gypsy tail wind
Mich würde interessieren, was Du weisst (gelesen hast, verlinken kannst…) im Hinblick auf die Veränderung in McLeans Spiel in den 90ern, vorgarten!
das habe ich in einem aufsatz von steve lehman gelesen, der in den 1990ern u.a. bei mclean (und braxton!) studiert hat, wie er hier selbst schildert (link, pdf). die entsprechende passage lautet:
„For McLean, the mistakes, like misfortunes, could often be a means of “moving forward,” and of finding the
unexpected. The influence of younger musicians on McLean’s musical style is quite obvious in the evolution
in his improvisational syntax that took place throughout the 1990s. McLean’s soloistic language in this period
moved much farther away from the influence of Charlie Parker and Bud Powell, and even from that of
Ornette Coleman and John Coltrane, and drew heavily upon a set of highly personal improvisatory
strategies which he referred to as “systems.” These systems involved the sounding of pitch constellations,
marked by an internal integrity resulting from each pitch being separated by a repeating interval or set of
intervals—often a perfect fourth. In this way, McLean was able to produce improvisations that remained
rooted in his exquisite sense of timing and phrasing, while demonstrating a new linear syntax that was nondiatonic,
fragmented, and highly abstract. Having codified his use of systems by the late 1990s, McLean
began sharing this methodology with his advanced students at the University of Hartford. Since that time,
several of his former students have continued to adopt and expand McLean’s concept of systems in their
own work, including trombonist Steve Davis, guitarist Kevin O’Neil, and saxophonists Jimmy Greene, Mike
DiRubbo, Wayne Escoffery, Kris Allen, and the author, among many others. McLean, himself, continued to
perform and develop new music almost until the time of his death in 2006.“
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