Sold Date: August 29, 2023
Start Date: August 22, 2023
Final Price: $17.89 (USD)
Bid Count: 1
Seller Feedback: 3453
Buyer Feedback: 0

MILES DAVIS & MILT JACKSON "QUINTET/SEXTET" (1956)  CLEAN 1982 OJC-012 PRESSING
MILES DAVIS & MILT JACKSON "QUINTET/SEXTET" LABEL: ORIGINAL JAZZ CLASSICS OJC-012 PRESTIGE P-7034 RECORDED: AUGUST 5th, 1956 RECORDING: VAN GELDER STUDIOS ~ HACKENSACK, NJ ORIGINAL RELEASE: 1956 PRESTIGE  THIS EDITION: 1982 OJC PRESSING RECORD COMPANY: FANTASY RECORDS (OJC SERIES) LACQUERS: GARY HOBISH ('GH' IN MATRIX) LINER NOTES: IRA GITLER MATRIX (SIDE A): R OJC. 012 A-T2 - P . T1 MATRIX (SIDE B): GH OJC 012 B - T1 - T1
CONDITION: VINYL: EX   JACKET: EX- (Small seam defect)
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ I've been going thru my massive vinyl record collection these past few weeks and pulling out some LPs that I thought that someone else would want for their collection. I've been collecting records for over 45 years and it's time to pass some of them on to the next generation of collectors.
This week on EBay I am offering up this very nice 1982 OJC Re-Issue pressing of 'Miles Davis and Milt Jackson ~ Quintet/Sextet,' also commonly known as 'Quintet/Sextet.'
This is from the first, original OJC series that Fantasy did back in 1982 after aquiring the rights to the Prestige label.
This is my original copy, purchased back in the early 80's, shortly after it's release, that I've taken great care of for many years. See details on Condition below.
This 1982 OJC Pressing reveals just how deeply layered, dynamic and intense the music is. The instruments are well separated, and there's a good sense of space and depth. The overall sound is warm, intimate, vibrant and dynamic.
~~~~~~~~~~~~~~~~~~ This is my original, clean, crisp, 1982 OJC re-pressing of 'Miles Davis and Milt Jackson ~ Quintet/Sextet,' also commonly known as 'Quintet/Sextet'
This is pressed on an accurate reproduction of the original 1956 'Yellow and Black' Fireworks Prestige label. The only difference is the OJC catalog number and OJC pressed in the Deadwax.
This is the original First OJC release from 1982, easily identified by the lack of a Barcode.
This MONO pressing has great sound, fullness, depth of sound and great separation. 
~~~~~~~~~~~~~~ This album contains a 1955 Studio Session of trumpeter Miles Davis and vibraphonist Milt Jackson, with Jackie McLean on Alto sax and an 'All-Star' rhythm section.
This great session was recorded at Rudy Van Gelder's Studio on August 5th, 1955. It was then released originally on Prestige Records in August of 1956.
Although credited to "Miles Davis and Milt Jackson", this was truly an "all-star" session. At this point in his career, 1955, Miles Davis was finally 'clean' from Heroin, and getting his head and playing back together.
Just a month earlier, he had made his triumphant ‘comeback,’ blowing away the crowd at the Newport Jazz Fest, and was entering into a new Era of being a frontman and earning International fame and recognition.
Miles was seriously planning his own working band at the time, trying to put together the 'right' team, but he was still doing 'All Star" type sessions like this for Prestige.
This session was Miles' last 'All-Star' group recording before the formation of his first 'Classic' quintet a few weeks later, which famously included John Coltrane, Red Garland, 'Philly' Joe Jones and Paul Chambers.
That Quintet would soon go into Rudy van Gelder’s Studio in May '56 for several marathon sessions that would create the classic cluster of albums; Workin', Steamin', Cookin', and Relaxin', that would finally free him from his contract with Prestige and let him explore new territory with his new band.
Before those sessions happened, Miles went into Rudy Van Gelder's Hackensack studio in early August 1955, with this 'All Star' lineup to record this great album.
This session did not feature anyone from Davis’ working band, instead it features the Rhythm section of Ray Bryant (piano), Percy Heath (bass), and Art Taylor (drums), all top-tier players at the time.
On top of that great rhythm section, this record alternates between a quintet with Milt Jackson on Vibes and a Sextet with the addition of Jackie McLean on Alto.
Davis wanted Ray Bryant and Jackie McLean for their soulful feel and Bebop sound.
The results of that session is this great album, which is basically a Hard-bop with some fantastic, hip, cool vibraphone.
Don't let the inclusion of Vibes turn you off. Milt was one of the best and his playing is fantastic, smooth and very hip.
