Customer Reviews

New And Old Gospel

5 star:		(4)
4 star:		(1)
3 star:		(2)
2 star:		(0)
1 star:		(1)

 

 

"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.

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

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.

This is the only recorded meeting between Jackie McLean & Ornette Coleman.... except there's a catch: Coleman only plays trumpet on the recording. O.C. on anything but alto saxophone is an acquired taste, I think. Billy Higgins is on drums, recalling J-Mac's sublime _Let Freedom Ring!_, but the rest of the group is Scott Holt on bass and Lamont Johnson on piano. This album deserves a listen, but more as a curiosity than as being one of the two principals' most important moments. The best track is certainly the title-track, a terrific gospel workout, & the album's worth getting just to hear that.

I thought the album was great. I haven't had it 24 hours yet, and I've already played it several times. My wife enjoys it too.

If you love avante garde and free jazz and McLean's sharp tone than you'll give this five stars. If dine more frequently on hard bop and think avante garde sounds like five guys playing five different songs at the same time then you'll give this one star. So split the difference. My opinion (and that's what these reviews are...opinions) is that this is not McLean's best work. Ease your way into this artist and start with Jackie's Bag then try Jacknife then move on to Destination Out! and Let Freedom Ring

i bought this recording to hear ornette coleman on trumpet, so my comments are going to be mostly about him.

according to the linear notes cecil taylor was asked first to play at this session and declined because he 'could not endorse public performance on an instrument without years of preparation, as ornette coleman does here'. taylor makes a good argument for professionals, particularly professionals who would play improvisation, free jazz and avant garde, not a new argument, one already summed up in the saying, learn the rules before you break the rules. otherwise, who's to say, with music, you're not just making noise.

on the other hand, there's the saying, anything you can get away with is music, to paraphrase marshall mcluhan. as an artist, marcel duchamp signed his name to objects he found and bought; he displayed the pieces as works of art, by fiat of signing his name. so when ornette coleman uses his son as a young boy for his drummer on earlier recordings or repeats a musical phrase over and over as a composition, he does so under the signature of ornette coleman, musician.

the composition, lifeline, over 20 minutes, was written by jackie mclean. the opening is pure cacophony. lifeline is written in 4 parts, providing space for different tempos. lamont johnson seems to be along for the ride on this one, his solos lack inspiration. any instrument ornette coleman plays sounds as if it has a valve rusty or stuck or, as with the violin, a string broken, in the hands of a highly accomplished musician determined to play the only instrument available. which is ornette coleman's style. listening to ornette coleman i get the impression that he was inspired and affected by messiaen's quartet for the end of time, and is firmly convinced that the indomitable spirit to create at all costs is alive in the musician.

the other 2 selections, old gospel and strange as it seems, are by ornette coleman. on old gospel, lamont johnson carries the day with a jazzy church piano which had me recalling gene harris, the pianist in the group the 3 sounds, les mccann and jacki byard, 3 other pianists playing during the 60s. jackie mclean brings a fuller sounding alto to this one.

some nice blues piano on strange as it seems. ornette coleman doodles on trumpet, offering up an interesting gurgling sound. jackie mclean holds his own on alto.

scott holt on bass and billy higgins on drums.

This is one of the few avant garde sessions Jackie recorded. There are titles like One Step Beyond,Destination Out, Let Freedom Ring and Demon's Dance but they were not avant-garde THIS IS. I got burned on the LP years ago. I seem to remember the ballad as being sort of OK but not enough to save the session. Listen for yourself.---- Whatever you decide it should be noted that Jackie played some with two Charles Mingus groups a decade earlier. PITHECANTHROPUS ERECTUS (orange cover) and BLUES & ROOTS were the titles for the Atlantic label. Jack's cohorts included J.R. Montrose, Booker Ervin and Pepper Adams. Mingus music for hard boppers - Well most of it anyway. The best Mingus for hard boppers has got to be MINGUS IN WONDERLAND powerfully played with no foolin' around at all. John Handy plays alto, taking both ballads and Booker Ervin is the tenor man.