Blue Note Tone Poet
Jackie McLean’s 1962 album Let Freedom Ring reflected the change in the air of the early ‘60s: both the musical freedoms being explored by the emergent avant-garde movement and the social freedoms sought by the ascendent civil rights movement. This four-song set featuring the alto saxophonist with Walter Davis Jr. on piano, Herbie Lewis on bass, and Billy Higgins on drums melds the bluesy language of hard bop with the bristling energy of The New Thing. McLean’s emotive horn wails, shrieks, and soothes as the quartet moves through three striking McLean originals: “Melody For Melonae” (dedicated to his daughter), “Rene” (dedicated to his son), and “Omega” (dedicated to his mother). A plaintive rendition of the Bud Powell ballad “I’ll Keep Loving You” rounds out the date.
Recorded in 1956 for producer Tom Wilson’s short-lived Boston-based label Transition Records, Watkins At Large was the first of only two albums that the great bassist Doug Watkins would make as a leader. The Detroit native had moved to New York and begun to garner recognition for his contributions to the Art Blakey-Horace Silver co-led iteration of the Jazz Messengers as well as Bud Powell’s trio when Wilson decided to give him the opportunity to front his own recording date. Along with a first-rate ensemble featuring trumpeter Donald Byrd, tenor saxophonist Hank Mobley, guitarist Kenny Burrell, pianist Duke Jordan, and drummer Art Taylor, Watkins swings through a stellar set of blues, ballads, and more including originals written by Jordan, Burrell, and Thad Jones.
Kenny Dorham added stellar entries to the catalogs of Blue Note, Riverside, and New Jazz throughout the 1950s as he solidified his reputation as a leading trumpeter and composer on the jazz scene. He began 1961 in the studio for Blue Note recording his excellent album Whistle Stop and later that year cut his first date for Pacific Jazz, Inta Somethin’, a spirited live recording that captured Dorham leading a quintet with alto saxophonist Jackie McLean, pianist Walter Bishop Jr., bassist Leroy Vinnegar, and drummer Art Taylor at The Jazz Workshop in San Francisco. The band is firing on all cylinders throughout this set of four standards bookended by the Dorham originals “Us” and “San Francisco Beat.” A buoyant version of “It Could Happen To You” is performed quartet as a Dorham showcase, while the trumpeter lays out on “Let’s Face The Music And Dance” and “Lover Man” to give the spotlight to McLean.
The precocious and prodigious drummer and composer Tony Williams had already joined the Miles Davis Quintet and participated in numerous landmark Blue Note recordings including Herbie Hancock Empyrean Isles, Eric Dolphy Out To Lunch, Andrew Hill Point Of Departure, Jackie McLean One Step Beyond, and Grachan Moncur III Evolution by the time he recorded his own adventurous debut album Life Time in August 1964, when he was still just 18 years old. Williams had no intention of playing it safe on his maiden voyage as a leader and set forth to document his uncompromising expression on this program of innovative original compositions.
Side 1 presents the expansive two movement suite "2 Pieces of One" with the drummer joined by tenor saxophonist Sam Rivers and bassists Gary Peacock and Richard Davis. Side 2 opens with the jaunty "Tomorrow Afternoon" featuring Williams, Rivers, and Peacock. Williams plays a variety of percussion on the freely improvised "Memory" which features Herbie Hancock on piano and Bobby Hutcherson on vibraphone, and lays out entirely on the ruminative piano-bass duet "Barb's Song to the Wizard" performed by Hancock and Ron Carter which closes the album.