LP | Jackie McLean: It’s Time 43 West 61st St. VAN GELDER BLUE NOTE | Vinyl
  €   60
  $   70

 


€ 60 Sold For
Jan 20, 2019 Sold Date
Jan 13, 2019 Start Date
€   40 Start price
5   Number Of Bids
  Germany Country Of Seller
eBay Auctioned at
 
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Description

LP | Jackie McLean: It’s Time! 43 West 61st St. VAN GELDER BLUE NOTE | Jazz Vinyl nm

 

Ich löse einen Teil meiner privaten Jazz-Sammlung auf, darunter einige Blue Note's, Impulse, Verve, meistenteils Bop, Hard Bop, Post Bop und Free Jazz Vinyls. Dazu eine Shirley Scott, eine Donald Byrd, eine Jackie McLean und eine Stan Getz Sammlung.

 

BLUE NOTE BLP-4179 / BST-84179 LP Vinyl

Jackie McLean: It’s Time!

LP: ex [VAN GELDER in dead wax]

Cover: nm

 

 

Allmusic.com says:

Recorded in 1964, Jackie McLean's band for It's Time includes trumpeter Charles Tolliver, pianist Herbie Hancock, bassist Cecil McBee, and drummer Roy Haynes. The music was written entirely by either Tolliver or McLean and walks the line between modal post-bop and free jazz. It came hot on the heels of McLean's first forays into these waters on 1963's One Step Beyond and Destination Out!. There is more to it than that, of course; chordal improvisation still plays a large part in the music on this fine record. Hancock's solo on the opening "Cancellation" is the most angular thing here, and the tempo is simply breathtaking. McLean's butt funky "Das' Dat," which follows, owes a debt to Horace Silver to be sure, but the blues element, which is in the tune's head, is pure Jackie McLean. McLean's own playing isn't particularly adventurous, though he pushes his tone to the limits at times. He swings tough with the hard bop sensibility that put him on the label in the first place, and "Das' Dat" is the most enjoyable thing here. The knotty head in the title cut is killer -- with Tolliver and McLean going head to head and charging out of the gate -- as is the blues return in "'Snuff" by McLean. Here again is a complex, winding head for the horns in call-and-response with Hancock -- lean, spirited, and full of crackling energy. Tolliver's solo in the cut is his best on the album.

 

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