Results for "Jackie McLean"
About Jackie McLean
Instrument: Saxophone, alto
Related Articles | Albums | Photos | Similar ArtistsResults for pages tagged "Jackie McLean"...
Jackie McLean
Born:
John Lenwood (Jackie) McLean was an alto saxophonist, composer, bandleader and educator, born in New York City. His father, John Sr., who died in 1939, played guitar in Tiny Bradshaw's orchestra. After his father's death, his musical education was continued by his godfather, by his stepfather, who owned a record store, and by several noted teachers. He also received informal tutoring from neighbours Thelonious Monk, Bud Powell, and Charlie Parker. During high school he played in a band with Kenny Drew, Sonny Rollins, and Andy Kirk Jr. (the tenor saxophonist son of Andy Kirk). He recorded with Miles Davis, on Davis' Dig album, when he was 19 years old
Blackstone Legacy
by C. Andrew Hovan
When trumpeter Woody Shaw passed away in 1989, he left behind a wealth of amazing music, notwithstanding the realized sadness inherent in wondering what more he could have accomplished had he lived a longer life. Back in the mid '60s, Shaw was ubiquitous as a sideman recording iconic albums with the likes of Larry Young, Horace ...
The Jim Self & John Chiodini Quintet: Touch and Go
by Jack Bowers
A quintet whose front line consists of tuba, guitar and trumpet. How does that work? Quite well, actually--at least when that front line includes tuba master Jim Self, guitarist John Chiodini and trumpeter Ron Stout, ably supported by bassist Ken Wild and drummer Kendall Kay, on the Jim Self and John Chiodini Quintet's album, Touch and ...
OJC Rides Again: Bill Evans & Mal Waldron
by C. Andrew Hovan
Although it wasn't coined specifically for the collection, the idea of an “embarrassment of riches" is perfectly suited to describe the vast holdings of the Fantasy Records firm. Starting out as a small west coast concern, their success with the group Creedence Clearwater Revival allowed them to expand their operations in 1971. The address of Tenth ...
Tenderlonious: You Know I Care
by Neil Duggan
Ed Cawthorne, also known as Tenderlonious, is a versatile multi-instrumentalist able to combine genres and styles which to date have included Indian classical ragas with his quartet Jaubi, jazz fusion takes on the music of John Coltrane and Yusef Lateef with his bands Ruby Rushton and 22archestra, and electro funk and ambient electronica in his solo ...
A Conversation with Joe Chambers
by AAJ Staff
This interview was first published at All About Jazz on February 1999. We have always been quite puzzled as to why a musician that has worked alongside Eric Dolphy, Freddie Hubbard, Andrew Hill, Bobby Hutcherson, Joe Henderson, Sam Rivers, Wayne Shorter, Max Roach, Sonny Rollins, Tommy Flanagan, Charles Mingus, and Chick Corea would only ...
Duets From Strangers And Old Friends
by Jerome Wilson
The first of these duo recordings is from two musicians meeting for the first time. The second comes from long-time acquaintances. The compatibility of the playing on both is so high you would be hard-pressed to tell which was which. Pierrick Pedron & Gonzalo Rubalcaba Pedron Rubalcaba Gazebo 2023
David Kikoski: Surf's Up
by C. Andrew Hovan
It seems that the show tunes of the '30s, '40s, and '50s have served as fodder for several generations of jazz musicians, either providing their own melodies for subsequent development or lending their harmonic framework for the jazz writer to use as a basis for an original tune. Most recently, we've seen attention begin to shift ...
Dave Askren/Jeff Benedict: Denver Sessions
by Jack Bowers
There are times when a little extra effort goes a long way. To record the Denver Sessions, guitarist Dave Askren and saxophonist Jeff Benedict flew from the Los Angeles area, vibraphonist Ted Piltzecker from New York City to team with the Mile High city's Patrick McDevitt (bass) and Paul Romaine (drums) for Askren and Benedict's twelfth ...
The Jazz Doctors: Intensive Care / Prescriptions Filled
by Chris May
Beyond its initiates, the so-called New Thing which emerged in mainly, but not exclusively, Black US jazz in the 1960s/70s, was perceived so amorphously that prairie-wide distinctions between its practitioners went unregarded. Among the general jazz audience, the musicians were lumped together as a horde of crazed zombies who lacked all technique, and who had replaced ...
