Back catalogue:

Review: The cult Melodies International label run by Floating Points and Mafalda starts a new series here. Melodies Record Club will find each curated by a different guest DJ or producer with the first one selected by the always on point Kieran Hebden aka Four Tet. He picks some of the tracks he used to spin at the legendary Plastic People and first up is an extended version of 1975 tune 'De I Comahlee Ah' by jazz stars Jackie McLean and Michael Carvin. Chris McGregor's Brotherhood Of Breath takes care of the flip with the big band energy and excellent horn work of 'MRA.'

Review: American alto talent Jackie McLean released his Tippin The Scales album in 1979 on the legendary Blue Note. It was a post bob record that has rather remained under the radar in the years since, but will still cost you a pretty penny if you can find a second hand copy. The Tone Poet serve brings it back to the fore with a deluxe reissue package that allows the tunes to really shine. Jackie wrote two of them while Sonny Clark write three and one is a J. Latouche and V. Duke collaboration. The record was recorded on September 28, 1962 and is one of the more traditional records in McLean's oeuvre.

Review: Alto saxophonist Jackie McLean's 1960s output ran the gamut from hard bop to the avant-gard, with his 1964 post-bop dates It's Time! and Action splitting the difference. Now reissued for Blue Note's Tone Poet series, this reissue of the latter LP follows up Rudy Van Gelder's 2004 curator's edition; McLean's playing is lithe and limber here, piquing out from each mix - from the opening fan-outs of 'Plight' to the continual peacockings of 'I Hear A Rhapsody' - as if to suggest that McLean himself knows that his instrument resounds at the exact high frequency that naturally commands human attention. With the Tone Poet series primed for audiophiles, you're in for a treat.

Review: Jackie McLean's Let Freedom Ring (1962) marks a pivotal moment in his career, where he boldly steps into uncharted territory, blending hard bop with avant-garde elements. The album, recorded at Van Gelder Studio, features McLean on alto sax, supported by Walter Davis Jr. on piano, Herbie Lewis on bass, and Billy Higgins on drums. The track 'Omega' stands out for its innovative approach, blending syncopated bass and piano rhythms with sharp, high-register saxophone lines. The song shifts effortlessly between tempos, showcasing the tight interplay between McLean and his band, particularly Higgins' relentless drumming and Davis' rhythmic accents. While 'Melody for Melonae' often receives attention for its emotive power, 'Omega' exemplifies McLean's forward-thinking vision, offering a spacious and harmonically rich canvas that predates many later "modern" jazz experiments. The album's overarching theme of "freedom" resonates on multiple levelsimusical, expressive, and perhaps even socialireflecting McLean's journey beyond traditional hard bop into a more liberated, dissonant sound. McLean's collaboration with Blue Note during this period produced a series of groundbreaking records, with Let Freedom Ring standing as a testament to his willingness to challenge conventions while staying rooted in the vibrant energy of jazz.