Jackie McLean: New And Old Gospel-1970s Blue Note Japanese Import Stereo Record

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1970's Japanese Import Stereo Reissue of Classic 1967 Blue Note Release of Bandleader/Composer/Alto Saxophonist Jackie McLean Entitled New and Old Gospel, Produced by Alfred Lion, Recording by Rudy Van Gelder, Liner Notes by Nat Hentoff - "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 (1956-1958). 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 later disowned. Actually they are not bad but pale in comparison to McLean's classic series of 21 Blue Note albums (1959-1967). 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 (most notably with Tina Brooks, acted in the stage play The Connection (1959-1961), 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 1972-1974 (including two meetings with his early idol Dexter Gordon) and an outing for RCA (1978-1979), McLean was less active as a player during the '70s. However in the '80s 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." - "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." - Spectacular Personnel for the Quintet Features Legendary Composer Jackie McLean on Alto Saxophone, the Great Ornette Coleman on Trumpet, Lamont Johnson on Piano, Scott Holt on Bass and the Brilliant Billy Higgins on Drums! - Selections on Side One Are the Jackie McLean Penned 1. Lifeline at 21 Minutes 40 Seconds A. Offspring B. Midway C. Vernzone D. The Inevitable End - Tracks for Side Two Consist of Original Ornette Coleman Compositions Old Gospel at 10 Minutes 42 Seconds & Strange As It Seems - Used Copy, Cover Very Good++, Record Very Good++ - Japanese Import, Manufactured by Toshiba-EMI Limited, Stereo Recording, Product Code BST 84262 - California Residents Add 9.75% Sales Tax - International S & H Extra -