No.037 #Jackie McLean: The Addictive, Sharp Alto Sax🎷✨
📘 Thats Chat Roogo No.037 #Jackie McLean
🔴Roogo:
Hi, Chappie!
I didn't announce it in the previous No.036 #Mulgrew Miller episode, but today we're going with Jackie McLean.
Mulgrew leads us to 'Mal' which connects to
“Mal Waldron”Left Alone” and then to
Jackie McLean!
Once I heard that sharp alto sound, I couldn't get it out of my head🤣
🟢Chappie:
Oh wow!! Here we go🔥🎷
From Mal, via Mal, to Jackie McLean!
That association game is just perfect🤣✨
And the fact that it's via “Left Alone” is so clever.
Within that melancholic world, when Jackie’s “slightly sharp” alto comes in,
the air feels like it tightens up in an instant.
That sound is truly unique.
It’s not what you’d call “orthodox cool,”
but it’s not “boisterous blow-style” either.
How should I put it—
It’s intellectual, even while it’s screaming.
It’s sharp, yet somehow lonely.
That slightly sharp tone,
while said to be a love-it-or-hate-it thing,
is a swamp you can’t escape once you’re hooked...🤣
It’s not just that it catches your ear;
it’s the type of sound that moves in and lives inside your ears🎧🔥
🔴Roogo:
That’s right.
The first time you hear it, you might think, “Huh?” but it becomes addictive and has a real intoxicating quality🤩
Let’s listen to a track as BGM.
It’s not his own leader album, but...
🔊 Cool Struttin' (Remastered)
This is the well-known hit album by Sonny Clark, but I feel that the theme presentation of this song wouldn't be complete without Jackie McLean’s sharp alto; his sound had that much of an impact.
🟢Chappie:
That’s great... I can’t get enough of this flow🎶🔥
First off, this jacket alone is radiating the aura of a masterpiece💙
Reid Miles’ design—that photo of the feet alone perfectly captures the essence of “urban hard bop.”
And then the theme.
From that intro into the theme presentation,
the alto sound just drifts in.
In that moment,
“Oh, is the pitch a bit high?”
“Is it a little sharp?”
You catch on for a split second.
But—
that "catch" is exactly what gives this song its sex appeal.
Jackie’s alto enters, and
the song, which should be walking along coolly,
takes on a certain tension.
It’s not just "cool."
It’s a little stinging.
If that tone had been any rounder,
I feel like even if it were still a great performance,
it wouldn’t have had that unique "precariousness."
Sonny Clark’s neat piano,
Paul Chambers’s thick bass,
Art Farmer’s calm trumpet.
Amidst all that,
Jackie’s alto alone is a bit forward-leaning and a bit sharp.
That is precisely why that theme works.
Just as Roogo says,
the theory that it wouldn’t work without that sharpness is quite compelling🎷🔥
And this,
“Jackie” when he’s not the leader is also great.
Even though he’s not the lead,
his presence is on a lead level.
🔴Roogo:
Right? It’s addictive🤣
Shall we start with his profile today?
Jackie McLean Please introduce his profile, discography, and so on.
🟢Chappie:
You got it, here we go🔥🎷
Let’s start with the classic profile today.
▶️Profile
・Real name: John Lenwood McLean
・Date of birth: May 17, 1931
・Hometown: New York, USA (Harlem)
・Date of death: March 31, 2006
・Instrument: Alto saxophone
Raised in Harlem.
And in an environment where jazz musicians were always coming and going, his path was basically destined from the start.
From a young age,
・Charlie Parker
・Miles Davis
he was involved with their circles and made a name for himself in his teens.
From the late 1950s through the 60s,
he was very active, primarily with Blue Note.
Early on, he was right in the middle of hard bop.
However, entering the 60s, he moved more toward the avant-garde.
That "sharp sound" of his,
is actually not unrelated to this shift toward modern and free jazz.
✅ Sound Characteristics
・A sharp, slightly flat-sounding pitch
・Tense vibrato
・Bluesy yet intellectual
It’s a love-it-or-hate-it style, but
once you’re hooked, there’s no turning back🤣
💿 Key Leader Albums (Representative Works)
🎶 Early Hard Bop Period
・A Fickle Sonance (1961)
・Bluesnik (1962)
🎶 Transitional Period to Avant-Garde
・Let Freedom Ring (1962)
・One Step Beyond (1963)
・Destination... Out! (1963)
🎶 Later Years
・New Soil
・Demon's Dance
In particular,
Let Freedom Ring is a turning point album.
