Milt Jackson, Joe Pass & Ray Brown - The Big 3 (1994)
Milt Jackson, Joe Pass & Ray Brown - The Big 3 (1994)
Jazz | EAC Rip | FLAC (tracks)+CUE+LOG | mp3@320 | 227 MB. & 120 MB.
300dpi. Complete Scans (JPG) included | WinRar, 3% recovery
Audio CD (1994) | Label: Pablo/OJC | Catalog# OJCCD-805-2(2310-757) | 44:04 min.
Jazz | EAC Rip | FLAC (tracks)+CUE+LOG | mp3@320 | 227 MB. & 120 MB.
300dpi. Complete Scans (JPG) included | WinRar, 3% recovery
Audio CD (1994) | Label: Pablo/OJC | Catalog# OJCCD-805-2(2310-757) | 44:04 min.
Review by Scott Yanow ~allmusicTracklist:
This CD (a straight reissue of the original LP) features a rather notable pianoless combo: vibraphonist Milt Jackson, guitarist Joe Pass, and bassist Ray Brown. These three masterful players recorded together in many settings during the Pablo years, but only this once as a trio. The colorful repertoire (which ranges from "The Pink Panther" and "Blue Bossa" to "Nuages" and "Come Sunday") acts as a device for the musicians to construct some brilliant bop-based solos.
01. The Pink Panther (5:57)
02. Nuages (7:28)
03. Blue Bossa (5:06)
04. Come Sunday (3:17)
05. Wave (6:53)
06. Moonglow (4:55)
07. You Stepped Out of a Dream (4:00)
08. Blues for Sammy (6:28)
Milt Jackson, Joe Pass & Ray Brown - The Big 3 (1994)
Personnel:
Milt Jackson - vibes
Joe Pass - guitar
Ray Brown - bass
~allAboutJazz
Born: January 1, 1923 | Died: 1999 | Instrument: Vibraphone
Born on Jan. 1, 1923, in Detroit, Jackson's musical beginnings were in the neighborhood gospel churches as a pianist, guitarist, violinist percussionist and singer. He took up the vibraphone in high school.
He moved to New York, played with Earl Hines and in 1945, joined Dizzy Gillespie's big band rhythm section, which also included pianist John Lewis, bassist Ray Brown and drummer Kenny Clarke.
He worked with Charlie Parker, Thelonious Monk and Miles Davis and in 1951 recorded with Gillespie bandmates Lewis, Clarke and Brown. Inspired by that recording, they reformed as the Modern Jazz Quartet in 1952 with Percy Heath replacing Ray Brown and Connie Kay taking the drum chair after the departure of Kenny Clarke in 1955. For the following 50 years the sound of Milton “Bags” Jackson's vibraphone would signature the Modern Jazz Quartet and inspire generations of followers.
Jackson's impassioned improvisations and compositions, including “Bluesology” and “Bag's Groove,” helped define the MJQ sound. Jackson recorded many splendid dates as a leader, including, The Ballad Artistry Of Milt Jackson, Ballads And Blues and Big Band Bags, and worked with many jazz immortals, including John Coltrane, Coleman Hawkins, Ray Charles and Quincy Jones. In '99 he fronted an exciting album date with the Clayton-Hamilton Jazz Orchestra, Explosive! (Qwest).
He died in 1999.
Born: January 1, 1923 | Died: 1999 | Instrument: Vibraphone
Born on Jan. 1, 1923, in Detroit, Jackson's musical beginnings were in the neighborhood gospel churches as a pianist, guitarist, violinist percussionist and singer. He took up the vibraphone in high school.
He moved to New York, played with Earl Hines and in 1945, joined Dizzy Gillespie's big band rhythm section, which also included pianist John Lewis, bassist Ray Brown and drummer Kenny Clarke.
He worked with Charlie Parker, Thelonious Monk and Miles Davis and in 1951 recorded with Gillespie bandmates Lewis, Clarke and Brown. Inspired by that recording, they reformed as the Modern Jazz Quartet in 1952 with Percy Heath replacing Ray Brown and Connie Kay taking the drum chair after the departure of Kenny Clarke in 1955. For the following 50 years the sound of Milton “Bags” Jackson's vibraphone would signature the Modern Jazz Quartet and inspire generations of followers.
Jackson's impassioned improvisations and compositions, including “Bluesology” and “Bag's Groove,” helped define the MJQ sound. Jackson recorded many splendid dates as a leader, including, The Ballad Artistry Of Milt Jackson, Ballads And Blues and Big Band Bags, and worked with many jazz immortals, including John Coltrane, Coleman Hawkins, Ray Charles and Quincy Jones. In '99 he fronted an exciting album date with the Clayton-Hamilton Jazz Orchestra, Explosive! (Qwest).
He died in 1999.
~allAboutJazz
Born: January 13, 1929 | Died: 1994 | Instrument: Guitar
Joe Pass almost didn't make it as a musician due to his early battle with drug addiction. But following a successful rehab at Synanon and a recording session with fellow recovered musicians entitled Sounds of Synanon, the guitarist was signed by Dick Bock to the Pacific Jazz label. Pass made several albums as a leader and sideman for Bock, though work started drying up in the late 1960s as rock dominated the music marketplace.
