Milt Jackson/Ray Charles: Soul Brothers/Soul Meeting

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Album Remarks & Appraisals:

Import pressing. Out-of-print in the US. These records are "cool" in the classic sense of the word: they swing, groove, whisper and discuss with the sophisticated yet down-home relaxation of a late-night session. While Milt Jackson's work with the Modern Jazz Quartet represents a kind of bebop perfection, the truism about the MJQ has always been that it's Jackson the irrepressible soloist and blues spirit that provides the ballast to John Lewis' more cerebral explorations of form and composition.At the same time, Ray Charles' reputation as the definitive gospel-inspired R&B shouter and bandleader overshadows the facts of his jazz background and impressive musicianship. This is a guy, after all, who early in his career wanted to sound as much like Nat Cole as possible--and did, for a time, as both a singer and a pianist. So while these giants meet on the common turf of the blues on these two records, they bring a sharp jazz sensibility to the numerous and varied twelve-bar grooves here. Charles' stompin' bebop lines on the bonus track "Charlesville" are only one of the many revelations of this session. Warner.

Album Notes

Personnel: Skeeter Best, Kenny Burrell (guitar); Ray Charles (alto saxophone, acoustic & electric pianos); Billy Mitchell (tenor saxophone); Milt Jackson (piano, vibraphone); Oscar Pettiford (bass); Connie Kay (drums); Percy Heath, Art Taylor.

Producers: Nesuhi Ertegun, Jerry Wexler.

Reissue producer: Bob Porter.

Recorded in New York on between 1957 & 1958. Includes original release liner notes by Gary Kramer & Bill Randle.

Originally released separately as SOUL BROTHERS (Atlantic 1360) and SOUL MEETING (Atlantic 1279). 2 LPs on 2 CDs. Both are available separately on cassette.

Personnel: Ray Charles (alto saxophone, piano); Kenny Burrell, Skeeter Best (guitar); Billy Mitchell (tenor saxophone); Milt Jackson (piano, vibraphone); Connie Kay, Art Taylor (drums).

Liner Note Authors: Gary Kramer; Bill Randle.

Recording information: New York, NY (09/12/1957-04/10/1958).

Photographer: Lee Friedlander.

These records are "cool" in the classic sense of the word: they swing, groove, whisper and discuss with the sophisticated yet down-home relaxation of a late-night session. While Milt Jackson's work with the Modern Jazz Quartet represents a kind of bebop perfection, the truism about the MJQ has always been that it's Jackson the irrepressible soloist and blues spirit that provides the ballast to John Lewis' more cerebral explorations of form and composition.

At the same time, Ray Charles' reputation as the definitive gospel-inspired R&B shouter and bandleader overshadows the facts of his jazz background and impressive musicianship. This is a guy, after all, who early in his career wanted to sound as much like Nat Cole as possible--and did, for a time, as both a singer and a pianist. So while these giants meet on the common turf of the blues on these two records, they bring a sharp jazz sensibility to the numerous and varied twelve-bar grooves here. Charles' stompin' bebop lines on the bonus track "Charlesville" are only one of the many revelations of this session.

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• A Date in New York (Johnson, J.J. (Trombone))
• Bean Bags/Bags' Opus (Jazz Giants)
• Jackson, Johnson, Brown & Company (Johnson & Johnson & Brown)
• Bags & Trane (Coltrane, John)
• Bags & Trane (Coltrane, John)
• Bags & Trane (Coltrane, John)
• Bags & Trane (Coltrane, John)
• Big Bags (Milt Jackson Orchestra)
• Miles Davis and Milt Jackson Quintet/Sextet (Davis, Miles)
• A Celebration of Duke (Various Artists)
• This Is How I Feel About Jazz (Jones, Quincy)
• Telefunken Blues [Bonus Tracks] (Telefunken Blues)

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