Jackie McLean NEW AND OLD GOSPEL (Lp Vinyl, Blue Note/Liberty) Ornette Coleman

$

20

"New And Old Gospel" by Jackie McLean
with Ornette Coleman
Used Lp Vinyl
Blue-Note / Liberty  1967
Van Gelder stamped into deadwax
Produced by Alfred Lion
Recorded by Rudy Van Gelder
We are guided by Goldmine Standards
Vinyl:  Graded Excellent / VG+  (one and same).  Lp plays very nicely.  
Sleeve:  VG-  Minus is for edge wear.  
Ships USPS Media Mail from Madison, Wisconsin Order received prior 2:30 pm Central ships same day
All Lp's are Well Packaged in properly designed Cartons
Expedited Shipping is Available.  Please request invoice and we will bill you rate based on USPS regions if you want this shipped other than Media Mail to you. 
International Shipping:
Worldwide  $20.95 Canada  $12.95
Please add $3.50 for additional Lp's.  
Tracks:  
Side A
Life Line  (Jackie McLean)  
A.  Offering
B.  Midway
C.  Vernzone
D.  The Inevitable End
Side B
1.  Old Gospel   (Ornette Coleman)
2.  Strange As It seems  (Ornette Coleman)
Jackie McLean, alto saxohpone Scott Holt, bass Billy Higgins, drums LaMont Johnson, piano  Ornette Coleman, trumpet
Recorded March 24th, 1967


Album Review
This 1967 session is notable for the presence of Ornette Coleman in the role of sideman, on trumpet no less. There are only three tunes on New and Old Gospel, one side-long piece by McLean, a four-part suite entitled "Lifeline," and two works by Coleman, including the title track and "Strange As It Seems." As a trumpet player, Coleman understands the psychology of McLean's playing and composing, in that they both come directly from the blues and it haunts everything they do. The other players on the session that make up the rhythm section -- drummer Billy Higgins, pianist Lamont Johnson and Scott Holt on bass -- understand this implicitly. No matter how knotty or abstract things get, they can dance back into the blues pocket and haul it all out again. Not that they have to, because, as is evidenced here, especially in the unbelievably complex intervallic world on "Lifeline," the front-line players know exactly where they are; they intersect across harmony and melody lines throughout and meet on a dime to offer a series of tonally challenging phrases and held notes that put one theme to bed and bring another one into play. The melodic interplay here is just stellar; it follows no convention or structure other than a blues feeling, and yet swings so wonderfully hard. On the title track, the most joyous thing on the disc, Ornette uses a simple rhythmic device that is found in round singing in Pentecostal churches and Johnson takes the ostinato and lets it rip, swinging up and down the aisle, as McLean and Coleman take the front line and move all over the scale (in C) and create a stomping, wailing, roaring work that is all stomping harmonic fury and no slack out excesses. The session ends on a glorious moody note, with McLean playing a melody and Coleman using his trumpet to play counterpoint by juxtaposing a free tempo against the rigid time signature of the bluesy lyric. In the solos both men switch places, and when the turnaround happens it's Holt who signals it and brings everyone home at the same time. This is one legendary Blue Note date that isn't mentioned often enough in that label's great history.   AllMusic



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