ray charles and milt jackson

Biography

Ray Charles and Milt Jackson's collaboration represents a unique meeting of two jazz and R&B innovators in the late 1950s. Ray Charles (September 23, 1930 – June 10, 2004) was already an established star vocalist and bandleader when he encountered Milt Jackson, the renowned vibraphonist of the Modern Jazz Quartet, through producer Tom Dowd at Atlantic Records. The collaboration came about organically when Charles heard Jackson's work and declared, 'That Milt Jackson's got soul,' while Jackson expressed his desire to 'play the blues with Ray' rather than continue exclusively with the MJQ's more classical-influenced sound. Their partnership resulted in two albums recorded during 1957-1958 sessions: Soul Brothers (released 1958) and Soul Meeting (released 1961), which were later combined into a two-CD compilation.

The Soul Brothers project was distinctive because it featured both musicians as pure instrumentalists, with no vocals—an atypical move for Ray Charles. Both artists demonstrated remarkable versatility by switching instruments throughout the sessions. Ray Charles played piano and alto saxophone, while Milt Jackson contributed vibraphone, piano, and notably, guitar (his only recorded guitar appearance). The sessions were produced by Nesuhi Ertegun and engineered by Tom Dowd, featuring supporting musicians including tenor saxophonist Billy Mitchell, guitarist Skeeter Best, bassist Oscar Pettiford, and drummer Connie Kay. The resulting music showcased blues material in various tempos and keys, characterized by a relaxed, intimate atmosphere that felt like the musicians were playing primarily for themselves.

The collaboration's legacy reflects the broader jazz landscape of the 1950s, where established artists frequently crossed stylistic boundaries. While Soul Brothers remains one of the lesser-known releases in Ray Charles's extensive discography, it stands as a testament to both musicians' instrumental prowess and their willingness to explore musical territory beyond their primary genres. The album's 'jazz tracks simmer like a slow-cooking stew' while 'the R&B tracks explode like musical dynamite,' creating a unique sonic document of two masters at work.

Fun Facts

• Ray Charles surprised everyone by playing alto saxophone on the Soul Brothers sessions—a rare instrumental appearance that showcased his multi-instrumental abilities, particularly on 'How Long Blues' where his sax playing is described as 'spectacular' and 'the bluest of blues.'
• Milt Jackson arrived at the recording session with a guitar instead of his vibraphone, telling engineer Tom Dowd, 'Where do I plug this thing in?'—his guitar playing on the album marked his only recorded guitar appearance.
• The collaboration originated from a chance encounter when Ray Charles overheard Tom Dowd mastering a Modern Jazz Quartet album and declared his admiration for Jackson's musicianship, while Jackson simultaneously expressed his desire to escape the 'Mozart Society' sound of the MJQ and play blues.
• The original mono recording was captured with a single microphone placed in the middle of the room, giving it an intimate practice-room atmosphere, though the mixing resulted in Connie Kay's drums being nearly lost and the piano sounding faint on the original LP release.

Musical Connections

Key Collaborators

• Milt Jackson - Jazz vibraphonist and member of the Modern Jazz Quartet who collaborated with Ray Charles on instrumental blues sessions (Soul Brothers, Soul Meeting) [1957-1958]
• Tom Dowd - Recording engineer and producer who facilitated the collaboration and engineered the sessions (Soul Brothers, Soul Meeting) [1957-1958]
• Nesuhi Ertegun - Producer of the Soul Brothers project at Atlantic Records (Soul Brothers) [1958]
• Billy Mitchell - Tenor saxophonist who performed on the recording sessions (Soul Brothers, Soul Meeting sessions) [1957-1958]
• Skeeter Best - Guitarist featured on multiple tracks including 'How Long Blues' and 'Blue Funk' (Soul Brothers, Soul Meeting sessions) [1957-1958]
• Oscar Pettiford - Bassist who provided the foundation for the recording sessions (Soul Brothers, Soul Meeting sessions) [1957-1958]
• Connie Kay - Drummer known for his work with the Modern Jazz Quartet, contributed brushwork to the sessions (Soul Brothers, Soul Meeting sessions) [1957-1958]

External Links

• Spotify
• Wikipedia