Still Waters

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It was the night Milt Jackson came to town: Milt Jackson, who for more than twenty years had been a member of one of the most famous jazz groups in the world, the Modern Jazz Quartet; who had gone into the studio on Christmas Eve, 1954, and along with Miles Davis and Thelonious Monk, recorded one of Resnick’s all-time favorite pieces, “Bag’s Groove” the same Milt Jackson who was standing now behind his vibraphone on the stage of the Broadway Media Centre’s Cinema Two, brought there with his new quartet as part of the Centre’s Film and Jazz Festival; Milt, handsome and dapper in his dark gray suit, black handkerchief poking folded from its breast pocket, floral tie, wedding ring broad on his finger and catching the light as he reaches down for the yellow mallets resting across his instrument; Milton “Bags” Jackson, born Detroit, Michigan on New Year’s Day, 1923, and looking nothing like his seventy-three years, turning now to nod at the young piano player-relatively young-and the crowd that is packed into the auditorium, Resnick among them, holds its breath, and as Jackson raises a mallet shoulder high to strike the first note, the bleeper attached to the inside pocket of Resnick’s jacket intrudes its own insistent sound.

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