Ray Charles amp Milt Jackson - Soul Brothers Soul Meeting (14 tracks) +Album Reviews

Definition of jazz

ABH457 | New York | 06/09/1999

(5 out of 5 stars)

"If they ever land from Mars and ask "What is jazz?," disk 2 from this twofer could provide an answer. Soul Meeting and Blue Genius will be among those pieces shown in time to be exemplary jazz. They have an urging, subtle beat (Percy Heath and Art Taylor), and the three-man front line (Jackson. Ray Charles and Kenny Burrell) build statements of the finest logic and architecture. There's not much left that gets into the soul as does this music in today's jazz wasteland with Marsalis et al. at the helm."

The ray charles you may never have heard

p dizzle | augusta, georgia, USA | 03/19/2001

(5 out of 5 stars)

"this twofer combines two classic atlantic sessions from 1957 and '58, "soul meeting" and "soul brothers." in 1957, ray charles still had not achieved the fame that would make him an icon of soul and r-n-b. he was still appearing in a variety of contexts, including these extraordinary jazz sets with milt jackson. mr. jackson was well-known via the modern jazz quartet, but here we meet him in his solo nature--a jazz man drenched in the blues. mr. charles was a perfect foil for these sets that swing with some great modern jazz ("cosmic ray", "soul brothers", or "deed i do"), but also cook with some down-n-dirty blues ("blue funk", "how long blues", and "x-ray blues"). what comes to light is just how good mr. charles was on piano, and also alto sax ("how long..."). he has a deft hand and is a brilliant improviser. this album is a great introduction to classic jazz from the '50s, but is also highly recommended for a glimpse of another side of the genius of ray charles, one rarely heard much today."

Some Nice Surprises

Tom Schusterbauer | West Bloomfield, Michigan United States | 12/09/2001

(5 out of 5 stars)

"Thank heaven for the Cd. Otherwise, this wonderful summit meeting between Milt and Brother Ray would probably have disappeared altogether, or been lost in some dusty warehouse somewhere. What a waste that would be, because this a keeper. Milt does the vibes, of course, but he sneaks in some piano and even guitar. And Ray, of course, works the piano, but every so often, there he is on the alto sax.
And he isn't just taking up space. He can play that thing, and you wonder why he has doesn't done more with it. Accompanied by Billy Mitchell and others, these two jazz giants linger over some slow moving blues pieces, and pick up the pace on other cuts.
This is a gem. Get it. And thank you to Atlantic."

I stumbled on a desert island album

Lyn Pastac Lynsey | West Hurley, NY | 02/02/2006

(5 out of 5 stars)

"In 2000, I was searching for some Ray Charles Jazz recordings. I was familiar and a fan of The Modern Jazz Quartet (MJQ) already. So, when I saw this double set featuring these two masters. I was immediately intrigued and immediately impressed.

This is hands down one of my favorite Jazz CD's. It is loose and filled with groove and instrumental experimentation.

It is a wonder of a listening experience and one which I have given as a gift many times over.

Seeing that it is presently out of print tells me that a Remaster is in the cards (hopefully) though this already sounds fantastic.

Buy it for the musical soul of it. Period. The rest will be answered when you listen."

The Blues LIke You've Never Heard Before!

Kevin Currie-Knight | Newark, Delaware | 01/27/2006

(5 out of 5 stars)

"All jazzers are familiar with the 12 bar blues. It is, after all, a staple of American music. In the wrong hands, it can sound artificial, sometimes mundane. In the right ones, though, it can be succulent, sweet, and profoundly beautiful. Ladies and gentlemen: I have never in my life heard a better jazz/blues album (actually two in one) than this one right here.

From the first grinding minute of the opening "How Long Blues," to the soul-infused, uptempo "Hallelujah, Got to Love Her So," Ray Charles and Milt Jackson deliver us a plethora of approaches to the blues, all stunners in their own way. And unlike many collaborations, Charles and Jackson are good foils for eachother. Charles, drenched as he was in gospel/soul, solos in a slower, more mournful style, while the veteran jazzer Milt Jackson takes a more meandering 'be-bop' approach. Put them together, and you get a fusion most electric.

While I happen to think that Charles is the 'scene-stealer' on these two albums (witness the 5 minute piano solo in "The Genius After Hours" for a great example) another reviewer below gives that title to Jackson. Both soloists are certainly in top form. But that is what makes this record so great to listen to: despite their different approaches to blues soloing, both players bring everything they have to the table, and the result is a sweet delight.

In closing, if you like a more straight ahead bop style, this disc might come off as too slow for you. Most of the tracks are in mid and slow tempos (a few of which are out-and-out grinders)! The tracks are more about soul than chops. This is fine by me, but might not be to some jazzers tasts (especially if you know Milt Jackson primarily from the Modern Jazz Quartet's recordings.) But if you want soul drenched blues, this is one of the best albums you can get!"

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