New and Old Gospel [Import]

Jackie McLean | Format: Audio CD

Product Details

• Audio CD (January 14, 1998)
• Number of Discs: 1
• Format: Import
• Label: EMI
• ASIN: B000007WM1
• Also Available in: Audio CD  |  Vinyl  |  MP3 Download
• Average Customer Review: 3.9 out of 5 stars  See all reviews (8 customer reviews)
• Amazon Best Sellers Rank: #1,185,158 in Music (See Top 100 in Music)

Track Listings

1. Lifeline

2. Offspring

3. Midway

4. Vernzone

5. Inevitable End

6. Old Gospel

7. Strange As It Seems

Editorial Reviews

New And Old Gospel by Jackie McLean

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Customer Reviews

Most Helpful Customer Reviews

9 of 10 people found the following review helpful:

5.0 out of 5 stars You kind of have to listen to it to get it..., March 8, 2005

By 

Leone Evangelista (out to lunch) - See all my reviews

This review is from: New & Old Gospel (Audio CD)

"New and Old Gospel" is the only recorded collaboration between "free jazz" innovator Ornette Coleman and forward-thinking altoist Jackie McLean. It is hardly, however, the balls-out blowing session one would expect. "Gospel" is a wildly idiosyncratic album, even for musicians as iconoclastic as Coleman and McLean. This is simply a unique context for everyone involved. Even though both Coleman and McLean play toward their (philosophical) strengths, their powers seem willfully juxtaposed, mutually dominant--a combination that is as disorienting as it is delightful.

The music is a functional compromise between Coleman's melodically-oriented free jazz and McLean's harmonically centered post bop, favoring both soulful, funky flavors and free-flowing, ambiguous forms. Side 1 is a suite composed by McLean, a schizophrenic, programmatic journey through the various stages of life. Side 2 is comprised of two Coleman compositions: the pentecostal groover "Old Gospel" and "Strange As It Seems," a characteristic Coleman ballad. Keeping up with album's various stylistic turns can be a dizzying experience.

McLean is in top form, piercing wail and all, backed by frequent cohorts Lamont Johnson (piano), Scott Holt (bass), and Billy Higgins (drums). Coleman, on the other hand, plays against expectations, sticking to trumpet for the duration of the recording (alto is his primary axe). What is remarkable is just how well Coleman and McLean counterbalance each other. The former is brittle, pithy, and harmonically indiscreet, the latter bombastic, dynamic. Higgins is typically energetic, recalling his earlier work with both McLean and Coleman. Special recognition goes to Holt and Johnson, who somehow manage to resolve the harmonic labyrinth created by the two horns. Johnson, especially, possesses a remarkably sensitive, intelligent ear; it's a pity he hasn't been recorded more frequently.

The value of the album comes down to its singularity. This is perhaps the riskiest, most uncommerical album ever recorded by Blue Note--not only because it takes so many risks, but also because the sound is so unfamiliar. For its sheer breadth and creative scope--both musically and programmatically--"Gospel" is a timeless album, an paean to the powers of uninhibited "jazz" expression.

4 of 4 people found the following review helpful:

5.0 out of 5 stars Ornette as a sideman! What's this all about?!?, December 3, 2007

By 

Josh Z. Bonder "a sound painter" (Toronto) - See all my reviews

This review is from: New And Old Gospel (Audio CD)

I decided to write this review for the benefit of anyone who may be considering purchasing this album, but is torn due to the disparity of both existing reviews. I've got to side with the other five star reviewer on this one: If you are genuinely interested in the evolution of jazz including the new thing, plus the impact of blues and gospel on the idiom, I don't see how you couldn't enjoy this album. It's got elements of the new thing, hard bop, lyrical jazz, and manages to make them swing with a verve and feeling which comes through the blues and gospel influences.

Mclean was greatly inspired by Ornette's early recordings, and it's fascinating to hear them playing together on a Mclean composition (on what would be the 1st side of the vinyl), and two Coleman compositions (2nd side). The pianist and bassist are long-time Mclean associates, and Higgins was the superb drummer on many of Coleman's early albums. This makes for an all-star line up, made even more unique by the fact that Coleman only plays trumpet throughout the proceedings. While this was not his primary instrument at the time, his approach to playing and improvisation translates very nicely.

I am not a long-time Mclean fanatic, and this was my introduction to his work (I was intrigued to hear Ornette as a sideman, and figured any project in which he'd be willing to cede the role of band leader must be worthwhile). I came to this with fresh ears, and was impressed enough with it to acquire 3 more Mclean albums soon after. This album is exactly what the title makes it out to be, albeit given a jazz treatment. Do not approach it with your own preconceptions, and give it a number of listens. I think you'll find it to be a potent blend of lush lyricism and uplifting, up-tempo, hard swinging music.

Highly recommended

3 of 3 people found the following review helpful:

5.0 out of 5 stars You Will Be Missed, April 3, 2006

By 

directions "neuralbuddhist" (Space Time Foam) - See all my reviews

This review is from: New & Old Gospel (24bt) (Audio CD)

I am writing this after reading about the passing of Jackie McLean. After having seen him live a couple of years ago, I can attest that he never lost his style. However, I can say that his tone reached its peak in the late 60's after which he unfortunately retired for about 5 years from the jazz world. This album is one of his peak albums. Though it would not be a first purchase (that would be One Step Beyond, Let Freedom Ring or Destination Out), it is one of his most adventurous recordings. Also he plays with Ornette (always a good thing for any musician). Even more interesting, Ornette Coleman plays trumpet (!) which I believe is the only recording he has done this on. Yes this is free jazz but its not clear the room and keep on playing free jazz (not that I have anything against that) but it remains grounded in hard bop. It really doesn't sound much like gospel but since hard bop was influenced by soul, gospel and funk (in trying to remove some of the intellectual dryness of straight bop), I can see the point. Anyway, Ornette Coleman is the perfective foil for Jackie McLean (though his most essential albums all had Grachan Moncur III on trombone)and this album will please both free jazz and open minded hard bop jazz fans.