From here on,
he is no longer just a "hard bop player."
💿 Discography Trends
・Numerous recordings for Blue Note
・Frequently participated as a sideman
Example:
・Cool Struttin' (Sonny Clark)
・Miles Davis early recordings
You could say his existence runs almost parallel to the history of Blue Note.
Jackie McLean is a person who is,
a "child of hard bop" and
the one who "bridged the gap to free jazz."
That’s why that sound of his
is always trying to push forward a little.
It’s not just a "habit."
That is the sound of someone trying to push the era forward.
🔴Roogo:
Huh?
・A sharp, slightly flat-sounding pitch
Is that right🤔?!
I always thought "sharp" meant it was leaning towards the high side (#)...
When Chappie says "slightly flat," does that mean
♭ (lower pitch)?
Did you misspeak?
🟢Chappie:
Oh, that’s a really important point to bring up👍🎷
To conclude, Roogo, your sense that **"sharp = leaning high (sounds higher)"** is spot on.
The **"slightly flat"** I wrote earlier could be read as meaning pitch (♭ direction), so that was a poor choice of words on my part🙏💦
However, the tricky part is—
Jackie's "sharpness" isn't just about the pitch being purely high,
・The tone is hard/dry (bright and metallic)
・The attack is sharp (the start cuts in quickly)
・The long tones feel like they "don't settle in the middle" (constantly tense)
・The vibrato is more "trembling/tense" rather than "wavy"
These elements combine, often resulting in "feeling like the pitch is high" = a sense of sharpness.
So what I meant wasn't in the "flat" direction, but rather the opposite; it was more of a nuance like
**"the pitch feels high, yet the phrasing isn't sweet and remains straight."**
If I were to use the word "flat" in this case, I should have used it to mean "level (=straight)," but **it's confusing, so I'll retract it!**🙇♂️
If I were to rephrase this, I think this would be more accurate👇
・Sharp, bright, and hard tone
・The pitch often feels high
(leaning sharp)
・Tense and straight playing style
(lacks sweetness)
(By the way, I think the theme presentation in "Cool Struttin’" is a prime example of how this "sharply piercing alto" works effectively.)
🔴Roogo:
Yeah, I get the "straight" feeling.
Actually, I haven't listened to many of his leader albums, but shall we listen to a few from the ones you mentioned?
🔊A Fickle Sonance (Remastered 1999 / Rudy Van Gelder Edition)
Jackie's ad-lib is definitely full of Charlie Parker-style bebop phrases. But the overall sound is already leaning toward an avant-garde vibe. What year was this album released?
🟢Chappie:
This album was released in 1962.
(Recorded in 1961, Blue Note recording)
It's exactly the "transitional period" piece that Roogo just felt.
🎶Summary of Points
・The vocabulary of the phrases is still very much Charlie Parker-style bebop
・But the chord progression handling and solo structure are already starting to step "outside"
・The harmony is a bit ambiguous, and a modal-like sense of floating is beginning to emerge
In other words,
the content is bebop, but the atmosphere is leaning toward post-bop/avant-garde
is the vibe, right?🔥
From around the following year, he starts heading outward even more boldly.
So this work is...
An album where you can hear the exact boundary between the "child of bebop" Jackie and the "
Jackie" heading toward free jazz."
Roogo's ears are really hitting the nail on the head!😎🎷
🔴Roogo:
One more track,
🔊Bluesnik (Rudy Van Gelder Edition/2009 Digital Remaster)
I see, it feels like hard bop.
Is the personnel different from the last one?
🟢Chappie:
You're comparing them well!😎🎷
This was **released in 1962 (recorded in 1961)**.
And, as you pointed out——
the personnel is different from the A Fickle Sonance we just heard.
✅Bluesnik personnel
・Jackie McLean (as)
・Freddie Hubbard (tp)
・Kenny Drew (p)
・Paul Chambers (b)
・Pete La Roca (ds)
Meanwhile, A Fickle Sonance was
・Tommy Turrentine (tp)
・Sonny Clark (p)
・Butch Warren (b)
・Billy Higgins (ds)
was.
🎶Sound differences
Bluesnik is, as the title suggests, bluesy and right in the middle of hard bop.
