Jackie Mclean

New Soil wasn't the first session Jackie McLean recorded for Blue Note, but it was the first one released, and as the title suggests, the first glimmerings of McLean's desire to push beyond the limits of bop are already apparent. They're subtle, of course, and nowhere near as pronounced as they would be in just a few years' time, but – as with the 1959 material later issued on Jackie's Bag – hints of Ornette Coleman's stream-of-consciousness melodic freedom are beginning to find their way into McLean's improvisations. His playing is just a touch more angular than the ear expects, especially given the very bluesy nature of pieces like McLean's 11-minute vamp "Hip Strut," and pianist Walter Davis, Jr.'s infectious boogie-woogie "Greasy."

Altoist Jackie McLean has recorded so many fine albums throughout his career, particularly in the '60s for Blue Note, that Mosaic could have reissued his complete output without any loss of quality. This four-CD limited-edition box set contains six complete LPs worth of material plus one "new" alternate take…

Jackie's Bag is split between two different recording sessions: the first, from January 1959, was the first session Jackie McLean ever led for Blue Note, and the second was a sextet date from September 1960 that featured tenor saxophonist Tina Brooks as a co-leader in all but name. According to the liner notes, McLean's first date produced only three songs of releasable quality, which are included here. Six tunes were cut at the Brooks session, which were all issued in Japan as Street Singer, and half appeared on the original Jackie's Bag LP. Given the transitional time period of the first and Brooks' musical taste on the second, the music on Jackie's Bag finds McLean in a staunchly hard bop mode, with occasional hints of adventurousness…

Altoist Jackie McLean tended to downgrade his Prestige recordings due to the low pay, the little prior preparation, and the jam session feel of the music. Although all of the above is true, the music (while not on a par with his Blue Note recordings of the '60s) is still pretty worthy, particularly when compared to the output of his contemporaries. McLean never really copied Charlie Parker and was one of the first in his generation to develop his own sound. Three of the six selections on this LP (a pair of standards and a blues) feature McLean with trumpeter Bill Hardman, pianist Red Garland, bassist Paul Chambers, and drummer Art Taylor…

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…

Jackie's Bag is split between two different recording sessions: the first, from January 1959, was the first session Jackie McLean ever led for Blue Note, and the second was a sextet date from September 1960 that featured tenor saxophonist Tina Brooks as a co-leader in all but name. According to the liner notes, McLean's first date produced only three songs of releasable quality, which are included here. Six tunes were cut at the Brooks session, which were all issued in Japan as Street Singer, and half appeared on the original Jackie's Bag LP. Given the transitional time period of the first and Brooks' musical taste on the second, the music on Jackie's Bag finds McLean in a staunchly hard bop mode, with occasional hints of adventurousness…