A solid session that captures Milt Jackson in the pocket with a working band, nothing flashy, just honest playing.
That's the Way It Is arrived without fanfare in 1969. It was not the kind of release that immediately commanded attention or built a cult following over decades — it was a working jazz record, recorded live at Shelly's Manne Hole and released on Impulse!, a label still riding the wave of Coltrane's legacy but increasingly stretched across its roster. The album never generated significant critical momentum. It was simply there, available to anyone who sought out Milt Jackson's output beyond his most celebrated work.
What makes the record worth hearing is its straightforwardness. Jackson leads a tight ensemble featuring Ray Brown on bass, Monty Alexander on piano, Teddy Edwards on tenor saxophone, and Dick Berk on drums — a lineup with real chemistry and no pretense. This is not Jackson at peak invention or in a landmark session; it's Jackson doing his job well, supported by capable musicians who know how to lock into a groove. The performances swing without strain, and there's a casual confidence that comes from players who understood the language they were speaking. Brown's bass lines provide solid footing, Alexander's piano work is assured without overreaching, and Edwards complements Jackson's vibraphone with the kind of tenor playing that fits the moment without demanding the spotlight.
The album sits somewhere in the middle of Jackson's discography — neither his most essential record nor a deep cut for completists only. It's the kind of live date that made sense in 1969 and still makes sense now if you come to it looking for good ensemble jazz without complications. There's no need to build a case for its importance; the value is in the playing itself.