Originally, they were The Milt Jackson Quartet. Then, for a time, both Jackson and John Lewis called the shots. That was until Lewis presented his fellow band members with a whole new vision, and in doing so took over command as musical director. It was a vision that juxtaposed elements of Commedia dell'arte with rootsy blues.

Nevertheless, when, in 1956, Atlantic picked up The Modern Jazz Quartet from Prestige, they were just as keen to promote Milt Jackson as a major solo artist (collaborations with Ray Charles, Coleman Hawkins, John Coltrane etc) as they were the foursome's ultra conservative image.

Though their neo-Baroque experiments were frequently pushed to the fore complete with what Atlantic believed to be appropriate (!) sleeve art, it has to be remembered that a large proportion of the MJQ's repertoire still comprised many bebop classics, Great American Songbook standards and, naturally, blues. Perhaps Atlantic was playing it safe, because for the MJQ's self titled label debut, of the seven selections only ‘La Ronde: Drums’ and ‘Baden Baden’ were attributed to Lewis. In contrast, the bulk included a five-song ballad medley plus interpretations of ‘Between The Devil And The Deep Blue Sea’, ‘Night In Tunisia’, ‘Bags' Groove’ etc. Soon, that side of their artistry would often be downplayed in favour of a faux classics stance. Of those rare occasions when the MJQ invited guests to participate, the brief presence of Jimmy Giuffre and his lo-fi woody clarinet on Music Inn was perfect casting (‘A Fugue For Music Inn’). In both contents and presentation, the all-Lewis penned The Comedy somewhat over-egged their neo-classical posturings to the point of self-parody. Better was yet to come. Though he never officially recorded with the group, such was the MJQ's admiration for Ornette Coleman that they named their 1962 album after a Coleman composition, Lonely Woman, which was also the opening performance. Arguably it was their best studio album of this period, it also included ‘Animal Dance’ which Lewis quickly re-worked on his solo album of the same name that featured trombonist Albert Mangelsdorff (and which also included a rerun of ‘Lonely Woman’). Following a brief flirtation with The Beatles' Apple Corps, the MJQ popped up again on Atlantic in 1971 with Plastic Dreams, which bizarrely sported a most inappropriate illustration of a pop art blow-up sex doll on the cover. Fear not, the lads were not about to mothball their tuxedos for Village People-style attire! The following year, The Legendary Profile included two quality pop songs, ‘Misty Roses’ and ‘What Now My Love’ while 1973's Blues For Bach does exactly what it states on the tin, with the actual straightahead blues performances most definitely having the edge. Granted, John Lewis' unique approach may have been the USP to where it eventually positioned them as the most popular contemporary jazz group ever. But for so many, it was always when Percy Heath and Connie Kay suddenly kicked-in behind a Milt Jackson blues groove that the music was elevated to a whole new level of greatness. That's good enough for these ears.