Swing, Swang, Swingin

Mesmerizing music in lifelike Japanese XRCD. It does not get any better.

excellent

The coolest thing about Jackie McLean is that you just can't go wrong with him... He was intrinsically hip... edgy, and unpretentiously artistic and most important, he was a swinger... the type of sax player who was incapable of blowing anything uninteresting... ever. The opening number, WHAT'S NEW is a perfect example... Whereas many other alto players may have needed a tight front line (say a trumpet minimum) to fire them off, Jackie states the melody both accurately and creatively... his solo is fluent, energetic, pays homage to his idol Bird, yet is distinctly McLeanistic and it doesn't end there... Walter Bishop Jr. always took tasty solos... then McLean comes back with a second solo - - he is able to play with both the harmony and melody at the same time... You never forget its Jackie, and even better never forget its What's New... he is also a master subtle communicator with his band an very in the moment. A good example is that you can tell he steps back slightly from the mic before coming back to the solo (this keeps the rhythm section on his tail so the arrangement has appropriate momentum at the ending) - - It is in stark contrast to Sonny Stitt, also a genius, but one who had a habit of competing with, rather than playing with his bandmates... Both were genius, but I think this is where Jackie had his true edge -- there's a bit more human warmth, though both were equally under-appreciated post-Parker era geniuses. (James Spaulding is another bopper who belongs on the list and was just as great, though sadly infinitely more under-recorded than any of them!) Let's Face The Music and Dance is great for a second tune... as much fun as McClean has with the space in What's New, his solos are short punchy in that one... here he stretches out even more... has fun, States it but also goes off and Bishop answers him in that fluently on the beat Bud Powell-esque style... Art Talor and Jimmy Garrison in contrast are tight, relaxed, and swinging at the same time (the thing that many years ago made me fall in love with Jazz... the feel of that walking bass actually... walking (though not on Earth). Regarding the rhythm section, another note: Big John Patton, my mentor on the Hammond once told me that the way you rate a solo is feel the momentum of the tune, and make sure it doesn't drop during any particular solo... This is definitely one rhythm section and two soloists who capture the concept greatly... The album swings just as hard during Bishop's solos (he was great at comping for himself) as the band does behind McClean... The rhythm section really set the record straight on I'll Take Romance... love Jimmy Garrison's bass solo! At this point I'll pause from analyzing each and every tune on the album because there are quite a few... I will say that I like the distinct warmth that McClean has... He can play very fast and notey at times, but on the other hand, his alto is so WARM on I REMEMBER YOU.... this in fact is one area that he was superior to Parker... Parker was great at playing his own tunes, but not as keen on interpreting the melodies of standards... McClean on the other hand played them *and* used them as vehicles. - - His arrangements of I Love You is particularly great... his tone is distinct, upfront and really digs down into into the melody... I also like the way he was able to restrain himself when using scales in his solos... in areas where its too tempting to go off and play a flurry of notes, he holds back, yet at other times, when a melodic concept arises, he goes with it. - - I also think Ira Gitler makes a brilliant point in the liner notes how closely McLean's lines are tied to the beat... even more-so than Bird's. All in all this is a much under-appreciated gem of the the "modern" hard bop era swinging standard... It is worth a lifetime of repeated listens, and I'm sure even if I came back to earth as a donut I'd appreciate it too... so long as I was a hip one.

I have listened to this record many, many times, and I am grateful to own it. At this price, this record is absolutely a MUST buy. I came of age before the days of MP3 downloads, and I got this CD for well over $30 at a local borders, imported from Japan as it was out of print in the United States. The fact that is available for download at this price makes its purchase a no-brainer. For the saxophone player: this CD is a must own. No where else to my knowledge can one find a recording of Jackie McLean playing on so many standards. I have transcribed several of the solos off this record, and think they are all worth it, but "What's New" is especially good. This was the first solo that I used to help me understand how to approach minor ii Vs. As other reviewers have noted, this is a relaxed date, with everyone playing familiar songs. It makes for great listening, and is a great introduction to McLean's playing for those approaching his work for the first time. At under six dollars, I can't believe how lucky folks who are building their collections just now are. The amount of savings is just incredible compared to the money I spent building my collection when I was in undergraduate school.

Here we have one of those really relaxed recording sessions with four great guys who just love to play together. Things start off with "What's New", taken here at a surprising medium tempo rather than the usual ballad time. One time, when I heard Jackie McLean in person, he actually played that tune in a similar way, so this CD brings back to me some very beautiful memories. Jackie McLean always keeps his very personal and unique style, whether he is playing more familiar material like on this album,or is taking some "steps beyond". Especially after listening to the more advanced material from his famous albums of the sixties, it's really relaxing to have him play standards like "I Remember You" or "I'd Take Romance", and I particularly like his version on Golson's "Stablemates", which is a very good example of pure McLean on that tune with it's beautiful chord progressions. About the pianist on that date, Walter Bishop, just let me say that he is beautiful. Like on another great McLean-Album, "Capuchin Swing", he gets enough space to really stretch out. He was a Bud Powell disciple without merely copying Bud, very tasteful indeed.

This Jackie McLean album is a truly swinging affair. There's not a ballad in the bunch. As Alfred Lion says in the liner notes, "They came, swung and they split, so we called the album 'Swing, Swang, Swingin'." Touche Al, say no more! Well, how about two more points of information. First, Jackie's quartet for this recording is Walter Bishop on piano, Jimmy Garrison on bass, and Art Taylor on drums. Second, this is a limited edition so don't wait too long to buy it, or "Swing, Swang" will go swinging off.

Jackie McLean quartet dates are special. Ever heard "Let Freedom Ring" or "Right Now!"? How about that date with Sonny Clark, "Tippin' the Scales"? Well, this date is pretty special too. 7 standards done with Sugar Hill style. Strictly for the true Blue Note heads.

Very impressive, Jackie demostrates his ability to keep the hard bop tradition while implementing some funk. His tone is unmistakable. A ture student of the BeBop, and Cool Jazz school, Jackie proves that his place on The Jazz Board of directors is valid.

Sublime album

Todo perfecto

excellent album

Prodotto perfettamente rispondente alla descrizione, consegnato nei tempi previsti. Ottimo jazz a prezzo conveniente. Ottima registrazione

Hard bop un po’ ripetitivo Rimandato indietro anche se costava poco