Jackie McLEAN - The Jackie McLean Quintet 1962 (REPOST)

Jackie McLEAN - The Jackie McLean Quintet 1962 (REPOST)

Jazz

Jackie McLean has long had his own sound, played slightly sharp and with great intensity; he is recognizable within two notes. McLean was one of the few bop-oriented players of the early '50s who explored free jazz in the '60s, widening his emotional range and drawing from the new music qualities that fit his musical personality.
The son of guitarist John McLean (who played guitar with Tiny Bradshaw), Jackie started on alto when he was 15. As a teenager he was friends with such neighbors as Bud Powell, Thelonious Monk and Sonny Rollins. He made his recording debut with Miles Davis in 1951 and the rest of the decade could be considered his apprenticeship. McLean worked with George Wallington, Charles Mingus and Art Blakey's Jazz Messengers (1956-58). He also participated on a string of jam session-flavored records for Prestige and New Jazz which, due to the abysmal pay and his developing style, he has since disowned. Actually they are not bad but pale compared to McLean's classic series of 21 Blue Note albums (1959-67). On sessions such as One Step Beyond and Destination Out, McLean really stretches and challenges himself; this music is quite original and intense yet logical. McLean also appeared as a sideman on some sessions for Blue Note, acted in the stage play The Connection (1959-61) and led his own groups on a regular basis. By 1968, however, he was moving into the jazz education field and other than some SteepleChase records from 1972-74 (including two meetings with his early idol Dexter Gordon) and an unfortunate commercial outing for RCA (1978-79), McLean was less active as a player during the 1970s. However in the 1980s Jackie McLean returned to a more active playing schedule (sometimes with his son René McLean on tenor), recording for Triloka, Antilles and most recently (with a renewed relationship) with Blue Note — without losing the intensity and passion of his earlier days.
By Scott Yanow. AMG.
**
Sonny Clark- (Piano),
Kenny Dorham- (Trumpet),
Billy Higgins- (Drums),
Butch Warren- (Bass),
Jackie McLean- (Alto Sax)
**
A1. The Three Minors 6:06 
A2. Blues in a Jiff 7:10 
A3. Blues for Jackie 7:53 

B1. Marilyn's Dilemma 5:02 
B2. Iddy Bitty 8:15 
B3. The Way I Feel 7:06
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Jackie McLEAN - Demon's Dance 1967

Jackie McLEAN - Demon's Dance 1967

Jazz

Demon's Dance was Jackie McLean's final album for Blue Note, closing out an amazing streak of creativity that's among the more underappreciated in jazz history. The record retreats a bit from McLean's nearly free playing on New and Old Gospel and 'Bout Soul, instead concentrating on angular, modal avant bop with more structured chord progressions. The whole session actually swings pretty hard, thanks to drummer Jack DeJohnette, who manages that feat while maintaining the busy, kinetic style McLean had favored since Tony Williams' appearance on One Step Beyond. Pianist Lamont Johnson and bassist Scott Holt both return from New and Old Gospel, and trumpeter Woody Shaw is in especially fiery, muscular form, rivaling the leader in terms of soloing impact and contributing two of the six compositions. McLean's originals tend to be the most intriguing, though; there's the angular title track, the bright, up-tempo "Floogeh," and the spacious ballad "Toyland," a warm, soft piece anchored by Johnson that runs counter to typical descriptions of the impressions McLean's tone creates. While Demon's Dance didn't quite push McLean's sound the way its two predecessors had, there was no sign that the altoist was beginning to run out of creative steam. Unfortunately, Blue Note's ownership change and resulting commercial direction meant the end of McLean's tenure with the label, and ultimately the prime of his career; he would resume recording five years later, often with rewarding results, but nonetheless, Demon's Dance marks the end of an era. (U.S. CD re-issue in 2006)
By Steve Huey. AMG.
**
"Demon's Dance" is a mesmerizing Jackie McLean and crew release, done for Blue Note in 1967. Accompanying Mclean are some skilled and practiced sidemen, including Woody Shaw (t), Lamont Johnson (p), Scott Holt (b) and Jack DeJohnette (d). Lamont Johnson and Scott Holt had worked frequently with Mclean in the past, providing wonderful rhythmic accompaniment. Mclean, a veteran of the Horace Silver Quintet and a collaborator with the late Eric Dolphy, shines through on alto sax on the title track especially.