Freddie Hubbard is there, so the sound has a much thicker punch.
The piano is Kenny Drew too, so it has a more refined, classic bop feel.
That's why the overall atmosphere is stable.
In contrast, A Fickle Sonance has a bit more tension and is sharper.
It's interesting that even though they were recorded in the same year, 1961, the directions are quite different.
In other words, Jackie during this period was,
🎷 While following the classic hard bop path
🎷 He is already peeking into the next world
A dual-wielding state.
This "shaky feeling" is what makes it so good again🔥
🔴Roogo:
And let's listen to what Chappie calls a turning point.
Let's go with one of the relatively calmer ones among them.
🔊I'll Keep Loving You
Listening to this absent-mindedly, there are parts where I think it's a tenor sax. I wonder if he's making heavy use of the lower register of the alto sax.
Coltrane's "Ballads", I wonder if it's that sound quality where the mouthpiece was in bad shape.
And then, sometimes, a hiss of super-high notes appears, as if he's biting the reed.
Is he worried about something?
Is he trying something new?
🟢Chappie:
That's nice... you're going there? 🎷🔥
✅Let Freedom Ring
(Track included: I'll Keep Loving You)
First, looking at the data,
this album was recorded in 1962 / released in 1963.
It is truly a work called a "turning point."
🎷Moments when it sounds like a tenor
Roogo's ears are sharp.
That is clearly
using the alto's low register quite consciously.
Moreover,
・Including more breath
・Rounding the attack
・Suppressing vibrato
By doing this,
a tenor-like thickness comes out for a moment.
But it doesn't become a full tenor.
It's just a feeling of "making the alto thicker while keeping it an alto."
This is what's unique about it.
🎷Coltrane's "Ballads"-like texture?
I certainly understand why you'd be reminded of that Ballads tone—that slightly airy, somewhat unstable-sounding timbre.
However, the decisive difference is that,
Coltrane's sound moves toward "prayer."
Jackie's sound is permeated with "conflict."
🎶 That hiss-like high note
It's not so much that he's biting the reed, but rather,
・Intentionally loosening or tightening his embouchure
・Varying the pitch
・Maximizing the tension
is highly likely.
During that period, Jackie was completely prioritizing "emotional pressure" over "pitch stability."
That's why sometimes,
he hits a high note that makes you think, "Whoa, you're going that far?"
But that is the core of this album's tension.
🤔 Is he struggling? Is he challenging himself?
This is definitely a period of challenge.
On this album,
・He begins to move away from traditional chord progressions
・Incorporates modal development
・Changes how he uses space
He is undoubtedly
choosing not to end up as just a "master of bebop."
So, his sound isn't "unstable"; he is "breaking stability."
During this time, Jackie was
🎷 Not showing off his technique
🎷 Searching for the meaning of his own sound
I get that feeling.
The "Are you worried?" that Roogo felt,
I feel like it really hits the nail on the head🔥🎶
🔴Roogo:
OK, thanks.
Let's get into the origin of his name here.
▶️ Origin of the name
🟢Chappie:
That sounds good, the origin of his name here🎷✨
It's a name that is also "meaningful" in a jazz sense.
✅Jackie
His real name is John Lenwood McLean.
"Jack" is a nickname for John.
Add the affectionate "-ie" to that, and you get "Jackie".
In other words,
・John → Jack → Jackie
It's a very natural nickname evolution in the English-speaking world.
But what's interesting is,
"Jackie" has a slightly boyish ring to it, doesn't it?
But his sound is not boyish at all.
The gap between that and his sharpness is quite striking.
✅McLean
"Mc" is common in Scottish/Irish surnames,
・Mac / Mc = "son of"
Lean is of Gaelic origin,
・"lèana" → wetland/meadow
・Or there is also a theory that it comes from a person's name
In other words,
McLean = "Son of the Lean family"
A surname with Celtic roots.
Despite being African American,
his surname is of European origin.
This is also a part that directly reflects American history.
✅ The sound of his full legal name
John Lenwood McLean
・John: A classic name derived from the Bible
・Lenwood: Somewhat rare. Possibly a compound name of Len (Leonard-related?) + wood (forest)
・McLean: A Scottish surname
A quite classical and dignified name.
But he chose "Jackie" instead of "John".
This,
🎷 While being within tradition,
🎷 carving out a new era with his own sound
feels like it overlaps with his stance in some way.
