A very expressive player, Jackson differentiated himself from other vibraphonists in his attention to variations on harmonics and rhythm. He was particularly fond of the twelve-bar blues at slow tempos. He preferred to set the vibraphone's oscillator to a low 3.3 revolutions per second (as opposed to Lionel Hampton's speed of 10 revolutions per second) for a more subtle vibrato. On occasion, Jackson would also sing and play piano professionally.
He was discovered by Dizzy Gillespie, who hired him for his sextet in 1946. He quickly acquired experience working with the most important figures in jazz of the era, including John Coltrane, Woody Herman, Howard McGhee, Thelonious Monk, and Charlie Parker. In the Gillespie big band one of his jobs was to play in a quartet with John Lewis, Percy Heath, and Kenny Clarke while the horn section took a break from the demanding high-register horn parts. This group became the Modern Jazz Quartet (MJQ), which had a long independent career of 20 years until disbanding in 1974 over financial problems (though it reformed in 1981). Jackson then toured alone, performing in various small combos.
From the mid-70s to the mid-80s, Jackson recorded for Norman Granz's Pablo Records, including the classic, "Jackson, Johnson, Brown & Company" (1983), featuring Jackson with J.J. Johnson on trombone, Ray Brown on bass, backed by Tom Ranier on piano, guitarist John Collins, and drummer Roy McCurdy.
He also guested on recordings by many leading jazz, blues and soul artists, such as B.B. King, Ray Charles, etc.
His composition "Bags' Groove" ("Bags" was his nickname, from the 'bags' under his eyes from staying up late) is a jazz standard. He has been featured on the NPR radio program Jazz Profiles.
Send in the Clowns
Milt Jackson Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Me here at last on the ground - and you in mid-air
Send in the clowns
Isn′t it bliss, don't you approve
One who keeps tearing around - and one who can't move
But where are the clowns - send in the clowns
Finally finding the one that I wanted - was yours
Making my entrance again with my usual flair
Sure of my lines - nobody there
Don′t you love a farce; my fault I fear
I thought that you′d want what I want - sorry my dear
But where are the clowns - send in the clowns
Don't bother they′re here
Isn't it rich, isn′t it queer
Losing my timing this late in my career
But where are the clowns - send in the clowns
Well maybe next year
The lyrics to Milt Jackson's song Send in the Clowns is a bittersweet reflection on lost love and missed opportunities. The first stanza depicts a scene of two individuals who seem to be mismatched - one on the ground, the other in mid-air. The singer then calls out for "clowns" to be sent in, perhaps in a sarcastic tone, as if to say that the situation is humorous but also deeply sad.
In the second stanza, the singer ponders on the irony of the situation, the blissful feeling of approval and the helplessness of the other person. The singer then asks again, "where are the clowns?", indicating a desire for something or someone to make light of the awkwardness and sadness of the situation. The following lines seem to suggest the singer's frustration and resignation that what they thought was meant to be theirs is now lost, and they're left to contemplate their actions.
In the final stanza, the singer acknowledges their failings and the fact that perhaps they have lost their timing and the opportunity for love. The line "send in the clowns" is repeated twice, the second time followed by the realization that maybe one day, the clowns will come. These lyrics evoke a sense of nostalgia, regret, and the painful realization of missed opportunities.
Line by Line Meaning
Isn't it rich, aren't we a pair
We are quite an odd couple, don't you think?
Me here at last on the ground - and you in mid-air
I am finally down to earth and you are still up in the sky.
Send in the clowns
Sarcastically calling for the clowns to come as if this is all just a joke.
Isn't it bliss, don't you approve
This is wonderful, isn't it? Or do you not agree?
One who keeps tearing around - and one who can't move
You are always on the go, and I am stuck in one place.
But where are the clowns - send in the clowns
Still looking for the clowns to entertain us or make sense of this situation.
Just when I stopped opening doors
I have stopped trying to find more opportunities or relationships.
Finally finding the one that I wanted - was yours
I thought I had found what I was looking for, but it was something you already had or wanted.
Making my entrance again with my usual flair
I am back to a familiar situation or trying to make a grand entrance like I usually do.
Sure of my lines - nobody there
I am ready to perform or speak, but there is no one to listen or receive.
Don't you love a farce; my fault I fear
This all seems like a big joke, but I am afraid it is my own fault for believing it.
I thought that you'd want what I want - sorry my dear
I assumed you would have the same desires as me, but I apologize for being wrong.
But where are the clowns - send in the clowns
Still waiting for the clowns to save or make sense of this situation.
Don't bother they're here
The clowns are already present or this situation is already a joke in itself.
Isn't it rich, isn't it queer
This is quite odd and amusing, isn't it?
Losing my timing this late in my career
I am starting to lose my touch or good timing later in life.
Well maybe next year
Things might turn around or make more sense next year.
Writer(s): Stephen Sondheim
Contributed by Hannah I. Suggest a correction in the comments below.
Hilda T
One of my favorites!
Claudia de Magalhães
Marvellous !!!!!!
ghairraigh
MIKE LeDONNE Notes
"Here's a beautiful memory of my time with the most holy Reverend, Milt Jackson. I'll never forget when he told me he wanted to record Send In The Clowns as a tribute to Sarah Vaughn. I always thought of the tune as kind of corny and I used to play the original arrangement of it duo with Benny Goodman years before and I always dreaded it. So I took a chance and arranged it like this in an effort to make it more fun to play on. Bags came over to my house one day before the date and sat with me at the piano as I played the arrangements I came up with and I nervously played him this one. I'll never forget the look he gave me after I finished. It was one of those "WHAT?" looks but in a very good way. He loved it and we played it at every gig after that. Weird thing was it was playing on the house system at the funeral parlor as I left his wake after he passed and I felt like it was him smiling down on me."
MrMusicismagic
@blueyedboymrdeath Recorded at Avatar Studio, New York, New York. Includes liner notes by Milt Jackson. Personnel: Milt Jackson (vibraphone); Etta Jones (vocals); Mike LeDonne (piano); Mickey Roker (drums). Recording information: 1997.
Barry Levine
great arrangement, whose?
Mike LeDonne
That would be mine Barry. For some reason the recording company left the arranger out which was me on most of the tunes. Thanks
MrMusicismagic
@blueyedboymrdeath ... the CD is SA Va Bella
MrMusicismagic
@blueyedboymrdeath ... I'll need to look around a little bit ... remind me ?