Complete Last Concert [Live]

The Modern Jazz Quartet, M.j.q | Format: Audio CD

Product Details

• Audio CD (October 25, 1990)
• Original Release Date: 1974
• Number of Discs: 2
• Format: Live
• Label: Atlantic / Wea
• ASIN: B000002IO8
• In-Print Editions: MP3 Download
• Average Customer Review: 4.9 out of 5 stars  See all reviews (14 customer reviews)
• Amazon Best Sellers Rank: #34,940 in Music (See Top 100 in Music)

Track Listings

Disc: 1

1. Softly, As in a Morning Sunrise

2. The Cylinder

3. Summertime

4. Really True Blues

5. What's New?

6. Blues in A Minor

7. Confirmation

8. 'Round Midnight

9. A Night in Tunisia

10. Tears from the Children

See all 12 tracks on this disc

Disc: 2

1. The Golden Striker [From No Sun in Venice]

2. One Never Knows [From No Sun in Venice]

3. Trav'lin'

4. Skating in Central Park

5. The Legendary Profile [*]

6. Concierto de Aranjuez [*]

7. The Jasmine Tree

8. In Memoriam

9. Django

10. Bags' Groove

Customer Reviews

Most Helpful Customer Reviews

40 of 41 people found the following review helpful:

5.0 out of 5 stars A great concert disc, and a jazz classic, August 16, 2001

By 

John Grabowski (USA) - See all my reviews

This review is from: Complete Last Concert (Audio CD)

I wish I'd been there on the night of November 25, 1974 as the MJQ took the stage at Avery Fisher Hall. It was a concert that was truly a climactic end to the Modern Jazz Quartet's 22 years. (At the time it was not known that they would reassemble ten years later, albeit without as much musical interest.) John Lewis, Milt Jackson, Percy Heath and Connie Kay played their hearts out, creating some of the finest renditions of their repertoire ever. Fortunately, every note was captured in crystal-clear sound and is on this 2-CD set.

As for highlights...there are so many the whole set could just be called one continuous highlight of the quartet's legacy. But there are some standouts: the opening, disarmingly-complex "Softly As In A Morning Sunrise," the bluesy "Summertime," the funky "True Blues," the smokey "'Round Midnight" (featuring one of Milt's best solos on record for which he gets a deserved spirited ovation), the very sweet and sentimental "Skating In Central Park," the virtuostic "Blues in A minor," the delicate "One Never Knows," the energetic "Jasmine Tree," and two encores that are the group's signature pieces, "Django" and (of course!) "Bags' Groove" in what I promise you is the wildest rendition of this piece you will ever hear. All the selections have intricacy and interplay (each man knew when the other was going to breathe) beyond what can be described here. Suffice it to say these four men get textures, colors and tones that are quite unlike any other jazz group, and any other group of musicians in any genre. It's hard to appreciate today how innovative their approach was in the 1950s and 60s because so much of what they've done has become so assimilated by pop, jazz, TV and movie music, and classical. (Of course, they did a lot of assimilating of their own; it was a symbiotic relationship.)

Despite the overall high quality of music here, there are a few lowlights, and they underscore the reasons the MJQ became unglued and, frankly, *needed* to disband. They were being pushed more and more into Lewis' Third-Stream mode towards the end, and a lot of the compositions were forced and contrived. (Of course this conflict existed from the beginning, but Jackson and co. managed to actually feed off the tension. By the late 60s, though, Jackson was sounding in a rut.) I love the Third-Stream movement of music, and wish more exploration had been done in this area (the economics made it prohibitive). But many of Lewis' "serious" compositions are, honestly, pretentious hybirds that Jackson and the others never could quite get down on. The audience applauds politely, but there's not much real enthusiasm for the sprawling and unoriginal "In Memoriam," the dry, dutiful reading of Rodrigo's famous "Concierto de Aranjuez" or the incredibly pretentious "Tears For The Children." (With a title like this you know it's going to be pretentious, and it delivers.) These tunes were kept off the original LP of this concert, and frankly, it was no loss. It's worth having here only for completeness' sake.

And some of the program choices, and omissions, are a little odd: "Blues in B" and "The Jasmine Tree" and "England's Carol"--all mediocre works--but no "Two Degrees East Three Degrees West," "Animal Dance" or "Pyramid"? Still, these are but small nicks on a great masterpiece of an historic evening. If there were only a handful of MJQ albums I could own, this would be one of them. Of course we all know the group got back together again, but they never again made music quite like this.

23 of 23 people found the following review helpful:

5.0 out of 5 stars A Great Summation of the MJQ's career, August 9, 2003

By 

Rolf Aderhold (Hannover, Germany) - See all my reviews
(REAL NAME)   

This review is from: Complete Last Concert (Audio CD)

If you are looking for an answer to the question what the Modern Jazz Quartet is all about, you have come to the right place. In 1974, the MJQ had been in existence for almost 20 years, and vibraharpist Milt Jackson (now sadly deceased) became tired of the somewhat rigid structure of the quartet. Thus, the MJQ decided to disband and to give one more concert at New York's Avery Fisher Hall. Here, sensing that this might really be the last time they had a chance to play these songs, the quartet gave every tune a special treatment.
The classical aspect of their music, so often likened to chamber-music, is well displayed in several tunes from their "Blues on Bach" album, but if you listen to Milt Jackson when he swirls and weaves his melody around the steady pulse by both drums and bass, you realize that this interpretation is beyond both classical music and Jazz. However, their reading of "Concierto de Aranjuez" is far closer to the original than the one done by Miles Davis on "Sketches of Spain".
Standards such as "Summertime" and "'Round Midnight", as well as tunes that recall the quartet's origin in Dizzy Gillespie's band, such as "Confirmation" and "A Night in Tunisia", are also present. But mostly the tunes are by pianist John Lewis and, with stronger leanings to the blues, by Milt Jackson. Lewis' "Skatin' in Central Park" and "One Never Knows", for example, are both lovely ballads, whereas Jackson's "Really True Blues" and "The Cylinder" are more deeply rooted in the realm of Jazz and Blues.
This only shows how much the music and the programme of the band was always built around the contrasting musical personalities of John Lewis, the quartet's musical director, and Milt Jackson, their main soloist, who embodies perfectly grace, style, time and swing at the same time. He was certainly one of the great masters of Jazz, and his at times forceful and energetic, but also often cool and crisp playing is to me the main attraction of the quartet. This edition is the first complete rendition of the now legendary concert (needless to say that they gave many more afterwards), and for that fact alone, the CD deserves six stars. If your new to the MJQ, you cannot find a better and more comprehensive collection of their playing. If you are a fan, what took you so long to get this marvellous highlight of their career? Get it!

15 of 15 people found the following review helpful:

5.0 out of 5 stars Their Finest, April 8, 1999

By A Customer

This review is from: Complete Last Concert (Audio CD)

The quartet pulls no punches in their greatest set. Mr Jackson and Mr Heath swing as never before. Mr Lewis' subtle piano solos are enjoyable. Also, Mr Kay's versatility shines through. The MJQ is a wonderful group to hear live and these CDs capture the essence of the love and joy that they put into their music even to this very day.