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…
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. The music (which also features trumpeters Charles Tolliver and Lee Morgan; pianists Herbie Hancock, Larry Willis, and Harold Mabern, vibraphonist Bobby Hutcherson, bassists Cecil McBee, Bob Cranshaw, Larry Ridley, Herbie Lewis, and Don Moore, drummers Roy Haynes, Billy Higgins, Clifford Jarvis, Jack DeJohnette, and Billy Higgins) is explorative (showing the influence of Ornette Coleman) but without totally disregarding McLean's bebop roots. ~ AllMusic
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.
Saxman Jackie McLean's explorations of free jazz and the avant-garde were still a couple of years away when he cut this Blue Note album in 1960, but that doesn't mean CAPUCHIN SWING is a by-the-numbers affair by any means. Though its name isn't generally invoked when the tally of hard bop's greatest albums is made, it stands up alongside anything Freddie Hubbard, Hank Mobley, et al were doing at the time. With trumpeter Blue Mitchell proving to be a perfectly matched sparring partner, McLean pushes bop harmonies and structures nearly to the breaking point with his intense improvisations on a batch of original compositions with a couple of outside tunes thrown in. Throughout, McLean stirs the sonic pot in such a fiery fashion, you can just tell something's cooking that he hasn't quite served up yet.
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."
When Don McLean was recording his second album, American Pie, in 1971, he was a little-known singer/songwriter whose first album, Tapestry, had had little commercial impact. Only a year later, when he came to make his third LP, Don McLean, he was attempting to follow up a chart-topping album that had spawned two chart-topping hits, "American Pie" and "Vincent"…