JAZZ REVIEW : Milt Jackson Polished in Role of Leader

As a member of the Modern Jazz Quartet, vibraharpist Milt Jackson is credited for providing raw, earthy contrast to the more staid approach of pianist John Lewis. But leading his own group Saturday at the Ambassador Auditorium, Jackson’s delivery proved to be smoothly urbane and sophisticated.

Backed by a top-shelf rhythm section of pianist Cedar Walton, bassist John Clayton and drummer Billy Higgins, Jackson played with a polish that generated no surprises. Missing were the trademark bursts of notes and hard-hitting dynamic swings that have marked his play over the years. Instead, the vibist displayed an even temper as he constructed beautifully lyrical lines that rang with more than a touch of reserve. Even playing the blues, long a Jackson forte, his style was smart and clean rather than down and dirty.

The lack of fire may have been due to a family tragedy--the recent death of his brother--which Jackson revealed by dedicating a song to him. Still, this was one of the vibist’s most crafted, if ultimately reserved, performances.

Playing in tandem with Walton’s piano made for sweet harmonic blends during Jackson’s “The Prophet Speaks” and “Young and Foolish.” On his own improvisations, he added bluesy touches and dissonant mischief in unexpected places. Jackson’s “J.C.” found bassist Clayton generating excitement with slippery passages played with his bow.

The evening’s most inventive work came from drummer Higgins, who decorated all the numbers with off-beat accents, surprising rim and cymbal ticks and an expansive sense of timekeeping.

Joining the rhythm section for the second set, vocalist Ernestine Anderson opened promisingly with a swinging rendition of “This Can’t Be Love” and a lazily paced “The More I See You.” Though working within a narrow range, Anderson’s way of pushing the lyric ahead of the band gave her work an anxious, inviting personality.

But that promise faded as she moved into the blues. Against the upbeat pace, she sang with a slight nasal quality that imparted a harshness to her sound. With Jackson ringing behind her, she seemed distracted during “All Blues,” and her vocal embellishments fell flat against his inspired play.