“When Monk, Bird, Diz and Max made their appearance on the jazz scene, a new concept was born. The first steps towards freedom in improvisation were taken. The New Breed on the jazz scene are searching for new ways of expressing themselves. Many have cast aside the old and much overused chord progressions; they are searching for new foundations composition-wise. We find scales and modes more outstanding in solos. The extended form (first introduced to me by Charlie Mingus) is but another way of composing and blowing.
“When a musician reaches a certain point, he is no longer satisfied with merely copying someone else. He begins to look for his own way of expression. For example, I have always felt that Charlie Parker used a crossbreed of Don Byas, Lester Young and Buster Smith as a basis for a style that later became his own, a very original style. Some of my early influences were Lester Young, Dexter Gordon, Bud Powell, Monk and, of course, Bird. Later Sonny Rollins, Andy Kirk Jr. and Miles helped form my concept.
“I feel that emotion has taken an important step in expression on the horn. Emotion has always been present, but today it has a new importance. Towards the end of Lady Day’s career, her voice was just a shadow of what it had been, yet she still put a song over; her singing voice was gone, leaving emotion her only tool of expression.
“Getting away from the conventional and much overused chord changes was my personal dilemma. Until recently this was the reason why many things I composed in 1955 left me helpless when it came to a basis for improvisation, for example, ‘Quadrangle’ and ‘A Fickle Sonance’. Both of these tunes were just recently recorded. I used ‘I Got Rhythm’ for the solo section in ‘Quadrangle’. These changes do not fit the personality of the tune at all. Today when I play ‘Quadrangle’, I used sections of scales and modes. I try to write each thing with its own personality. I choose the outstanding notes of the composition and build a scale or a motif to fit the feeling of the tune. Today I am going through a big change composition-wise and in improvising. Ornette Coleman has made me stop and think. He has stood up under much criticism, yet he never gives up his cause, freedom of expression. The search is on.
“I hold up a deep respect for two great trumpet players, Kenny Dorham and Miles Davis. Ironically, their jazz histories are very similar; yet they have two completely different ways of expression. They worked in the same big bands in the ‘40s (Billy Eckstine and Dizzy Gillespie). Miles worked with Charlie Parker during some of Bird’s most exciting years. When Miles left, Kenny took his place next to the master. Today we find Kenny and Miles still advancing the cause. Their approach is different but their destination is the same.
“I received my first saxophone on my fifteenth birthday, a gift from my Mom. Two years later I met Bud Powell. It was Bud who gave me what musical heart and pride I possess. Through Bud I met Miles and Kenny. In my early years I wanted to sound just like Bird. He was a master saxophonist and a great man.
“Miles gave me my first professional break. I was nineteen when I entered the House of Davis. I listen closely to Dave. He always chooses just the right notes in a change. Miles can play three notes and say as much as someone playing thirty. Sonny Rollins was with the band; so between the two, my concept broadened. My sound began to change. At this point I joined Mingus. Charlie would always say, ‘Jackie, you have your own sound. Now why don’t you look for your own ideas.’ Today I can appreciate this bit of priceless advice. I began to form my own way of expression with Mingus.
“When I left ‘The Ming’, I joined the master swinger, Art Blakey. I spent two and a half years with the Messengers, happy years. Art also preached originality to me.
“I am proud to say that my musical schooling has been at the universities of Bud Powell, Miles Davis, Charles Mingus, Art Blakey and, of course, Bird. Many of my early days in jazz were spent at Monk’s house. Monk has been a dear friend of mine for many years.
“Jazz is going through a big change, and the listener or fan, or what have you, should listen with an open mind. They should use a mental telescope to bring into view the explorers how have taken one step beyond, explorers such as Monk, Coltrane, Mingus, Cecil Taylor, Kenny Dorham, Sonny Rollins, Miles Davis, Ornette and, of course, Duke Ellington. I don’t have enough space to name them all.
“Klook, Max Roach, Art Blakey, Roy Haynes, Philly Joe, Elvin Jones and Arthur Taylor. These are the percussionists who have made a lyrical instrument of the drum.
“The musicians I chose for this date are: Billy Higgins on drums; Billy, who is from Los Angeles, came to New York with Ornette Coleman. I sure dig the groove Billy gets. Herbie Lewis, on bass, was born in Pasadena, California on February 17, 1941. Herbie, who is self-taught, came to New York with Les McCann and is currently working with the Jazztet. He can sure swing. On piano is Walter Davis from New Jersey. Walter has played with Max Roach’s and Dizzy’s bands, to name a few. Everybody knows ‘Humphrey’.
“The material on this date is mostly original. ‘Melody for Melonae’ is dedicated to my little girl, six years of age. It has three different mood, first the melody, then it moves a bright B-flat minor mode as a basis for solos. Each solo ends with a ballad section. ‘I’ll Keep Loving You’, composed by Bud Powell, is a beautiful ballad that reveals the depth of Bud’s emotions. ‘René’ is a blues written for my son who is studying the alto. I try to get away from the usual 12 bar blues figure. In other words, I take the roundabout way only to end up with the blues in B-flat. Finally, ‘Omega’ which means the end. I wrote this for my mother. Her name happens to be Alpha Omega McLean. The tune is in two sections. The outside is built on an F-sharp major mode and is free of tempo, to a degree. The second section swings along with a happy feeling.
“I want to thank Walter Davis, Billy Higgins and Herbie Lewis for their support. I give them ‘A’ for effort and ‘A’ for performance. The new breed has inspired me all over again. The search is on. Let freedom ring.” (Jackie McLean. From the liner notes.)
Performers: Jackie McLean (a-sx), Walter Davis Jr. (pi), Herbie Lewis (bs), Billy Higgins (dr)
A1. Melody For Monae
A2. I'll Keep Loving You
B1. Rene
B2. Omega
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