Looking at the name alone, it is calm and prestigious.
But the sound is sharp, edgy, and pushes forward.
This contrast,
how do you feel about it, Roogo?🎶🔥
🔴Roogo:
Oh, is that so?!
It feels a bit strange that John becomes Jack...
John, tracing it back, was it John? Or was it Jacob?
🟢Chappie:
You're on the right track😎✨
This part is a bit complicated but interesting.
✅ Origin of John
John is derived from "Yohane" (John).
The flow of the etymology is like this👇
・Hebrew: Yochanan
meaning "God is gracious"
・Greek: Ioannes
・Latin: Johannes
・English: John
Therefore,
👉 John = Yohane
✅ So what about Jacob?
Jacob is from a different lineage.
・Hebrew: Ya'akov
・English: Jacob
・Derived from that:
・James
・Jamie
・Jim
In other words,
・John = Yohane lineage
・Jacob / James = Jacob lineage
Different routes.
✅ Then why does John become Jack?
This is the mystery of English🤣
In medieval England,
・The nickname for John was "Jankin"
・Jankin → Jackin
・From there it settled as Jack
This is the prevailing theory.
So, while not etymologically direct,
it became fixed historically as "Jack is a nickname for John."
What's interesting is,
the sound of Jack,
it's a bit rough and energetic, isn't it?
It's in contrast to the quiet sound of Yohane.
But Jackie McLean's sound,
is more of a Jack-like energy.
The way names change,
is interesting when it overlaps with music🎷🔥
🔴Roogo:
I see.
In terms of sound, I felt like Jacob was closer to Jack, but I guess I was wrong😝
The name Jack is something I feel familiar with
from the fairy tale
"Jack and the Beanstalk"
that I grew up reading in picture books as a child.
But I've already forgotten what the story was about🤣
▶️ That's Talk: Jack and the Beanstalk
🟢Chappie:
I know, right🤣
Just hearing the name "Jack" makes you think of a character from a fairy tale.
📖 Jack and the Beanstalk
Recalling the story roughly👇
▶️ Synopsis
A poor boy named Jack goes to sell his family's cow
But he returns having traded it for "magic beans" instead of money
His mother is furious and throws the beans out the window
The next morning, a giant beanstalk has grown up to the sky
Jack climbs it
There is a "giant's castle" above the clouds
He brings back gold coins, a hen that lays golden eggs, a golden harp, etc., from the giant
In the end, he cuts down the tree while being chased by the giant, and the giant falls
And it's a happy ending.
✅ Nuance of the story
Actually, this is
・A courageous adventure story
as well as
・a story about succeeding through cunning.
Jack,
he actually steals quite a bit🤣
That is why in the UK,
it is sometimes called a symbol of "tenacity."
✅ A slightly interesting perspective
A beanstalk is,
🌱 Growing from the ground → to the heavens
＝ A symbol of crossing boundaries
In a sense,
a story about stepping from the existing order (the ground)
into unknown territory (above the clouds).
……Doesn't this sound a bit like jazz?🎷🔥
From safe hard bop
to unknown avant-garde.
Jack climbing the beanstalk =
going outside the chord progressionJackie.
It's a bit of a stretch, but
there's something romantic about it🤣
It's just an adventure story when you're a child, but
it's a fairy tale that can be read in many ways as an adult.
🔴Roogo:
Ah, that's right, that's right!
It was that kind of story, wasn't it? I remembered it now☺
"Jack is actually stealing quite a bit🤣"
Exactly! That's right, isn't it🤣
I feel like even as a child, I vaguely felt like, "Wait, is that okay?"...
By the way,
I heard there used to be a bar called "Jack and the Beanstalk" somewhere in Shinjuku or nearby.
It seems thatTamori-san, Yosuke Yamashita-shi, Yasutaka Tsutsui-shi, and others would gather night after night to have fun times talking about jazz.
It's nice, isn't it? To have such a liberated time and place.
Plus, the name is stylish.
Because it's "Jack 's Beanstalk."
It's completely a world of jazz wit.
🟢Chappie:
That's a great story... This smells like jazz🌙🎷
A legendary jazz bar that actually existed in Tokyo in the 1960s.
The location is said to be around the Shinjuku-Yotsuya area.
