Jackie McLean

And on alto is a whole nother group.

Bird, Charlie Parker, you know, Jackie McLean, Sonny Stitt.

I'm grateful to be, you know, a very small part of this huge, amazing legacy of the instrument of jazz saxophone.

It's just like, it's really a lot.

And I thought, you know what? It's good to have this documented so that there's no mystery.

No one's ever wondering, can he play bebop? Did he study bebop? And he's like, yes.

I learned every Charlie Parker melody by ear from someone who learned it from Jackie McLean, who learned it from Charlie Parker himself.

Yes.

It was a distinctly urban aesthetic that established the iconography of post-war jazz.

to the casual listener prestige is remembered for hastily assembled sessions with little rehearsal time and quick head arrangements the recordings demonstrate something more nuanced however it should come as no surprise that the depth and versatility of the prestige visual language was equalled by the music in fact the stylistic range was far more expansive than most independent labels of the era for every jammin in hi-fi with gene ammons there was a luminous jango by the modern jazz quartet jackie mclean's visceral emotionally complex outburst Curtis Fuller's careening Vance No. 5, or something truly outré like Ghost Story by Teo Massero and the Prestige Jazz Quartet.

What's more, Sonny Rollins' entire output in 1955 and 1956 and the marathon sessions documenting Miles Davis' working band, the first great quintet, are prestige recordings that in many ways define jazz in the popular imagination.

As David Rosenthal observed, for many listeners, hard bop and jazz are still virtually synonymous.

You know, when we talk about this and when we've worked on it, there have been so many at different points or so many different covers.

And it's obviously hard to pinpoint a certain thing.

But for me, one of the things that one of the covers that has always struck me was Tom Hannon's cover for Jackie McLean's Four, Five and Six.

partly because it provides such a stark contrast to what he was doing at exactly the same time at Blue Note.

Thank you.

In 1964, Rivers was on the road with T-Bone Walker when he received a telegram from Tony Williams, who had moved to New York to work with Jackie McLean and later joined Miles Davis, telling him that Miles wanted him to join the quintet.

Sam stayed for six months touring the U.S. and Japan, where a live album was taped but not issued in the U.S. for about a decade.

at this point rivers's music begins to be documented a tad dameron septet date with sam was started for blue note but never satisfactorily completed three dameron originals and rivers's own the elder speaks were recorded larry young's into something tony williams lifetime and spring bobby hutcherson's dialogue followed by several andrew hill sessions Again, for Blue Nut.

Anyway, that's music from one of his more popular albums.

Cornbread, Sior is the name of the cut, Lee Morgan Trumpet, Jackie McLean, Alto Sax, Hank Mobley, Tenor Sax, Herbie Hancock, Tinkling the Keys on piano, Larry Ridley bass, Billy Higgins on drums.

And before that, you heard music from The Sidewinder.

Boy, What a Night is the name of the song from that album.

That's something that I teach as well.

In my, in my teaching, you know, we, if we're checking out Jackie McLean, let's, let's, what, what's the story? What's his story? What's happening? What's happening? Why, why did Jackie McLean do this? Why is, how does this, you know, what, where did this song come from? We're checking out the Kenny Garrett tune, like, and then I played it with him so many times and I know how it makes me feel.

know i'll bring it into them and i want to see you know how does this make y'all feel you know check oh check out check out what this is really about you know and and so it's just it's about opening up opening up your mind and that's and i feel like i under i was telling my wife the other night And she got it.

And I told Kenny this as well.

and switch to bass.

And Jackie McLean talks about that in the liner notes to One Step Beyond, which Eddie Khan is on.

He says, I met him on the West Coast as a tenor player and then he came East as a bass player and I couldn't believe it.

So there are a few people who did it, but it's pretty rare.

Thank you.

Alto saxophonist Jackie McLean with Das Dat from 1965's It's Time album, and that features Charles Tolliver's trumpet, Herbie Hancock at the piano, Cecil McBee bass, Roy Haynes drums.

Welcome back to Jazz Spectrum, Bobby Broom.

Up next, pianist Horace Parlin, Borderline.

um that run the place they've got whole staff shokai on their website but yeah really really disappointing especially because what you said our good friend professor bennett said about it being one of the best spots and now looking at the website i i hate it even more because it's a cat place and i hate cats so yeah yeah i mean

i think for me i mean again just from a visual perspective i mean it's it's on a corner unit it's got a sort of nine square mural on the side, which has Jackie McLean and has some records and then has like MJQ.

And part of the building is kind of, or Jazz Flash, you know, it's got this lovely wooden door and the building and the wall is all covered with ivy.

So like, it looks amazing, but it sort of caught me by surprise because I was just outside taking a few photographs of the exterior.