00:35 Miner begins by quoting Phil Garland’s liner notes on McLean’s album, “Right Now” and McLean’s own personal statement that he would never stop trying new things, tries to stay current. Raised in Washington Heights neighborhood of Harlem, also called Sugar Hill. Step father was big fan of Armstrong, Coleman Hawkins, Billie Holiday and Ellington. Mother was a gospel and blues fan. Started playing soprano sax at 14, then switched to alto. Hung out at pianist Bud Powell’s house and learned a lot from him. Did not know his father who played guitar. Was in school band at Roosevelt High School. 05:30 Played with young Sonny Rollins and, through Powell, met Miles Davis at age 18, and started sitting in with him at Birdland. 06:45 Demonstration – Miner plays a Charlie Parker cut , “Confirmation,” from McLean’s first recording under his own name. He has kept a swing groove throughout his career. 09:35 Played with Art Blakey from 1956 – 1958. McLean says he was the strongest and most important band leader he ever worked with. 10:30 Broadway production called “The Connection” in 1959-60, a play about America’s future drug problem. Talks about legalizing drugs as a solution. Moved to Hartford, CT in 1970 to teach at the Hartt College of Music. Started an artist collective there to work with young kids on the streets through music, dance and the arts. His wife, Dolly, has raised millions for a new building. 18:10 Demonstration – “Stablemates” – Benny Golson composition, post be-bop style. 21:15 Talks about his work at the University of Hartford which did not welcome jazz. Twenty years later, he’s a full professor and head of the music department. They now have a degree in African Amercian music. 25:10 Demonstration - “Conversion Point” one of McLean’s compositions from the late 60’s, a time of upheaval when many civil rights leaders were killed. 28:45 Miner asks about McClean’s view of young artists coming up, says he’s glad disco is over. There’s a resurgence of traditional music. It’s alive in Europe and Japan and in New Orleans but not so much in the rest of the U.S. Asks about James Reese Europe, American ragtime and early jazz band leader who has been ignored here. Directed the regimental bands in Europe in World War I exposing the British and French to “Negro” music. Recorded “Too Much Mustard” in 1914. 32:00 Audience Q & A Introduces his son, Rene McLean, who plays sax and flute in his band.
