1.Soul (10:15)
2.Conversion Point (9:45)
3.Big Ben's Voice (10:06)
4.Dear Nick,Dear John (4:53)
5.Erdu (5:54)
6.Big Ben's Voice (alt.take) (9:56)

Jackie McLean-alto sax
Woody Shaw-trumpet (1-3,5,6)
Grachan Moncur III-trombone (1,2,5)
Lamont Johnson-piano
Scotty Holt-bass
Rashied Ali-drums
Barbara Simmons-vocal

'Bout Soul does not mean the same thing as soul-jazz, as the opening track "Soul" makes abundantly clear. Written by Grachan Moncur III and poet Barbara Simmons, "Soul" is a tonally free tone-poem that features Simmons' spoken recital. It's about what the concept of soul is, not what soul music is, and that should not come as a surprise to anyone acquainted with Jackie McLean's work. Even as his Blue Note contemporaries were working commercial soul-jazz grooves, McLean pushed the borders of jazz, embracing the avant-garde and free jazz. 'Bout Soul is one of his most explicit free albums, finding the alto saxophonist pushing a quintet -- trumpeter Woody Shaw (who sits out "Dear Nick, Dear John"), pianist Lamont Johnson, bassist Scotty Holt, drummer Rashied Ali -- into uncompromising, tonally free territory. This is intensely cerebral music that is nevertheless played with a fiery passion. Although the music was all composed, it is played as if it was invented on the spot. Fans of McLean's straight-ahead hard bop, or even of his adventurous mid-'60s sessions, might find this a little off-putting at first, but 'Bout Soul rewards close listening. It is one of McLean's finest modern contemporary sessions. ---Stephen Thomas Erlewine, AllMusic Review

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A1 	Jack's Tune 	11:02
A2 	Mode For Jay Mac 	9:08
B1 	Where Is Love? 	5:26
B2 	Callin' 	8:30
B3 	A Ghetto Lullaby 	7:14

Alto Saxophone – Jackie McLean
Bass – Niels-Henning Ørsted Pedersen
Drums – Alex Riel
Piano – Kenny Drew

Within a five day period in 1973, altoist Jackie McLean, who had only made one album (a live set) between 1968-72, cut enough material for five records. This worthy set features his intense style in a quartet with pianist Kenny Drew, bassist Niels Pedersen and drummer Alex Riel, recorded live at Montmartre in Copenhagen. Although the material -- Drew's "Callin'," athe ballad "Where Is Love," a pair of William Gault songs and McLean's "Jack's Tune" -- is not all that memorable, the altoist's passionate solos and very distinctive sound uplift the music and make this an advanced hard bop set worth acquiring. ---Scott Yanow, AllMusic Review

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01. Strange Blues (7:34)
02. Millie's Pad (11:19)
03. What's New (6:38)
04. Disciples Love Affair (6:52)
05. Not So Strange Blues (4:50)

Jackie McLean – alto sax
Webster Young - trumpet (2, 4)
Ray Draper - tuba (2, 4)
Mal Waldron - piano (1)
Jon Mayer - piano (2, 4, 5)
Gil Coggins - piano (3)
Art Phipps - bass (1)
Bill Salter - bass (2, 4, 5)
Paul Chambers - bass (3)
Art Taylor - drums (1)
Larry Ritchie - drums (2, 4, 5)
Louis Hayes - drums (3)

The last of the Jackie McLean Prestige sessions, this LP has material from two different sets, but fortunately, the music is on a higher level than one might expect of "leftovers." "Strange Blues" is from a marathon quartet set that McLean had with pianist Mal Waldron, bassist Arthur Phipps, and drummer Art Taylor, as is a rendition of "What's New" that is an alternate version to the one included on Makin' the Changes. In addition, "Disciples Love Affair" and "Millie's Pad" match McLean with the tuba of Ray Draper (who contributed both songs), trumpeter Webster Young, pianist John Meyers, bassist Bill Salter, and drummer Larry Ritchie, while the incomplete "Not So Strange Blues" is all McLean on an explosive blues with the rhythm section. A generally strong set chiefly recommended to Jackie McLean completists. ---Scott Yanow, AllMusic Review

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1.Marney (6:13)
2.Dusty Foot (6:52)
3.Vertigo (8:15)
4.Cheers (4:51)
5.Yams (7:57)
6.The Three Minors (6:01)
7.Blues In A Jiff (7:07)
8.Blues For Jackie (7:48)
9.Marilyn's Dilemma (4:58)
10.Iddi Bitty (8:13)
11.The Way I Feel (7:05)

Tracks 1-5:
Jackie McLean - alto sax
Donald Byrd - trumpet
Herbie Hancock - piano
Butch Warren - bass
Tony Williams – drums

Recorded At Rudy Van Gelder Studio, Englewood Cliffs, NJ. February 11,1963

Tracks 6-11:
Jackie McLean - alto sax
Kenny Dorham - trumpet
Sonny Clark - piano
Butch Warren - bass
Billy Higgins – drums

