Jackie McLean's New Soil
, is not the most acclaimed album in the classic Blue Note catalogue, but this 1959 release deserves more attention that it gets, being supremely well-played, well-written andwithin the limitations of its timewell-recorded. This vinyl reissue, remastered from the original tapes by the good folks at Acous-Tech, is part of a series of albumsfifty titles in all, so farthat includes some of the most well-known Blue Note recordings from the 1950s and '60s, and may well represent the finest production runs of these albums ever, though that come at a price: fifty dollars each, for two 45 RPM LPs.
At this time, McLean was still feeling his way between Charlie Parker
idolatry and finding his own sound. He's about half way there on this date, even as he admits his stylistic debt to his master in the liner notes. McLean's playing is solid and assured throughout, and his two writing credits on the album reveal a musician capable of complete statements.
Trumpeter Donald Byrd
steals the opener, the softly swinging blues, "Hip Strut," with his gorgeous, burnished lower-register solo, slowly working it over the staccato theme. Pianist Walter Davis Jr.
.an unsung keyboard hero if ever there was onecarries the tune through with a bluesy workout, before comping Paul Chambers
bowed bass solo to wrap it up.
McClean's "Minor Apprehension" is as close to a penultimate hard-bop song as you'll ever hear: fast, hard swinging and aggressive, with standout turns from the frontline. It's Drummer Pete La Roca
who turns it upside-down, when he drops the melody, rhythm and pace from his solo, to play a series of abstract triplets, only to recapitulate the theme with the horns for a final bar before it's over. Davis' "Greasy" opens with a boogie-woogie piano line that would be right at home on a Bull Moose Jackson
platter, setting up some fine straight-ahead blues playing.
Of course, all of these basics can be heard on ten dollar CD version of this album, without breaking the bank, which begs the question: What are you getting for your fifty dollars, and is it worth it? Rudy Van Gelder
in whose studio this and most other Blue Note records of the era were recordedhas a mixed legacy as an engineer. His best quality recordingsand New Soil
is among themcapture the horns with all of their overtones and shadings intact. Byrd's solo on "Hip Strut" is perfect example of capturing not just the notes, but his horn's gorgeous and distinctive bronze tone. The drum solo on "Minor Apprehension" reveals the kit in natural space and depth. Even the pianothe perpetual RVG Achilles Heelsounds passably good (not great, but decent enough).
For the collector who loves this record and has the equipment to hear all the detail that it has to offer, New Soil
is worth hearing.