This post is by Dan
Recorded June 3 and 4, 1985
The Modern Jazz Quartet was formed in 1952, carving out a unique approach to jazz playing by combining blues with European chamber music sensibilities. The MJQ was extremely popular during the 1950s, a decade in which jazz actually was popular music. Their musical precision and tuxedoed appearance clearly signaled their identity as a serious and elegant voice in jazz that belonged in concert halls as well as jazz clubs.
In 1975, the group recorded a 2-LP set titled The Last Concert. Nine years later they reunited with Echoes on the Pablo label, soon followed by Topsy: This One's for Basie. As the cover art of Topsy shows, the group kept the tuxes and personnel from their pre-retirement era. John Lewis produced the album and wrote the liner notes.
Prolific bands run the risk of being dismissed as unoriginal, over recorded, redundant, and out of date. The dismissals sometimes extend to the style of jazz associated with the group. In the MJQ's case, I've read any number of dismissals of their "chamber jazz," as though it were less authentic than "real jazz." My own view is to dismiss the dismissals and to celebrate one of the most important groups in the history of jazz. Their accomplishments as a group and as individuals are difficult to match.
Reputational issues aside, Topsy turns out to be one of the best recorded and most interesting of all the MJQ's albums. I like Lewis' explanations and appreciate the featuring of each member of the quartet on different tunes. Milt Jackson takes "Nature Boy" as an unaccompanied solo, showing off his virtuosity and some of the vibes' unique sonic effects. Lewis takes "Milano" as his own solo feature. The Basie connection further distinguishes the program. One might not automatically associate the MJQ with the burning Basie big band, but the connection goes back a long way, as Lewis explains.
Topsy is also full of solid solos, including a loud (!) drum solo by Connie Kay on "Valeria." Lewis shines on "Le Cannet," and Jackson displays his bluesy genius on "D and E," which also features Percy Heath.
As we know, the 1980s are associated with the ascendence of European influences in jazz. It seems fitting that John Lewis, who has sustained his personal European credibility throughout his career, leads the MJQ in a Basie tribute that includes an Italian movie score ("Valeria"), a tribute to a French town ("Le Cannet"), his classic composition "Milano."
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