But it was when Joe Pass met impressario Norman Granz that the guitarist's career took off. Granz signed him to his new Pablo label in the early 1970s and recorded him extensively, as a soloist (especially the oustanding Virtuoso series), in duos, trios and as a part of many studio and concert jam sessions. By this time Pass had developed such a virtuoso technique on his instrument that he was considered the “Art Tatum of the guitar” by many critics. Pass especially excelled in his many recordings with piano great Oscar Peterson, as the two men were energized by the stimulation of playing with a fellow master, often at a ridiculous tempo.
Strangely, Joe Pass was rarely happy with his recordings, telling liner note writer Ken Dryden that “I always feel like I could have done better.” Following a single session as a leader for Telarc, Pass made one final CD with Roy Clark (of Hee Haw fame): Roy Clark & Joe Pass Play Hank Williams, though a number of previously unissued collections of his recordings would appear after his passing.
Joe Pass died of liver cancer on May 23, 1994 in Los Angeles.
Born: January 13, 1929 | Died: 1994 | Instrument: Guitar
Joe Pass almost didn't make it as a musician due to his early battle with drug addiction. But following a successful rehab at Synanon and a recording session with fellow recovered musicians entitled Sounds of Synanon, the guitarist was signed by Dick Bock to the Pacific Jazz label. Pass made several albums as a leader and sideman for Bock, though work started drying up in the late 1960s as rock dominated the music marketplace.
But it was when Joe Pass met impressario Norman Granz that the guitarist's career took off. Granz signed him to his new Pablo label in the early 1970s and recorded him extensively, as a soloist (especially the oustanding Virtuoso series), in duos, trios and as a part of many studio and concert jam sessions. By this time Pass had developed such a virtuoso technique on his instrument that he was considered the “Art Tatum of the guitar” by many critics. Pass especially excelled in his many recordings with piano great Oscar Peterson, as the two men were energized by the stimulation of playing with a fellow master, often at a ridiculous tempo.
Strangely, Joe Pass was rarely happy with his recordings, telling liner note writer Ken Dryden that “I always feel like I could have done better.” Following a single session as a leader for Telarc, Pass made one final CD with Roy Clark (of Hee Haw fame): Roy Clark & Joe Pass Play Hank Williams, though a number of previously unissued collections of his recordings would appear after his passing.
Joe Pass died of liver cancer on May 23, 1994 in Los Angeles.
~allAboutJazz
Born: October 13, 1926 | Died: July 2, 2002 | Instrument: Bass (acoustic)
Ray Brown was born in Pittsburgh, Pennsylvania, and had piano lessons from the age of eight. After noticing how many pianists attended his high school, he thought of taking up the trombone, but was unable to afford one. With a vacancy in the high school jazz orchestra, he took up the double bass.
A major early influence on Brown's bass playing was the bassist in the Duke Ellington band, Jimmy Blanton. As a young man Ray Brown became steadily more well known in the Pittsburgh jazz scene, with his first experiences playing in bands with the Jimmy Hinsley Sextet and the Snookum Russel band. After graduating from high school, hearing stories about the burgeoning jazz scene on 52nd Street, in New York City, he bought a one way ticket to New York.
Arriving in New York at the age of twenty, he met up with Hank Jones, with whom he had previously worked, and was introduced to Dizzy Gillespie, who was looking for a bass player. Gillespie hired Brown on the spot and he soon played with such established musicians as Art Tatum and Charlie Parker.
From 1946 to 1951 he played in Gillespie's band. Brown, along with the vibraphonist Milt Jackson, drummer Kenny Clarke, and the pianist John Lewis formed the rhythm section of the Gillespie band, and their work together eventually led to the creation of the Modern Jazz Quartet.
Around this time Brown was also appearing in Jazz at the Philharmonic concerts, organised by Norman Granz. It was at these concerts that he met the jazz singer Ella Fitzgerald, whom he married in 1947. Together they adopted a child born to Fitzgerald's half-sister Francis, whom they christened Ray Brown, Jr. Fitzgerald and Brown divorced in 1952.
It was at a Jazz at the Philharmonic concert in 1949 that Brown first worked with the jazz pianist Oscar Peterson, in whose trio Brown would play from 1951 to 1966. After leaving the Trio he became a manager and promoter as well as a performer.
In 1966, he settled in Los Angeles where he was in high demand working for various television show orchestras. He also accompanied some of the leading artists of the day, including Frank Sinatra, Billy Eckstine, Tony Bennett, Sarah Vaughan, and Nancy Wilson. He also managed his former musical partners, the Modern Jazz Quartet, as well as a young Quincy Jones, produced some shows for the Hollywood Bowl, wrote jazz double bass instruction books, and developed a jazz cello.
