django Reinhardt. This musical paean aptly recaptures the essence of Reinhardt's enigmatic gypsy-like nature, especially evident within Jackson's leads, which emerge from the thoughtful opening dirge with a refined, warm tone throughout. Reinhardt's playfulness is recalled in Lewis' well-placed interjections between and beneath Jackson's lines. "One Bass Hit" is an homage to Gillespie with Heath taking charge of the intricate melody, showing off his often criminally underutilized skills. From the same December 1954 gathering comes the moody Lewis-penned ballad "Milano." There is a notable Mediterranean feel resounding in the opulence of MJQ's unassuming interaction. The centerpiece is the lengthy four-movement showcase "La Ronde Suite" circa January of 1955. The MJQ maneuver with unquestionable grace, alternately supporting and soloing, each taking the reigns as the others construct their contributions around the respective soloist. The remaining four selections date back to June of 1953 and are highlighted by "The Queen's Fancy," a simple and refined fugue that carries a distinct air of nobility. "Delaunay's Dilemma" is a definite contrast as it allows the players to cut loose with some frisky and fun exchanges that perfectly demonstrate their ability to glide through the sinuous syncopation. Both the understated splendor of "Autumn in New York" and the equally sublime cover of "But Not for Me" provide some familiar backdrops for the MJQ to collaborate and perhaps more directly display their essential improvisational abilities. In terms of seminal Modern Jazz Quartet entries, it is hard to exceed the variety of styles and performances gathered on Django. ---Lindsay Planer, Rovi

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1.Versailles 
2.Angel eyes 
3.Fontessa 
4.Over the rainbow 
5.Bluesology 
6.Willow weep for me 
7.Woodyn you

Connie Kay - Drums
Percy Heath - Bass
Milt Jackson - Vibraphone
John Lewis - Piano

This LP has a particularly strong all-around set by the Modern Jazz Quartet. While John Lewis' "Versailles" and an 11-minute "Fontessa" show the seriousness of the group (and the influence of Western classical music), other pieces (such as "Bluesology," "Woody 'N You" and a pair of ballads) look toward the group's roots in bop and permit the band to swing hard. ---Scott yanow, Rovi

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1. Animal Dance
2. Django
3. Bluesology
4. Midsummer
5. The Comedy
6. How High The Moon

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

Modern Jazz Quartet (MJQ), American musical ensemble noted for delicate percussion sonorities, innovations in jazz forms, and consistently high performance standards sustained over a long career. For most of its existence it was composed of Milt Jackson, vibes; John Lewis, piano; Percy Heath, bass; and Connie Kay, drums.

Jackson, Lewis, and drummer Kenny Clarke were pioneer bop musicians who had played together in the 1948 Dizzy Gillespie big band and pursued separate careers before adding Heath to form the Modern Jazz Quartet in 1952. Its early career was distinguished by introducing Lewis compositions such as “Django” and “Concorde.” Clarke’s departure in 1955 resulted in a loss of some of the group’s rhythmic energy; his replacement was Kay, whose playing helped place the interplay of Jackson and Lewis in the foreground. Jackson, whose dynamic sensitivity and technical mastery brought a rare expressive quality to his instrument, was a virtuoso of melody, rhythmic detail, and swing. Lewis accompanied him not with the customary harmonic punctuations but rather with riffs (repeated melodic patterns) and melodic variations in a rhythmically simplified style that resulted in unique extended counterpoint; Heath, an uncommonly melodic bassist, and Kay accompanied.

Lewis’s interest in baroque forms led him to compose fugues for the MJQ, and his classical-music-inspired works such as The Comedy (1962) and the film score No Sun in Venice (1957) are among the group’s successes. Popular and jazz standards and Jackson songs were also part of its repertoire; in the 1980s it played, less successfully, arrangements of Duke Ellington compositions. In its album Third Stream Music (1957) the MJQ is joined by a string quartet and others in extended works by jazz and classical composers.