After this session, Miles would do less appearances with other artists and instead focus on working with his new Quintet, the results of which we all know and love.
~~~~~~~~~~~~~~~~~~~~~~
The Group miles led on this session included:
MILES DAVIS: ~ TRUMPET JACKIE McLEAN ~ ALTO SAX (A1 & B1) PERCY HEATH ~ UPRIGHT BASS ART TAYLOR  ~ DRUMS RAY BRYANT ~ PIANO MILT JACKSON ~ VIBRAPHONE
This album only has 4 long tracks, but they are all great. Dr. Jackle (Jackie McLean) Bitty Ditty (Thad Jones) Minor March (Jackie McLean) Changes (Ray Bryant)
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Although they were both seminal figures in the development of modern, cool jazz, and played live together at Birdland years earlier, Miles Davis and Milt Jackson only recorded together on a few occasions. 
This album was recorded only a half-year after the famed meeting of Miles Davis, Milt Jackson and Thelonious Monk on Christmas Eve, 1954. 
The results of that famous encounter were issued on two different albums, one titled 'Bags' Groove' and 'Miles Davis and the Modern Jazz Giants' both of which show the special chemistry of Miles and Milt together.
Milt Jackson is a master of the vibes and this album captures him at a great moment in his development, featuring fine solos on several tracks.
His amazing solo on the the track, "Changes" is some of the best, coolest, vibes sound on vinyl, the best I think I've ever heard.
Jackson is on all 4 tracks on this album, but he knows when to step up, and when to lay back, and let the others shine.
Milt lays low on the 2 tracks that feature Alto Sax player Jackie McLean. McLean was yet another of the young talents that Miles fostered in the 50's.
McLean wrote 2 of the songs on this album, 'Minor March' and 'Dr Jackie', that not only serve as a vehicle for Jackie's blowing but also allow the special chemistry between Miles and Milt to shine.
I think the 2 cuts featuring Jacki McLean on this album are the best tracks.
Jackie McLean blows long, fantastic solos on both of his own compositions, showing off his post-bop qualities, playing with passion and fire. 
"Minor March", an uptempo smoker, shows off some impressive interplay between Miles and McLean. 
Although Jackie had previously recorded with Miles back in 1951/52, by 1955 he wasn't doing many sessions, and this is the recording that got Jackie McLean's career really going. 
Jackie McLean would have a long career after this album's popularity and he re-recorded 'Minor March' for his 1959 Blue Note album "New Soil", renaming it 'Minor Apprehension.'
McLean's other tune 'Dr. Jackle' is more bluesy with Jackie playing phrases that are more reminiscent of Charlie Parker. Miles liked the song and would re-record it with Cannonball and Coltrane on his classic "Milestones" album.
~~~~~~~~~~~~~~~~~~~~~ Pianist Ray Bryant shows off his writing and playing skills on this album as well. His composition 'Changes', the last track on the album, is fantastic. 
It's reminiscent of Bud Powell, in all the right ways, soulful and gospel-like, and is driven by the solid groove of Percy Heath and Art Taylor. Bryant's soulful, rhythmic, be-bop style is all over this song, and the whole album.
Miles plays some inspired, lovely, muted trumpet on this track. The kind he did so well.
This album would be the last time Miles recorded with Percy Heath and was the only time that Miles recorded with Ray Bryant, but it gave Bryant exposure to a wider audience which helped his career take off as well.
The other track on this album is Thad Jones' 'Bitty Ditty' which lets the quintet show off it's 'modern', angular melodies and features some tasteful harmonies between Miles and Milt. It also lets Bryant show off his 'style' which integrates of blues, gospel and bebop.
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ A wonderful underrated record with stellar, high quality and well recorded tracks. The musicianship is superb.
Overall, the session feels hip, swinging, but relaxed; falling somewhere between West Coast cool and hard bop.
A fantastic Jazz album, that belongs in your collection.
~~~~~~~~~~~~~~~~~~~~~~~~~~~~ CONDITION: I tried to show good hi-resolution photos of the cover, labels and vinyl in my pictures.
I purchased this copy back in the early 80's when these OJC titles were first being released, and have taken great care of it since.
VINYL: The vinyl looks great. Clean and bright. No scuffs, dings or scratches. Fantastic looking.
The rim or outer edge on these early OJC pressings had some minor pressing marks, but they are on the very outer edge, and have no effect on the playing grooves. Just the way they were made back then.
The Deadwax has the original 1982 OJC matrix markings.
I tried to show some close-up pictures of the vinyl to show how good it looks. 
LABELS: As mentioned, this is pressed with the 'classic' early yellow Prestige 'Fireworks' labels, but with OJC catalog numbers.