It was whilst in Los Angeles that he composed music for films and television shows. He was awarded his first Grammy for his composition, “Gravy Waltz”, a tune which would later be used as the theme song for The Steve Allen Show.
In the 1980s and 1990s he led his own trios and continued to refine his bass playing style. In his later years he recorded and toured extensively with pianist Gene Harris. In the early 1980s, he discovered Diana Krall in a restaurant in Nanaimo, British Columbia.
He continued to perform until his death; he died while taking a nap before a show in Indianapolis.
Born: October 13, 1926 | Died: July 2, 2002 | Instrument: Bass (acoustic)
Ray Brown was born in Pittsburgh, Pennsylvania, and had piano lessons from the age of eight. After noticing how many pianists attended his high school, he thought of taking up the trombone, but was unable to afford one. With a vacancy in the high school jazz orchestra, he took up the double bass.
A major early influence on Brown's bass playing was the bassist in the Duke Ellington band, Jimmy Blanton. As a young man Ray Brown became steadily more well known in the Pittsburgh jazz scene, with his first experiences playing in bands with the Jimmy Hinsley Sextet and the Snookum Russel band. After graduating from high school, hearing stories about the burgeoning jazz scene on 52nd Street, in New York City, he bought a one way ticket to New York.
Arriving in New York at the age of twenty, he met up with Hank Jones, with whom he had previously worked, and was introduced to Dizzy Gillespie, who was looking for a bass player. Gillespie hired Brown on the spot and he soon played with such established musicians as Art Tatum and Charlie Parker.
From 1946 to 1951 he played in Gillespie's band. Brown, along with the vibraphonist Milt Jackson, drummer Kenny Clarke, and the pianist John Lewis formed the rhythm section of the Gillespie band, and their work together eventually led to the creation of the Modern Jazz Quartet.
Around this time Brown was also appearing in Jazz at the Philharmonic concerts, organised by Norman Granz. It was at these concerts that he met the jazz singer Ella Fitzgerald, whom he married in 1947. Together they adopted a child born to Fitzgerald's half-sister Francis, whom they christened Ray Brown, Jr. Fitzgerald and Brown divorced in 1952.
It was at a Jazz at the Philharmonic concert in 1949 that Brown first worked with the jazz pianist Oscar Peterson, in whose trio Brown would play from 1951 to 1966. After leaving the Trio he became a manager and promoter as well as a performer.
In 1966, he settled in Los Angeles where he was in high demand working for various television show orchestras. He also accompanied some of the leading artists of the day, including Frank Sinatra, Billy Eckstine, Tony Bennett, Sarah Vaughan, and Nancy Wilson. He also managed his former musical partners, the Modern Jazz Quartet, as well as a young Quincy Jones, produced some shows for the Hollywood Bowl, wrote jazz double bass instruction books, and developed a jazz cello.
It was whilst in Los Angeles that he composed music for films and television shows. He was awarded his first Grammy for his composition, “Gravy Waltz”, a tune which would later be used as the theme song for The Steve Allen Show.
In the 1980s and 1990s he led his own trios and continued to refine his bass playing style. In his later years he recorded and toured extensively with pianist Gene Harris. In the early 1980s, he discovered Diana Krall in a restaurant in Nanaimo, British Columbia.
He continued to perform until his death; he died while taking a nap before a show in Indianapolis.
Produced by Norman Granz
Recorded at Cherokee Recording Studios, Los Angeles; August 25, 1975
Recording Engineer: Angel Balestier
Digital remastering, 1994 - Phil De Lancie (Fantasy Studios, Berkeley)
Art Direction: Phil Carroll
Designed by Gilles Margerin
Photography: Phil Stern
Liner notes by Benny Green
EAC extraction logfile from 5. July 2007, 13:00 for CD
Milt Jackson, Joe Pass & Ray Brown / The Big 3
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Milt Jackson, Joe Pass & Ray Brown / The Big 3
Used drive : HL-DT-STDVDRAM GSA-4163B Adapter: 1 ID: 1
Read mode : Secure with NO C2, accurate stream, disable cache
Read offset correction : 667
Overread into Lead-In and Lead-Out : No
Used output format : Internal WAV Routines
44.100 Hz; 16 Bit; Stereo
Other options :
Fill up missing offset samples with silence : Yes
Delete leading and trailing silent blocks : No
Installed external ASPI interface
Track 1
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Test CRC F8D52076
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Copy OK
Track 2
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Peak level 100.0 %
Test CRC A76F2CF2
Copy CRC A76F2CF2
Copy OK
Track 3
Filename D:\Milt Jackson, Joe Pass & Ray Brown - The Big 3 (1976)[FLAC]{OJC}\03 - Blue Bossa.wav
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Test CRC CF833BFA
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Copy OK
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Copy CRC 2E04C0E7
Copy OK
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Copy CRC F0BED527
Copy OK
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Copy OK
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Thanks to the original releaser.
Milt Jackson, Joe Pass & Ray Brown - The Big 3 (1994)
(L-R: Milt, Ray, Joe)
(flac links are interchangeable, mp3@320 = single link)