When does one expect to hear high-pitched saxophone overblowing?
Not during the ballad “I’ll Keep Loving You” as performed by Jackie McLean.
Yeah, that was a surprise.
During stops at the public library with the kids, I’ve been checking out arbitrary CDs. It’s kind of a way to keep in touch with more mainstream fare — “normal” classical music, the occasional ECM disk, or jazz masters who have been neglected in my collection. That’s how McLean’s Let Freedom Ring wound up in my headphones.
What I didn’t know was that in 1962, McLean was listening closely to the likes of Ornette Coleman. Turns out, the New Thing is the concept behind the title of the album I’d checked out, Let Freedom Ring.
This is by no means a free jazz album, but moments of overblowing pop up regularly among the four tracks. It’s less incongruous on a bouncy, upbeat track like “Omega,” but that’s what makes the moment on “I’ll Keep Loving You” all the more delightful.
Let Freedom Ring was a conscious foray into free jazz, not just for McLean but also for Blue Note Records. “Soon it would be recording Andrew Hill, Sam Rivers, Larry Young, Eric Dolphy, Joe Henderson and other new stars,” Graham Wood wrote in Perfect Sound Forever. Cecil Taylor recorded two of his greatest albums for Blue Note and even Ornette Coleman was recruited. The success of Let Freedom Ring was all Alfred Lion needed to be persuaded.”
“Melody for Melonae” is rich in the sound I associate with ’60s Blue Note; it might be the best introduction to McLean’s mix of the old and new. The squeaky parts pop up shortly after the 4:30 mark.
Among McLean’s albums, Let Freedom Ring seems to be where the posthumous accolades have gathered — this small profile on NPR, for instance. Wood, in Perfect Sound Forever, seems more taken with its successors: Destination… Out! and especially One Step Beyond. I suppose that’s where I’ll be traveling next.