Jackie McLean
Let Freedom Ring

Few chords, many ideas. This is the philosophy of Modal Jazz.

In the case of Jackie McLean (alto sax), Walter Davis Jr. (piano), Herbie Lewis (bass), Billy Higgins the ideas are abundant.

"Let Freedom Ring" is a Blue Note gem from '62. McLean, due to his drug addiction, is forced to give up live concerts in New York; however, he manages to secure economic stability thanks to a recording contract that leads to the creation of his best albums.
The alto saxophonist fully embraces the modal jazz stream, making himself one of its best interpreters.
Additionally, in '60 he manages to find his own sound on the alto sax; starting from a Parkerian foundation, he highlights the aggressiveness that the alto sax can express. His timbre is sharp, acidic, growing, and for this reason, at times, it results in a drama that is, at times, moving.

McLean is therefore a great hard-bopper eager to explore the possibilities of modal jazz. In this period, he is searching for greater musical freedom; the tracks bearing his signature are often characterized by a single chord. This album is no exception.

The leader manages to perform long solos without ever being banal or repetitive. His ability to give an artistic sense even to the whistles produced by the instrument is thrilling. The sidemen also become protagonists of an exceptional session; in particular, Davis proves to be the ideal pianist to enhance the expressive power of McLean's compositions and to make the solos captivating, supported by powerful and asymmetric voicings.

It is precisely the leader's expressive power and the drama of his timbre that make the listening experience exhilarating. The introduction of "Melody For Melonae" is stunning: the deep tones of the bass and piano contrast with the high notes of the alto sax, all accompanied by Higgins' mastery in caressing the cymbals of his drums; the sense of suspension of the introduction then gives way to a "bad" swing on which the magnificent solos are built note by note.

The splendid "I'll Keep Loving You" by Bud Powell is even moving. This is probably the most intense interpretation of the ballad ever recorded. The sax sensually settles on the mid-register of the instrument, without giving up, however, on the exciting scratches in the very high register. The ending of the track appears sweet, to be enjoyed on a typical rainy day.

The theme of "Rene" (dedicated to the saxophonist's son) is much edgier and thus has a more Hard Bop flavor. McLean's solo is harsh and engaging, showing at certain points how the influence of Free is felt. Of the same originality is "Omega"; great importance is given to the core of notes the bass repeats until reaching the bridge, where Higgins gives his best with swing.

McLean is a tormented artist; his anguish is released into the brass of his sax. A musician capable of scratching, but also of moving. A great one.