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Jackie McLean, Freddie Hubbard, Kenny Drew, Doug Watkins, Pete La Roca
első megjelenés éve: 1961
54 perc

3.324 Ft 


Kosaramba teszem
1.  Bluesnik
2.  Goin' Way Blues
3.  Goin' Way Blues
alternate take
4.  Drew's Blues
5.  Cool Green
6.  Blues Function
7.  Torchin'
8.  Torchin'
alternate take
Jazz / Post-Bop; Hard Bop

Recorded: Jan 8, 1961

Jackie McLean - Sax (Alto)
Kenny Drew - Piano
Pete La Roca - Drums
Doug Watkins - Bass
Freddie Hubbard - Trumpet

Rudy Van Gelder Edition
Digital Remaster

This is one of the most accessible of altoist Jackie McLean's Blue Note sessions. For the six songs, which have been augmented on the CD reissue by "new" alternate versions of "Goin' Way Blues" and "Torchin'," are all blues. McLean teams up with the fiery young trumpeter Freddie Hubbard, pianist Kenny Drew, bassist Doug Watkins and drummer Pete La Roca for diverse originals by the leader, Drew and Hubbard that all have the feeling (if not always the exact structure) of the blues. The variety of tempos, moods and styles make this a highly recommended set.

From Grove Press Guide to Blues on CD
Alto saxophonist Jackie McLean appreciates how blues is the bone marrow of jazz. On a blues date in 1961 he exhibits creative spontaneity and wisdom beyond the ken of most twenty-eight-year-old improvisers. Trumpeter Freddie Hubbard, six years younger, is a rhythmic turbine of down-home inflections. Two alternate takes have been added for the CD.
--- Frank John Hadley 1993

Japanese limited edition Verve label jazz reissue featuring 24 bit remastering & the original artwork reproduced as a miniature LP sleeve. Originally released in 1961. 2000 release. --This text refers to an out of print or unavailable edition of this title.

Jackie McLean

Active Decades: '50s, '60s, '70s, '80s, '90s and '00s
Born: May 17, 1932 in New York, NY
Died: Mar 31, 2006 in Hartford, CT
Genre: Jazz
Styles: Bop, Post-Bop, Hard Bop, Early Creative, Mainstream Jazz, Modal Music, Progressive Jazz, Standards

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.
---Scott Yanow, All Music Guide
Weboldal:Blue Note Records

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