Among post-Parker saxophonists who made a permanent mark on the jazz landscape, Jackie McLean was easily recognizable for his alto’s acidic tone and, at his best, an intense, animated point of attack. As a teenager he was devoted to Bird, and after an internship with Miles Davis and bop pianist George Wallington began a prolific and often inspired recording career – between 1955 and ’62 he appeared, as leader or sideman, on fifty-eight studio sessions, more than twice as many as the combined totals of Phil Woods and Ornette Coleman (all three approximately the same age). An interesting perspective on McLean’s playing at this time was voiced by Steve Lacy, in a 1959 issue of The Jazz Review: “Jackie McLean has the most rhythmic vitality and, so far, the least discipline of all these sax-ophonists. He expresses his own personality with his sound and has tremendous swing and energy. Hearing his blues sound for me has always been a haunting and at the same time exhilarating experience.”