Recorded At Rudy Van Gelder Studio, Englewood Cliffs, NJ. June 14,1962

This 1980 recording released for the first time -- "Formidable" from a 1959 session and five numbers from a 1963 McLean set. While "Formidable" has a strong quintet (with altoist Jackie McLean, trumpeter Donald Byrd, pianist Walter Davis, bassist Paul Chambers, and drummer Pete La Roca), the 1963 session has the recording debut of drummer Tony Williams along with strong contributions from Byrd, pianist Herbie Hancock (then also near the beginning of his career), and bassist Butch Warren. The latter unit sticks to group originals by Byrd, Hancock, and McLean, and the music ranges from catchy funk and hard bop to strong hints of the avant-garde. ---Scott Yanow, AllMusic Review

This CD combines two Jackie McLean quintet sessions from the early '60s that capture the alto saxophonist in a significant period of transition. First up is a 1963 session with trumpeter Donald Byrd and two significant protégés. Byrd had been working for a while with pianist Herbie Hancock, but it was the first recording session for drummer Tony Williams, just 17 years old when he began working with McLean. The arrival of Hancock and Williams was momentous. They were already stretching the vocabulary of hard bop, and the horns respond accordingly. It's McLean's presence that's dominant, though. His hard-edged intensity always stood out, and there's an increasing bite in this period, leading up to his embrace of a much freer group format. The second session, from 1962, is more securely in the bop mold. It's another first-rate band of Blue Note regulars, with the veteran trumpeter Kenny Dorham, pianist Sonny Clark (like McLean, a master of blues-suffused bop), drummer Billy Higgins, and bassist Butch Warren. Over the years, these have been elusive recordings. Both appeared on LP (Vertigo and Hipnosis) years after they were recorded and in combination with other material. This is their first appearance on CD, and it's a limited edition, so McLean fans should act quickly. --Stuart Broomer, Editorial Reviews

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1. Hipnosis
2. Slow Poke
3. The Breakout
4. Back Home
5. The Reason Why

Jackie McLean – Alto Saxophone
Billy Higgins – Drums
Scott Holt -Bass
LaMont Johnson – Piano
Grachan Moncur III – Trombone

Musician Jackie McLean was born in New York City on May 17, 1931. Growing up surrounded by jazz, he gained notice for his skills as a saxophone player. McLean performed with such jazz greats as Charlie Parker and Miles Davis, and released his own albums in the 1950s and '60s. He later taught and mentored a new generation of jazz artists before his death on March 31, 2006, in Hartford, Connecticut.

John Lenwood McLean was born in the Harlem neighborhood of New York City on May 17, 1931. His father was a jazz guitarist, and McLean was exposed to music at an early age. He began studying saxophone when he was 14, beginning with the soprano sax and soon switching to the alto version. Some of McLean's friends at Benjamin Franklin High School in Harlem were also aspiring jazz musicians, and he formed a band with several of them, including Sonny Rollins and Art Taylor. Older musicians in the neighborhood, such as Bud Powell, mentored the young McLean. Playing small music venues in Harlem, McLean gained notice for his talent. He made his debut at the legendary club Birdland in 1949.

McLean was especially influenced by the music of Charlie Parker early in his career, and he became a friend and protégé of the famous saxophonist. He was also introduced to the trumpeter Miles Davis, a rising star in the jazz world, and played on one of Miles Davis's first recordings, Dig. McLean also performed with Art Blakey and Charles Mingus while he was still in his 20s. McLean began releasing his own records, beginning with his debut album Presenting... Jackie McLean, in 1955. At the time, he played in the style known as bebop, a fast and highly rhythmic type of jazz. He also developed an addiction to heroin that enveloped many of his peers in the industry, although he was later able to shake the habit. In the 1960s, McLean took inspiration from the experimental free jazz style pioneered by musicians such as Ornette Coleman and John Coltrane, forging a blend of the new style and bebop that became his signature. Some of his most notable recordings were his releases on the Blue Note label during the decade, including A Fickle Sonance, Let Freedom Ring, Destination... Out! and Jacknife.

After his contract was terminated by Blue Note in 1967, McLean began teaching music at The Hartt School conservatory at the University of Hartford. In 1980, he was named director of the school's African-American music program, which was later named the Jackie McLean Institute of Jazz. McLean also taught at the Artists Collective, a Hartford community center he founded in 1970 with his wife, Dollie. In 1980, he appeared in the documentary film Jackie McLean on Mars, which showcased his teaching as well as his performing. Although McLean devoted himself primary to his work as an educator and activist after joining The Hartt School faculty, he began to perform more frequently in the late 1980s and early 1990s.

McLean, who had been guided by more experienced musicians in his own youth, became a mentor to a younger generation of jazz artists. As a key figure in jazz history, he was interviewed for the Ken Burns documentary Jazz, which aired on PBS in 2001. McLean died at age 74 on March 31, 2006, at his home in Hartford, Connecticut. He was survived by his wife and three children, sons Rene and Vernone and daughter Melonae.

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