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| 1. | Lifeline Medley: Offspring / Midway / Vernzone / The Inevitable End
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| 2. | Old Gospel
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| 3. | Strange as It Seems
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Jazz / Post-Bop; Avant-Garde Jazz
Recorded: Mar 24, 1967, Van Gelder Studio, Englewood Cliffs, New Yersey
Jackie McLean (alto saxophone)
Ornette Coleman (trumpet)
LaMont Johnson (piano)
Scotty Holt (bass instrument)
Billy Higgins (drums)
Audio Remasterer: Rudy Van Gelder. Originally issued in 1967, NEW AND OLD GOSPEL is one of the final albums in jazz saxophonist Jackie McLean's long and impressive run on the iconic Blue Note label. What makes this adventurous hard-bop album even more significant, however, is the presence of the legendary Ornette Coleman, in a rare turn as both a sideman and a trumpet player. Although Coleman graciously lets McLean, a powerhouse player in his own right, retain the center spotlight, the free-jazz giant undeniably shapes the proceedings, as best evinced on his own composition "Old Gospel," a lively and fiercely funky showcase for McLean's formidable alto-sax lines.
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.
---Thom Jurek, allmusic |
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