The labels are clean and bright. No marks or damage. The spindle holes are still sharp and clean, suggesting minimal playing and my careful handling over the years.
JACKET: As you can see from my pictures, this still looks very nice for a 40 year old copy.  Usually these 'white' jackets show significant wear and ringwear, but this copy looks great.  Clean, white, bright, with sharp corners.
The only 'flaw' is a very small start of a seam split at the far left side. When sleeved, you don't even see it. I showed a picture of it in my photos. It's small, but should be noted.
This originally came with a plain white inner sleeve. This record has been sleeved and stored properly for decades.
Overall, I'll call the whole record EX-, due to the tiny seam split, but a fantastic clean copy.
You can see from my pictures it's still quite nice, a real gem. I'm sure you'll love it.
~~~~~~~~~~~~ ** NOTE: I'm selling this rare 'Collector' record "AS IS" and "NO RETURN". It's rare and as described and I'm sure you'll be very happy with it.
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ If you're interested, here's the story of the classic late 50's Miles Davis Quintet. 
THE STORY OF THE FIRST GREAT MILES DAVIS QUINTET
By 1955, Miles Davis was in a much better shape than he was in a long time. After kicking his heroin habit at his father’s house in 1953, he returned to New York City a much better and stronger musician. His tone on the trumpet improved and so did his ability to lead groups of musicians at recording sessions and in the clubs. 
The quality of his 1954 studio output for Prestige greatly exceeded most of his earlier 1950s recordings and yielded some of the best records in his career.
He was ready to move on from his deal with Prestige, start a new band, and start the next stage of his career.
First, he needed to sign with a larger record company to get better distribution, promotion, and recognition, and secondly, he needed a new working band of excellent musicians. 
On June 7, 1955 Miles Davis went into Rudy van Gelder’s Studio in Hackensack, NJ to record a session for Prestige. This was a quartet date, significant for being the first session with pianist Red Garland, who Miles was familiar with and shared a love of Boxing with.
Miles felt that Garland could add ‘melodic understatement and lightness’ to his band, similar to the style of Chicago pianist Ahmad Jamal, who Miles admired.
They recorded some new tunes, some covers of Jamal's tunes, and the session led to Garland getting a new long contract with Prestige.
That June 1955 quartet session led to the 'Musings Of Miles' album on Prestige.
In July 1955, Miles appeared at the Newport Jazz Festival with an all-star band including Zoot Sims on tenor, Gerry Mulligan on baritone, Thelonious Monk on piano, Percy Heath on bass and Connie Kay on drums. 
His performance on Monk’s ‘Round Midnight was outstanding. Davis' excellent performance got him noticed, not only to jazz fans, but to record executives in the audience.
Columbia Records producer George Avakian offered Miles a lucrative contract, but Miles was currently signed to Prestige and owed them 5 more albums.
Avakian realized that Miles was 'hot' and marketable and started to record Miles at Columbia's NYC studio, promising not to release anything until Miles' recording obligations to Prestige were fulfilled.
The first of the 'classic quintet' recordings was done at Columbia in the Fall of 1955, but wouldn't be released until 1957, after Davis left the Prestige label.
Miles recruited drummer Philly Joe Jones, who he had first recorded with back in 1953, and worked with intermittently since.
For a Bass player, Miles had his eye on a young NYC bassist named Paul Chambers who was rising in the local scene. Chambers agreed to sign on.
The last piece of the puzzle was a Sax player.
Miles wanted to enlist Sonny Rollins, who he had worked with earlier in the 50s. Rollins signed on for some club dates, but then suddenly vanished. It turns out that Sonny had returned home to Lexington, Kentucky to kick his own heroin habit.
Davis then sought out Cannonball Adderley who was playing with Oscar Pettiford, but the alto player was also a music teacher and had teaching commitments back in his home state of Florida.
Miles briefly considered John Gilmore, Sun Ra's Tenor player, who had a unique sound and style, but that didn't work out.
Miles' drummer Philly Joe then recommended a Tenor player he knew from back in Philadelphia called John Coltrane. Miles had played with Coltrane before and was reluctant, but eventually they hooked up. Coltrane was playing in Philly with organist Jimmy Smith’s trio at the time.
With the final piece added, the classic Miles Davis quintet of the 1950s, one of the finest jazz ensembles in the history of the genre, was born.
Miles realized the quality, skills and possibilities of his new quartet right away.
Miles was making good money with his new Columbia contract and was popular enough to demand top fees for club dates, so he could afford to pay his musicians well and create a stable group of working and touring musicians.
He now had the ultimate Quintet; Trane on sax, Philly Joe on drums, Red Garland on piano, Paul Chambers on bass, and himself on trumpet. 
