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4 of 4 people found the following review helpful:
5.0 out of 5 stars
In Defense of a Landmark, November 22, 2007
I write this review first and foremost as a response to Mr. Marass's one-star assessment below. Reading his critique, it is apparent that Mr. Marass doesn't care for "free" or "avant garde" jazz, thus he has seen it fit to only give one star to this seminal masterpiece. This is wholly unfair, as dislike of a particular genre is no basis to dismiss the merits of a work that ostensibly fits that category. One could assume that Mr. Marass, in his myopic dismissal of the "avant garde" genre as worthy, would likewise rate John Coltrane's "Ascension," Cecil Taylor's "Conquistador" and Ornette Coleman's "Free Jazz" as similar one-star experiments. It would have been more apt for Mr. Marass to give no stars instead of one, indicating that his dislike for "free jazz" precludes a fair and unbiased appraisal.
Secondly, applying "avant garde" to this landmark recording is the second error. Show me one straight-ahead jazz buff who classifies this album as "too avant garde" and I'll find you five free jazz afficionados who will regard cuts such as "Old Gospel" and "Strange As It Seems" as "too structured" for their liking. And therein lies the beauty of "New and Old Gospel" - as neither a "loose" inside session nor a "structured" outside one it defies categorization.
Finally, to argue how this recording serves the dichotomy between free vs. structured is to make the classic mistake of mixing up the menu with the meal. "New and Old Gospel" is an EXUBERANT record, as the great Alfred Lion implies in the liner notes. Key to the success of this date is the great Billy Higgins on drums: his variations of feel, dynamics and tempo, to say nothing of the propulsive support he brings to the "old churchy" feel of "Old Gospel" are simply phenomenal. Higgins's incredible work on this album is worthy of repeated listenings to just the drum track alone.
Whether you classify "New and Old Gospel" as inside, outside or just plain exuberant, it is a landmark classic Blue Note containing among the most inspired playing of Jackie McLean, Ornette Coleman and the aforementioned Mr. Higgins on record. I respectfully encourage Mr. Marass to reconsider his narrow-minded application of only one star to a testament that easily deserves a thousand, and of the reader to purchase this masterpiece for your jazz collection, if it isn't there already.
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3 of 3 people found the following review helpful:
5.0 out of 5 stars
Ornette as a sideman! What's this all about?!?, December 3, 2007
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
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0 of 1 people found the following review helpful:
3.0 out of 5 stars
Split the difference, December 3, 2008
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
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is Jackie McLean's 
