| | Ballad Artistry Of Milt Jackson/Vibrations CD Milt Jackson Discography of CDs
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2 LP's on 1 CD: THE BALLAD ARTISTRY OF MILT JACKSON (1960)/VIBRATIONS (1964).
Includes liner notes by Nat Hentoff and Bill Coss.
THE BALLAD ARTISTRY OF MILT JACKSON:
Personnel includes: Milt Jackson (vibraphone); Quincy Jones (conductor); Don Hammond (flute); Romeo Penque (reeds); Gloria Agostini (harp); Jimmy Jones (piano); Barry Gailbraith, Chuck Wayne (guitar); Bill Crow, Milt Hinton (bass); Connie Kay (drums).
Originally released on Atlantic (1342).
VIBRATIONS:
Personnel: Milt Jackson (vibraphone); Jimmy Heath (tenor saxophone); Tate Houston (baritone saxophone); Henry Boozier (trumpet); Tommy McIntosh (trombone); Tommy Flanagan (piano); Kenny Burrell (guitar); Alvin Jackson, George Duvivier (bass); Connie Kay (drums).
Originally released on Atlantic (1417).
Vibraphonist Milt Jackson's enormous capacity for invention percolates throughout the sumptuous settings on the "with strings" date, The Ballad Artistry of Milt Jackson. Jackson and the large string section, masterfully arranged and conducted by Quincy Jones, mesh beautifully. Equally critical, the rhythm section is superbly integrated in the arrangements, underpinning the billows of violins and cellos with a distinct jazz pulse. Above all, Jackson is himself, bringing his consistently flawless phrasing and subtle, but ever-present, blues feeling to his role as featured solist. Bassist Milt Hinton, drummer Connie Kay, guitarist Barry Galbraith, and pianist Jimmy Jones make up the rhythm section for this 1960 session. The other half of this compilation, 1964's Vibrations, is another fine set. This time Jackson is joined by four horns and another strong rhythm section. Tenor player Jimmy Heath, sounding satisfyingly like John Coltrane circa the start of his Atlantic period, is featured prominently. The interaction of Jackson and Heath with pianist Tommy Flanagan, drummer Connie Kay, and bassist Alvin Jackson provide the main interest. The set is nicely rounded out by two tracks with guitarist Kenny Burrell, and a small, vocal ensemble that sings wordless arrangements on the cooly swinging title tack and the hard bopping "Let Me Hear the Blues," both by Jackson. ~ Jim Todd
2 On 1
Ballad Artistry Of Milt Jackson/Vibrations Music | List Price | $14.97 (You save $3.38) | | Category | Rock/Pop Albums, Jazz CDs, Jazz Instrument, Bebop, Vibraphone/Marimba | | Label | Collectables | | Orig Year | 1999 | | All Time Sales Rank |  40673  | | CD Universe Part number | 1010323 | | Catalog number | 6258 | | Discs | 1 | | Release Date | May 25, 1999 | | Studio/Live | Studio | | Mono/Stereo | Mixed | | Recording Time | 75 minutes | | Personnel | Quincy Jones - conductor
Milt Jackson - vibraphone
Romeo Penque - reeds
Jimmy Jones - piano
Jimmy Jones - piano
Gloria Agostini - harp
Chuck Wayne - guitar
Tate Houston - baritone saxophone
Bill Crow
Berry Gailbraith
Don Hammond - flute
Alvin Jackson
Henry Boozier - trumpet
Tommy McIntosh - trombone
Also: Kenny Burrell, Tommy Flanagan, Connie Kay, Milt Hinton, George Duvivier, Jimmy Heath |
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Additional Tracks
Joy Division: Ian Curtis (vocals); Bernard Sumner (guitar, keyboards); Peter Hook (bass); Stephen Morris (drums).
Audio Remasterer: Jon Davis.
If Unknown Pleasures was Joy Division at their most obsessively, carefully focused, ten songs yet of a piece, Closer was the sprawl, the chaotic explosion that went every direction at once. Who knows what the next path would have been had Ian Curtis not chosen his end? But steer away from the rereading of his every lyric after that date; treat Closer as what everyone else thought it was at first -- simply the next album -- and Joy Division's power just seems to have grown. Martin Hannett was still producing, but seems to have taken as many chances as the band itself throughout -- differing mixes, differing atmospheres, new twists and turns define the entirety of Closer, songs suddenly returned in chopped-up, crumpled form, ending on hiss and random notes. Opener "Atrocity Exhibition" was arguably the most fractured thing the band had yet recorded, Bernard Sumner's teeth-grinding guitar and Stephen Morris' Can-on-speed drumming making for one heck of a strange start. Keyboards also took the fore more so than ever -- the drowned pianos underpinning Curtis' shadowy moan on "The Eternal," the squirrelly lead synth on the energetic but scared-out-of-its-wits "Isolation," and above all else "Decades," the album ender of album enders. A long slow crawl down and out, Curtis' portrait of lost youth inevitably applied ...
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“Andrea Celeste sings with wise and elegant phrasing and a warm and expressive voice, portraying an innocent belief in the power of the romantic word. Her readings of “It Ain’t Necessarily So” and “I’m Glad There is you” are masterful.”Eyal Hareuveni - All About Jazz USA"Andrea Celeste's voice is destined for jazz!"Michael Arens - Soul Train"A fine jazz album which reminds of Laura Nyro, Anita Baker, Jony Mitchell and highlights softness and colours of this singers."Paolo Russo - La RepubblicaAndrea Celeste was born in Pontedera on the 31st of August 1986. When only 11 years old she started giving her first public performances and took up the study of classical singing and piano under the guidance of M. Vittorio Scali.Her talent did not pass unnoticed and she was invited, while still an adolescent, to share the stage with some of the most important national and international Gospel projects and singers such as the St. Jacob’s Gospel Choir directed by M. Massimo Bracci, the Joyful Angels directed by M. Vijay Pierallini, and the American singer Cheryl Porter. In 2002 Andrea won a scholarship for the International Gospel Seminar ...
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