Its members also pursued separate careers during periods when the MJQ was not performing together, and in 1974 it disbanded. It began reuniting for annual tours in the 1980s. Following Kay’s death in 1994, Albert (“Tootie”) Heath, brother of Percy, became the MJQ’s drummer. ---britannica.com

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1.Vendome 
2.Pyramid 
3.It dont mean a thing if it aint got that swing 
4.Django 
5.How high the moon 
6.Romaine

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

This is a strong recording from the Modern Jazz Quartet, with inventive versions of John Lewis' "Vendome," Ray Brown's "Pyramid," Jim Hall's "Romaine," and Lewis' famous "Django," along with cooking jams on "How High the Moon" and "It Don't Mean a Thing." The MJQ had become a jazz institution by this time, but they never lost their creative edge, and their performances (even on the remakes) are quite stimulating, enthusiastic, and fresh. ---Scott Yanow, Rovi

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01 – vendome
02 – the queens fancy
03 – delaunays dilemma
04 – django
05 – la ronde suite
06 – milando
07 – ralphs new blues
08 – concorde
09 – versailles
10 – fontessa
11 – bluesology
12 – baden baden
13 – variation nr1
14 – two degrees east three degrees west
15 – the golden striker		    play
16 – cortege
17 – festival sketch
18 – sketch
19 – a cold wind is blowing		play
20 – skatting in central park
21 – pyramid
22 – the cylinder
23 – odds against tomorrow
24 – bags groove

Collective Personnel: 
John Lewis, Milt Jackson, Percy Heath, Kenny Clarke, Connie Kay, 
Gerald Tarak, Allan Martin, Carl Eberel, Joe Tekula

2 CD set. It took five years of hesitation waltzes, trial and error proceedings some more convincing than others and episodic revivals in the month preceding that first session, the MJQ was at Birdland with Parker, before the identity of the group, both material and aesthetic, could assert itself definitively. There have been more spontaneous births, but none, however, engendered a combo whose members stayed so loyal to each other for so long. Altogether, it lasted around thirty two years, but actually corresponded to two periods separated by a seven year hiatus.

The Modern Jazz Quartet was established in 1952 by Milt Jackson (vibraphone), John Lewis (piano, musical director), Percy Heath (contrabass), and Kenny Clarke (drums). Connie Kay replaced Clarke in 1955. The quartet performed in several jazz styles, including bebop, cool jazz and third stream.

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1.Three windows 
2.Kansas city breaks 
3.Encounter in cagnes 
4.Django 
5.A day in Dubrovnik

Connie Kay - Drums
Percy Heath - Bass
Milt Jackson - Vibraphone
John Lewis - Piano

The New York Chamber Symphony accompanies The Modern Jazz Quartet on this fine orchestral set. As usual the writing of John Lewis (who contributed all five compositions) dominates in this type of setting. The material includes three fairly recent originals plus "Three Windows" (which blends together three themes from Lewis's score for the French film No Sun in Venice) and the perennial "Django." Nice music overall although this is not one of the most essential MJQ releases. ---Scott Yanow, Rovi

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1. Lonely Woman
2. Animal Dance
3. New York 19
4. Belkis				play
5. Why Are You Blue
6. Fugato
7. Lamb, Leopard
8. Trieste

Personnel:
John Lewis (piano)
Milt Jackson (vibes)
Percy Heath (bass)
Connie Kay (drums)

Having sponsored Ornette Coleman at the School of Jazz near Lennox, MA, pianist and composer John Lewis helped launch the controversial career of one of the last great innovators in jazz. Lewis' support of the ragtag Texas native was somewhat unique in jazz circles at the time and even surprising, especially considering the gulf between the classical jazz formality of his group the Modern Jazz Quartet and Coleman's radical notions of free improvisation. Nevertheless, Lewis not only saw in Coleman the first jazz genius since bebop's Parker, Gillespie, and Monk, but put pay to the praise with the MJQ's 1962 rendition of one of Coleman's most famous numbers, "Lonely Woman." (Along with Art Pepper's 1960 version of "Tears Inside," this was one of the earliest of Coleman covers done.) The 1962 Atlantic album of the same name turns out to be one of the band's best efforts. Lewis and fellow MJQ members Milt Jackson, Percy Heath, and Connie Kaye capitalize on the dramatic theme of "Lonely Woman" while adding a bit of chamber music complexity to the mix. The quartet doesn't take Coleman's free form harmolodic theory to heart with a round of quixotic solos, but the group does spotlight the often overlooked strength of his compositional ideas. And while the MJQ further plies its knack for involved pieces on Lewis originals like "Fugato" and "Trieste," the group also balances out the set with looser material more in tune with Jackson's blues and swing sensibilities. A great disc that's perfect for the curious jazz lover. ---Stephen Cook, AMG

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