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Basie was the leader of the ‘swingingest’ big band of the golden age of swing jazz and after, and at first sight – or hearing – MJQ’s music might sit oddly with the Basie tradition.

But the essence of the Basie band was the perfect timing of its sixteen members, a timing set by the rhythm section of piano (Basie), guitar, bass and drums. MJQ, despite the fact that its quiet music was often called “chamber jazz” in contrast to the riotous sound of the Basie band, was also a perfectly timed machine.

The difference was that here was a rhythm section that was the whole band, so that its members had to improvise solos in contrast to Basie’s rhythm section, whose chief function was to lay down the beat.

Five of the eight pieces played here were written by Lewis, one by Jackson, and only one (“Topsy”) originated from and was often played by the Basie band. Like many of the others, it has a medium tempo.

The theme is played by Lewis and Jackson and only Lewis takes a solo.

Jackson and Lewis both improvise solos on most of the other tracks, of which the slow-paced “Nature Boy” is played almost entirely by Jackson alone, until the last note, when the rest of the band kick in dramatically.

In contrast, on the brisk-paced “Milano”, Jackson is totally absent until the final note. For my money, “Reunion Blues”, written by Jackson specially for the first reunion of MJQ, a haunting tune, is the pick of the album, but only a first among equals.

JAZZEBEL

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