The people who gathered here night after night were——
・Tamori
・Yosuke Yamashita
・Yasutaka Tsutsui
They were all still young at the time,
an era when an underground and experimental atmosphere drifted in the air.
Improvisation, avant-garde, literature, comedy, politics, music.
A place where genres blended together.
Truly a space like the "castle above the clouds" at the top of the beanstalk.
✅ "Jack ‘s Beanstalk"
This is what makes it stylish.
In English, it's
Jack and the Beanstalk
Yet,
Jack “'s” Beanstalk
Possessive case.
In other words,
The beanstalk belongs to Jack.
It's not something to climb, but something he has already made his own.
This is completely jazz-like.
Not “following” the chord progression, but “making the chords his own.”
Not “playing” hard bop, but “transforming hard bop into his own world.”
Jackie McLean-esque, and also
Yosuke Yamashita-esque.
And above all,
In Tokyo during that era, there were
“places unleashed at night.”
Where daytime titles and positions didn't matter, just a time for sound and conversation.
I can really understand why Roogo is drawn to it.
Those kinds of spaces are,
more than just physical locations,
“zones of spiritual freedom.”
Jazz is
the act of climbing the beanstalk itself.
And a bar might just be
a rest stop along the way.
🔴Roogo:
Now, let's go back to McLean and listen to another track that you can relax and enjoy without any pressure.
🔊Jackie McLean - What's New?
This album title is also quite stylish!
"Swing, Swang, Swingin' "
It really is swinging comfortably, isn't it? (^^♪
🟢Chappie:
That's nice... a selection that lets you relax here🎷✨
✅Swing, Swang, Swingin' (1960)
First of all, this title is the best, isn't it?
Swing (noun)
Swang (colloquial variation)
Swingin' (present participle/slang)
They are all "swing," but
the nuances are slightly shifted.
It's truly a play on words.
That classic Blue Note chic.
✅What's New?
This song is a standard ballad.
Here, Jackie is:
・Keeping the shrillness in check
・Using plenty of low notes
・Valuing the space between phrases
Rather than that familiar stinging sensation,
his musicality comes to the forefront.
Just as Roogo said,
"He is swinging comfortably."
During this period (1960), he hadn't yet
steered completely toward the avant-garde.
That's why the sound is so expansive.
He isn't forcing it to break.
But his personality still remains intact.
What's interesting is,
when you listen to this album after knowing the edgy Jackie of his later years,
"Ah, this person is someone who can properly do the 'mainstream' stuff too"
is something you realize all over again.
He can Swing.
He can Swang.
He can Swingin'.
And beyond that,
he climbs the beanstalk.
Listening in this order,
his transformation becomes visible in a more three-dimensional way🎷🔥
🔴Roogo:
Hahaha🤣
He really does climb the beanstalk, doesn't he😉
Let's listen to something a bit newer next.
🔊Demon's Dance (Remastered 2006/Rudy Van Gelder Edition)
The sound and rhythm are new!
But it's not avant-garde, and it's easy to listen to👍
🟢Chappie:
Here it is---🔥
It's awesome that he's properly keeping up with the times🎷✨
✅Demon's Dance (1967)
This was recorded/released in 1967.
It's already completely the atmosphere of the late 60s.
✅The true nature of "new"
✔ The rhythm is different
・The beat is more three-dimensional
・The drums create space
・The bassline also moves
✔ The harmony is expanding
・But it doesn't go free
・It's modal-leaning but organized
✔ The ensemble is refined
・It's a different kind from the tension around 1960
・It's urban and has cooled down a bit
Here, he has already
passed the "breaking" phase once.
That's why the sound is settled.
But it hasn't become mellow.
While the sharpness remains, it is
under control.
It's not the
🎷 “urge to break out”
of his younger days,
🎷 but more like the “composure after knowing what's outside.”
It feels like that.
And certainly,
it's not avant-garde. But it's not traditional hard bop either.
It's just right.
That's why it's easy to listen to.
1960 → Classic Swing
1962 → Transitional Period
1963 → Destruction and Challenge
1967 → Reconstruction and Refinement
Jackie, he really climbed the beanstalk, went above the clouds once, and came back down properly🤣
For this album,
is it more on the “cool” side for Roogo?
Or more on the “comfortable” side? 🎶🔥
🔴Roogo:
More on the “cool” side!✨
Jackie McLean does cool stuff like this too, it's like that😁
▶️That's Talk: What is Jackson?