The band did a rehearsal tour around the east coast clubs and then booked their first recording session for Columbia in October 1956.
Davis still owed Prestige some albums, so on November 16, 1955, a few weeks after their first Columbia session, the quintet went into Rudy Van Gelder’s studio to record a session for Prestige, who released it as 'Miles: The New Miles Davis Quintet,' Now Miles only owed them 4 more records.
The Quintet was very popular and toured constantly from the Fall of 1955 through the Summer of 1956. They got progressively better and started to fuse into a tight unit.
Famously on May 11, 1956, producer Bob Weinstock booked a marathon session at Rudy van Gelder’s Studio. Davis knew he had to produce lots of quality takes, so the band basically performed their live show right there in the studio.
On that single session the band completed 13 pieces in 14 takes. A follow up session in October yielded 12 tracks in 15 takes. Now Prestige had enough material to make up the 4 albums that Miles owed his old record label.
Those sessions resulted in the classic Miles Davis albums; Cookin’  Relaxin’  Workin’  and Steamin’ with the Miles Davis Quintet. All fantastic releases.
The Quintet continued to record at Columbia Studios as well, doing sessions on June 5, 1956 and September 10, 1956. Those sessions ended up being the 'Round Midnight' album for Columbia which contained a classic version of Monk's title track.
Unfortunately, that last session for Prestige proved to be the last studio recording for the band.  The band continued to tour thru early 1957, with Miles taking a break to go on the 'Birdland All-Stars' tour of Europe, but things were starting to fall apart.
Drugs, alcohol and heroin were destroying the band. During a show at the Café Bohemia in April of 1957 Miles had enough and fired John Coltrane and Philly Joe Jones. That was the end of the first Classic Quintet.
The band only lasted only 18 months, but recorded 6 classic albums worth of material for Prestige and Columbia.
John Coltrane took his firing poorly, returned to Philadelphia, and decided to get clean. He then joined Thelonious Monk's band and started his spiritual journey in music.
Miles went on to work with Gil Evans and released he classic 'Miles Ahead' album. The Quintet's rhythm section all found club and session work with various other artists and had long careers.
Jazz critic Ira Gitler summed it up in his liner notes to the Cookin' album; “It is said that all good things come to an end. One did in the spring of 1957 when the Miles Davis Quintet was dissolved. They were THE group — the best small combo in modern jazz.”
THANKS TO THE FACEBOOK PAGE 'THE MUSIC AFICIONADO' FOR HELP WITH THIS INFORMATION AND ALL THE GREAT ARTICLES AT HIS SITE.
~~~~~~~~~~~~~~~~~~~~ I’m recently retired and downsizing and letting go some gems and rarities from nearly 45 years of vinyl record collecting. Check out the many other fantastic 45s and 33s coming soon to my page!
All records have been carefully evaluated and graded by me. I visually inspect all records under bright light, personally gently clean them with a soft cloth and then, if unsure, play them on a modern high-end turntable to get a true picture of condition. Please look at all the high-resolution pictures I added. They are all my own and are of the actual record being sold. The pictures are part of the description and can show small details, label variations, and condition better than I can put into words. 
My grading is fair and honest. I have had over 3,400 happy and satisfied EBay customers over the years, with 100% positive feedback, and I have been buying/selling on EBay for well over 25 years, so please bid with confidence!
I'm a 0ne-man operation, this is a hobby, not my job. I do this for fun. I do this because I love music, love collecting vinyl and want others to share in that same experience. I take my time listening, researching, grading, listing and packaging. I will NOT sell any record that I personally would not want in my collection.
As you well know, packing and shipping rare records requires special care and attention, therefore, shipping cost within the lower 48 states is $5.00 on this item. If you would like insurance, or anything faster than Media/Economy Mail, please let me know and I can arrange it for you. I’ll work with you to make sure you’re happy!
I will gladly combine multiple records, or other items on my page, and make the shipping much less for you. I don’t inflate the shipping costs; they are what they are. I strive to keep them as low as possible. See my feedback for comments on my quality packing and shipping.
All items are packaged with sturdy cardboard mailers and appropriate padding. I take pride in my packaging and shipping and package all my records as if I were sending them to myself. I refuse to use cheap flimsy packaging material when sending my vinyl. I treat them as if they were my own and mail them the same way. 
All orders are processed and shipped within 2 business days of receipt. We package and ship our vinyl records with the greatest care, using proper packaging to ensure that your rare and collectible vinyl records arrive in pristine condition.
Payments can be made by any of the multiple options that Ebay offers.
I will be happy to exchange feedback with anyone I complete a transaction with.
THANK YOU for looking and reading if you got this far.  -- JOHN