| | Jackie McLean Action CD Jackie McLean Discography of CDs
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This 1964 Blue Note release features Jackie McLean and his band in fine form. A hard-bop record with polytonal leanings, ACTION exemplifies an era in jazz when new ideas were truly budding. Ornette Coleman and his associates had been playing free jazz five years prior to the making of this album, but it took a while for the hard-boppers to digest the music and embrace the freedom that the style brought to the art form. Therefore, a lot of the music from this period sounds like it's in transition, and ACTION is no exception.
In other words, ACTION is a good example of the growing convergence of bop and avant-garde. This is heard particularly on the title track, and on trumpeter Charles Tolliver's tune, "Plight." However, the group falls back on their more traditional roots with the standard, "I Hear a Rhapsody" and on the bluesy McLean original, "Hootnan." Each player holds his own on this date, though vibraphonist Bobby Hutcherson stands out the most with some charmingly "inside" playing.
1964 Rvg Remaster. 1st Time On CD.
Liner Note Authors: Bob Blumenthal; Nat Hentoff.
Recording information: New York, NY (09/16/1964); Van Gelder Studios, Englewood Cliffs, NJ (09/16/1964).
Photographer: Francis Wolff.
Personnel: Jackie McLean (alto saxophone); Jackie McLean; Cecil McBee (bass instrument); Charles Tolliver (trumpet); Bobby Hutcherson (vibraphone); Billy Higgins (drums).
Audio Remasterer: Rudy Van Gelder.
Jackie McLean Action Songs | 1. | Action | |
| 2. | Plight | |
| 3. | Wrong Handle | |
| 4. | I Hear a Rhapsody | $0.99 | |
| 5. | Hootnan | |
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Purchase Action CD To buy, Click on price to add to cart | Art Blakey Buhaina's Delight CD (1962) Bonus Tracks; Remastered
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When Art Blakey's Jazz Messengers expanded to a sextet with the addition of Curtis Fuller on trombone, the group took on the character of a small big band propelled by Blakey's forceful drumming. BUHAINA'S DELIGHT, another session in the long line of great Blue Note dates from this period, displays that classic line-up in pristine form. With Freddie Hubbard replacing Lee Morgan, Cedar Walton replacing Bobby Timmons and musical director Wayne Shorter, the Messengers were full of fresh sounds and vibrant with energy.
Uncharacteristically for a Messengers session, the relaxed shuffle "Backstage Sally" opens the disc in a laid back groove. Shorter's brilliant playing is featured prominently on this session on the delicate ballad "Contemplation" and many stunning solo spots. The title track (dubbed for Blakey's Islamic name, Buhaina) and a dynamic arrangement of the standard ...
| | Freddie Hubbard Breaking Point CD (1964) Bonus Tracks; Remastered
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After leaving his post with Art Blakey's Jazz Messengers, Freddie Hubbard led one of the most adventurous sessions of his career, the remarkable BREAKING POINT. Also of significance here is Hubbard's depth as a composer, as he also penned four of the five stunning pieces on this disc. Hubbard breaks new ground with his playing as well. His edgy tone, relentless drive, and signature chops come together to present ...
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| | Freddie Hubbard Blue Spirits CD (1966) Bonus Tracks; Remastered
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This excellent 1966 set features a diverse range of ensembles, all lead by trumpeter Freddie Hubbard. The first is an octet, featuring congas and a euphonium; the second, a seven-member group, including the great McCoy Tyner on piano; the third is a sextet that boasts drummer Elvin Jones and Herbie Hancock (who doubles on piano and celeste). James Spaulding lends his alto sax and flute to two of the groups, and Joe Henderson is in two as well (his melodic, yet adventurous, tenor sax playing is especially notable). Also featured are tenor player Hank Mobley, bassist Reggie Workman, pianist Harold Mabern, and drummer Pete La Roca.
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TENDER MOMENTS, recorded in 1967, was another step forward for this always-evolving, virtuoso pianist. McCoy Tyner assembled an unusual ensemble for the session--in addition to a standard rhythm section and front line of horns (trumpet, trombone, alto and tenor saxophones), he also added French horn, flute, and tuba. Scoring for such a group resulted in new compositional approaches for Tyner, and the music here has a distinct orchestral feel, with shifting tonal colors and a sound that resembles a cross between a classical ensemble and a big band.
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