Mclean Emg Guide

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…

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."

Jackie McLean was a hard-bop alto saxophonist with a fiery tight tone, who recorded extensively in the ‘50s and ‘60s mainly with Blue Note Records. Although his forays with an organ was confined to two albums with Jimmy Smith Open House and Plain Talk, Cory Weeds’ decision to use an organ on this session does not stray off the mark. Condition Blue accomplishes the band’s intention, to acknowledge a saxophonist who had an exploratory vision. In a set list of either McLean originals, or compositions associated with him, this tight-knit band delivers the goods in firm, yet flexible style. The key players in this session in addition, to the cooly effective altoist Weeds, are Mike LeDonne, a B-3 player of energetic disposition, and creative guitarist Peter Bernstein. Also along is drummer Joe Farnsworth who is a propulsive player.

Don McLean's final album for United Artists was a musical tour de force, and the best self-contained account of the full breadth of McLean's talent. Recorded live in England, in Manchester, Bristol, London, and Oxford, the 26 songs encompassed not only the artist's best-known work, but also many of his personal favorites, among them works by other composers (including Bob Dylan's "Masters of War"). All the songs are done solo by McLean on acoustic guitar and banjo, performing in a loose, freewheeling style more appropriate to a folk performance at a small club than a rock concert – except that McLean was doing these performances to tens of thousands of people at a time. He ranges freely across his repertory, including a loose yet sincere rendition of "American Pie" and a stunning version of "Till Tomorrow" (his encore), through "The Arkansas Traveller" and "Homeless Brother" to "Castles in the Air," the last in a version that makes the studio recording seem cold and sterile.

Producer and record executive Joel Dorn (who worked with Don McLean previously on his 1974 album Homeless Brother) assembled this retrospective CD/DVD collection by going through McLean's archives. Although no indication is given of the sources of the material, a majority of it has been previously released, starting with the original hit recording of "American Pie," licensed from EMI Special Products. The rest of the collection dates from after 1976, when McLean, for the most part, controlled his own recordings, and there is a heavy complement from albums issued on his own Don McLean Records label, notably "Vincent (Starry, Starry Night)," "Crying," "Homeless Brother," and "And I Love You So" (the last a duet with Nanci Griffith) from the live Starry Starry Night album; "El Paso" from Don McLean Sings Marty Robbins; "My Saddle Pals and I" from The Western Album; and "You've Got to Share" from You've Got to Share: Songs for Children. Previously unreleased tracks include McLean versions of the standards "Love Me Tender," "(It Was) A Very Good Year," and "TB Blues," and a McLean original, the Rolling Stones-like "Run, Diana Run."