FREDDIE REDD [Connection] BLUE NOTE [63rd/EAR/RVG/DG]
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Description
*** *** INNERSLEEVE HAS JUST ACQUIRED ANOTHER AMAZING JAZZ COLLECTION! *** *** PLEASE CHECK BACK OFTEN, AS MANY NEW LISTINGS WILL BE GOING UP *** ***
BLUE NOTE Records BST-84027
DEEP GROOVE * STEREO
[RVG] stamps in dead wax
EAR or "P" for Plastylite in dead wax
47 WEST 63rd NYC [address labels]
43 West 61st St., New York 23 N.Y. [address cover]
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VINYL is strong VG+ light hairline marks, plays great!
COVER is VG edge/surface wear, small 'chip' missing at mouth of cover, light laminate peel
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The Connection is an album of music composed for Jack Gelber's 1959 play of the same name by jazz pianist Freddie Redd which was released on the Blue Note label in 1960. It features performances by Redd, Jackie McLean, Michael Mattos, andLarry Ritchie.
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He was under contract with Blue Note Records from 1959 to 1967, having previously recorded for Prestige. Blue Note offered better pay and more artistic control than other labels, and his work for this organization is highly regarded and includes leadership and sideman dates with a wide range of musicians, including Donald Byrd, Sonny Clark, Lee Morgan, Ornette Coleman, Dexter Gordon, Billy Higgins, Freddie Hubbard, Grachan Moncur III, Bobby Hutcherson, Mal Waldron, and many others.
In 1962 he recorded Let Freedom Ring for Blue Note. This album was the culmination of attempts he had made over the years to deal with harmonic problems in jazz, incorporating ideas from the free jazz developments of Ornette Coleman. Emblematic of his stylistic growth is the solo on his piece "Quadrangle" as compared to the version of the same tune on BST 4051, Jackie's Bag, recorded in 1959. Let Freedom Ring began a period in which he performed with avant-garde jazz musicians rather than the veteran hard bop performers he had been playing with previously. His adaptation of modal jazz and free jazz innovations to his vision of hard bop made his recordings from 1962 on distinctive. In early 1964, he served six months in prison on drug charges.
McLean recorded with dozens of well-known musicians and had a gift for spotting talent. Saxophonist Tina Brooks, trumpeter Charles Tolliver, pianist Larry Willis, trumpeter Bill Hardman, and tubist Ray Draper were among those who benefited from McLean's support in the 1950s and 1960s. Drummers such as Tony Williams, Jack DeJohnette, Lenny White, Michael Carvin, and Carl Allen gained important early experience with McLean.
WIKIPEDIA
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