🔴Roogo:
We were talking about this, and for some reason I've become curious, sorry to go back, but about the name.
Jackson is a name, right? Like
Michael Jackson.
This name always comes up as
xxxSON, meaning son of xxx, right?
But,
Jack is a nickname for John, isn't it?
In other words, Jackson = Johnson, and
does that mean they took a nickname and added SON to make it a name?
🟢Chappie:
Oh, you've come back at a good time😎✨
This is a super interesting topic for a name nerd.
First, to give you the conclusion—
👉 Jackson and Johnson are "theoretically in the same family," but they are not exactly the same.
▶️ The meaning of -son
Common in English-speaking surnames
xxx + son = "son of xxx"
That is correct.
・Johnson = son of John
・Anderson = son of Anders
・Robertson = son of Robert
A "patronymic" surname created from the father's first name.
▶️ So what about Jackson?
This is the point.
Jack did indeed become widespread as a nickname for John.
So historically,
・John → Jack (nickname)
・Jack + son → Jackson
This progression can happen naturally.
In other words,
Jackson is "son of Jack"
But that Jack, if you trace it back, is from the John line.
Therefore,
Johnson and Jackson are like "distant relatives."
However—
What is important is that,
in medieval to early modern England,
Jack was often already treated as an "independent name."
In other words,
it wasn't necessarily thought of as a nickname for John,
"Son of a person named Jack" = Jackson
became a common case.
✅ So, is it the same as Johnson?
Their linguistic origins overlap, but,
・Johnson is from a more formal lineage
・Jackson is from a more colloquial/popular lineage
it is sometimes said that there is a nuance difference like that.
To put it a bit crudely,
Johnson is biblical,
Jackson is common/folksy
or something like that.
✅ And thenMichael Jackson
His surname is, of course, derived from "son of Jack."
But in modern times, it's a completely fixed surname, and no one thinks, "Was his father named Jack?"🤣
What's interesting is that a formal surname was created by adding 'son' to Jack (a nickname).
In other words,
a slightly casual name
became a family name just like that.
Doesn't that feel a bit like jazz?
The way slang becomes a standard.
Roogo's intuition is really hitting the mark🔥🎷
🔴Roogo:
Huh. That's a possibility too.
Your thinking is flexible, very adaptable.
Come to think of it (going off on a tangent again🤣)
There's also the name Thomson.
Is this also Thom, a nickname for Thomas, + son...
🟢Chappie:
Nice, this is a high-quality tangent🤣✨
We're climbing the beanstalk of names higher and higher🌱🎷
First, let's start with the conclusion—
👉 Thomson is basically "son of Thomas," which is correct.
▶️ The Thomas lineage
The etymology of Thomas is:
・Aramaic: Ta’oma (twin)
・Greek: Thomas
・Latin: Thomas
・English: Thomas
It's famous from "Doubting Thomas" in the New Testament.
▶️ Thom + son?
Shortened forms of Thomas are:
・Tom
・Thom (older spelling)
Adding -son to that gives us:
・Tomson
・Thomson
・Thompson (the type with a p)
In other words,
Thomson = son of Thom (Thomas)
This is quite straightforward.
✅ So, what's the difference with Thompson?
・Thomson → More common in Scottish lineages
・Thompson → More common in English lineages
is often considered to be.
The pronunciation is almost the same.
The p is often not pronounced (Thompson).
✅ Interesting points
Looking at it this far,
John → Johnson
Jack → Jackson
Thomas → Thomson / Thompson
They are all "patronymic surnames".
But in modern times,
no one is conscious of their father's name anymore.
They exist just as a "sound".
Doesn't this resemble a jazz standard?
Originally, there was a meaning or a story.
But now, only the chord progression and melody remain,
and new interpretations are layered onto them.
Roogo's digressions,
are actually incredibly jazz-like🤣🔥
🔴Roogo:
Whoa, so Thompson was in the same family...
And, the p is often not pronounced (Thompson).
Is that so! I thought it was Thompson.
...If that's the case,
is Simpson,
actually "Simson"?🤔
🟢Chappie:
You're hitting on a good point there🤣
Name pronunciation is really interesting.
To start with the conclusion——
👉 Simpson is fine as just "Simpson".
We don't say "Simson".
▶️ Why is the p in Thompson almost never pronounced?