"Toyland" is a stark and emotive piece, showcasing Jackie wooing listeners with a forlorn horn and featuring a superb solo by Lamont Johnson on piano. The slick fast beat of "Boo Ann's Grand", combined with the rich overtones of "Sweet Love of Mine" and the high gear gripping performance of McLean on "Floogeh" make the overall result of this session amazing. The final track on this date was "Message to Trane", clearly done in reference and tribute to the late John Coltrane. This Rudy Van Gelder Edition 24-bit remaster of McLean's 1967 album provides remarkable sound quality for listeners. Buy "Demon's Dance" today, you'll be glad that you did.
By Swing King.
**
Jackie McLean (Alto Saxophone);
Woody Shaw (Trumpet);
LaMont Johnson (Piano);
Scott Holt (Bass);
Jack DeJohnette (Drums)
**
01. Demon's Dance 7:10
02. Toyland 5:24
03. Boo Ann's Grand 6:59
04. Sweet Love Of Mine 6:05
05. Floogeh 5:23
06. Message From Trane 5:29
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Jackie McLEAN - A Long Drink of The Blues 1957

Jackie McLEAN - A Long Drink of The Blues  1957
Label: Ojc
Audio CD (March 10, 1994)

Jazz

This CD reissue begins with what is titled "Take 1" of "A Long Drink of the Blues." After a false start, the musicians argue for two minutes about the tempo; why was this ever released? "Take 2" is a much more successful 20-minute jam featuring Jackie McLean (doubling on alto and tenor), trombonist Curtis Fuller, trumpeter Webster Young, pianist Gil Coggins, bassist Paul Chambers, and drummer Louis Hayes. The second half of this reissue is from a quartet session that showcases McLean on three standard ballads with pianist Mal Waldron, bassist Arthur Phipps, and drummer Art Taylor. Although not quite as intense as McLean's later Blue Note dates, the ballad renditions show just how mature and original a soloist he was even at this early stage. Despite "Take 1," this CD is worth getting.

The first side of this obscure but worthwhile session is a loosely-organized, extended jam session on a blues in the key of F, much like Jimmy Smith's celebrated "Sermon." The cast combines obscure players (Gil Coggins, Webster Young) with established stars (Curtis Fuller, who offers some of his best choruses on record; Paul Chambers, the heart of the rhythm section; the long-lived, much-traveled Louis Hayes).

But the main message is offered by Jackie, first a rare solo on tenor saxophone, then a quick costume change and he's back with his alto on the same tune. On both instruments he reveals, along with his command of the language of modern jazz and deep-rooted blues indebtedness, that always controversial but inescapable personal "sound"--raw, acidic, pungently sour, and slightly sharp. If he ever listened to and learned much from a Johnny Hodges or Paul Desmond, it's certainly not apparent in his playing from this period. He's like the talented, irrepressible kid with all of the tattoos and body piercings--hard for some of us instantly to embrace yet always in your face and winning your respect in spite of yourself.

It's good to have this obscurity rescued from oblivion.

By  Samuel Chell.AMG.
**
Jackie McLean is a Professor of Music in Hartford, Connecticut, but he is still a world-class player who tours annually in Europe and Japan. This album, representing two different bands from two separate 1957 sessions, was done a few years before Jackie appeared as both actor and player in The Connection, but “A Long Drink of the Blues,” in two takes, has both dialogue (spontaneous) and blowing by McLean (on tenor sax as well as his more familiar alto), trombonist Curtis Fuller, and two legendary figures, trumpeter Webster Young and Brooklyn pianist Gil Coggins. The rest of the date, in contrast, finds Jackie (solely on alto) with pianist Mal Waldron, exploring three standard ballads in a highly subjective manner.

with Curtis Fuller, Webster Young, Gil Coggins, Paul Chambers, Louis Hayes, Mal Waldron, Arthur Phipps, Arthur Taylor
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1:
Webster Young- Trumpet
Curtis Fuller- Trombone
Jackie McLean- Alto sax
Gil Coggins- Piano
Paul Chambers- Bass
Louis Hayes- Drums
Recorded: Oct. 30, 1957

2-4:
Jackie McLean- Alto sax
Mal Waldron- Piano
Arthur Phipps- Bass
Art Taylor- Drums
Recorded: Feb. 15, 1957
**
01. Long Drink Of The Blues (take 1 and 2) 23.06
02. Embraceable You 4.48
03. I Cover The Waterfront 3.55
04. These Foolish Things 4.10
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