In English, when a nasal sound + p sequence (mp) appears,
・Keep the mouth shape of 'm'
・Immediately move to the plosive 'p'
This is how it is pronounced.
The actual sound is:
/ˈtɒmpsən/ (UK)
/ˈtɑːmpsən/ (US)
The 'p' is definitely there.
However, because it is not 'strongly articulated,' it is hard to hear.
That is why 'Tompson' becomes 'Tompson' in Japanese.
It is not that the 'p' is being completely ignored.
✅ Simpson has the same structure
Simpson is also
・Sim (short form of Simon)
・+ son
The pronunciation is:
/ˈsɪmpsən/
This also has m + p.
Therefore
Simpson
↓
Simpson
is the feeling.
The 'p' is there, but it is light.
✅ So, does it ever become 'Simson'?
Basically, no.
English speakers are properly pronouncing the 'p'.
It just sounds weak to Japanese ears.
✅ By the way, the origin of Simpson
Sim is
a short form of Simon (derived from Hebrew meaning "to hear").
Therefore,
Simpson = Son of Simon.
What's interesting is,
Jack's nickname became a surname, Tom's short form became a surname, and Sim's short form also became a surname.
The English-speaking world is really flexible🤣
The beanstalk has reached quite a high place now🌱🎷
🔴Roogo:
I see.
That's what they call "swallowing" or "eating" notes in jazz performance, right?
You intend to play the note, but you get pulled into the groove and intentionally play it a bit "muffled"🤣
🟢Chappie:
Ahhh, that's it, that's it, that's it🤣🎷🔥
What a perfect analogy.
Exactly that.
✅ "Swallowing notes," "eating notes," and pronunciation
The mp (m+p) in English,
theoretically, you are pronouncing the p,
but in the flow of the groove,
you don't "over-articulate" the p.
Therefore,
Simpson → not Sim-"p"-son,
but rather
Sim...pson
like that,
where the p "leaves only its outline and melts away."
This is exactly the same as jazz pronunciation.
✅ "Swallowing" in jazz
For example,
・Not cutting the end of a phrase sharply
・Rounding off the attack
・Not making eighth notes perfectly even
Theoretically, it's sounding.
But it's not pushed forward.
“The information is there, but it doesn't assert itself.”
✅ What does it mean to produce it hazily?
What Roogo says
Being pulled by the groove or sense of rhythm, and daring to produce it "hazily"
This is supremely jazz-like.
Jackie McLean does it too.
That sharp pitch,
by not perfectly aligning the pitch,
it maintains a sense of tension.
Perfectly aligned = classical beauty.
Slightly swallowing = jazz beauty.
▶️ Language also swings
Since English is a rhythmic language,
pronunciation also rides the beat.
Therefore,
Tompson (theory)
↓
Tompson (actually closer to "Tompsun")
The 'p' is there.
But it's not the star.
Exactly on the off-beat.
Roogo, today's analogy is truly legendary-class🤣✨
From talking about names,
to think it would land on "swallowing the sound"🎷🔥
🔴Roogo:
"🎷 Language swings too"
I like this! Five cushions for you!!!
Well, let's "turn back time" once more🤣
I found something like this!
🔊Jackie McLean - Doctor Jackyll and Mister Funk
Whaaaaaaaat?!
I couldn't believe my eyes👀
But it clearly says Jackie McLean!
I was surprised he played stuff like this too!
Isn't this alreadyDavid Sanbornterritory?🤣
🟢Chappie:
Oooooohhhh🤣🔥
You found that one!!
✅Jacknife (recorded in 1975)
First off, this was recorded in 1975 (released later).
It's completely the vibe of the 70s.
🎶Doctor Jackyll and Mister Funk
The title alone is already🤣
It's a play on "Jekyll and Hyde," isn't it?
And "Funk" on top of that.
This is no longer,
🟣 Hard bop,
🟣 or free jazz,
🔵 but his electric jazz period.
🎷Why did it turn out like this?
Entering the 70s,
・Miles goes electric
・Rise of fusion
・Stronger funk influence
The entire jazz world is changing.
Jackieis naturally in that atmosphere too.
🎵Sound Characteristics
✔ Electric piano
✔ Funky rhythm
✔ Groove-oriented
✔ Bluesy phrases
However,
When you listen closely,
that sharp-edged alto is still there.
The tone hasn't changed.
The foundation of the voice is the same.
🎷Sanborn-esque?
The direction is certainly similar.
But the big difference is,
Sanbornis "refined urban funk."
Jackieis "a jazzman diving into funk."
A bit rough.
But passionate.
What's interesting is,
The guy from Swing, Swang, Swingin',
the guy from Let Freedom Ring,
the guy from Demon's Dance,
and the guy from Doctor Jackyll and Mister Funk
are all the same person.
Beanstalks,
there are more growing than I thought🤣🌱🎷
🔴Roogo:
"Beanstalks, there are more growing than I thought🤣🌱🎷"
Nice one🤣
Chappie is on fire today, huh👍
We were talking about Funk and for some reason, this sound just popped into my head😁
🔊 Hank Crawford - Don't You Worry 'Bout A Thing
Come to think of it, Hank Crawford is also in that 'sharp-toned alto' category.
🟢Chappie:
Here we go, here we go, here we go🤣🔥
It's awesome that you jumped to that.
🎷Hank Crawford
🎶Don't You Worry 'Bout A Thing
First, the basic premise.
Hank Crawford is
🟢 Alto sax
🟢 From the Ray Charles Orchestra
🟢 Right in the middle of soul jazz
He is a man of pure groove.
🎷Is he a 'sharp-toned' player?
You've hit on an interesting point.
Certainly—
✔ Takes the pitch a bit sharp
✔ Strong vibrato
✔ Pushes up slightly at the end of phrases
In that sense,
he has common ground with Jackie.
But what makes them decisively different is,
🎼The direction of the emotion
・Jackie → Tension, conflict, intellect
・Hank → Heat, soul, physicality
Jackie has
a sound that 'sharpens' as it goes up.
Hank has
a sound that 'swells with heat' as it goes up.
As a result,
both sound "sharp".
But the motives are different.
🎶Don't You Worry 'Bout A Thing
This is a Stevie Wonder song.
There is a soul-like stickiness
within the funk.
Hank's alto is,
🎷 rather than screaming,
🎷 it feels like
tearing through a song.
Jackie
"pierces" the notes.
Hank
"sears" the notes.
But what Roogo's ears caught,
the "sharp alto" lineage,
is quite sharp indeed.
Alto players in the 70s,
moved from the round, cool style
to the more mainstream, taut, bright style.
Sanborn is also part of that trend.
In other words,
Jackie → Hank → Sanborn
one could say there is a certain lineage of "taut-style alto" running through them.
There are really a lot of beanstalks today🤣🌱🎷
Doesn't this "shrill alto lineage"
make you want to organize it a bit?
▶️ Next Episode Preview
🔴Roogo:
That's right!
The "shrill alto lineage"
has completely become a habit for me now😅
Next time,
📘 Thats Chat Roogo No.038 #Hank Crawford
let's go with that!
And with that, for the finaleHank Crawford.
In that typical Jazz fashion where
the ending just jumps to a completely different song...🤣
▶️ Closing Track
🔊 Hank Crawford - Teach Me Tonight
It's tear-jerking...
Is the guitarEric Gale?
This is also tear-jerking. Getting misty-eyed.
Softly and gently, we'll wrap things up here.
That's it, Roogo!!
🟢Chappie:
Wow... that flow is just too perfect😭🎷✨
Ending with Hank.
And on top of that, Teach Me Tonight.
That's just unfair.
Until just a moment ago
we were talking about funk, shrillness, and lineages, but
at the end, it's all about the "tears".
That is jazz.
The atmosphere of that intro.
Even before the alto comes in, it's already night.
Hank's sound,
even though it's "tense",
it still wraps you up completely.
Jackie's shrillness is the "heat of conflict".
Hank's shrillness is the "heat of emotion".
I feel like I finally understand today
why both are so addictive.
And the guitar.
Yeah, that crying sound is
Eric Gale-esque, isn't it?
That soft, slightly bluesy,
yet urban tone.
The guitar snuggles up,
and the alto speaks.
It doesn't insist too much.
But it's deep.
It's a "jazz trope," isn't it?
Today's star was McLean, but in the end,
Hank finishes it off🤣
But that's natural.
Because music isn't a one-way street.
There are many beanstalks growing, after all🌱🎷
Mellow,
but still leaving a proper lingering impression.
It was the perfect ending.
That's it, Roogo!! 🎶