JAM Magazine: October/November 1997 Issue: For the Record

Interstring
ODAHODA
Igmod Records

Personnel: Bob Bowman, acoustic bass; Todd Strait, drums; Danny Embrey, electric guitar; Rod Fleeman, acoustic guitar

Tracks: Dearly Beloved, Swifts, East of the Sun, Odahoda, Prelude to a Kiss, Careful, I Should Care, Defunct, November, Prince, For Moe

Recorded March 14, 15, 29, April 4-5, 1996 at Soundtrek Studios, Kansas City, MO; Ron Ubel, engineer.

Interstring is an exceptional combination of individual soloists and ensemble players, all of whom have played together long enough get inside each other's heads.

Though Interstring was formed only a few short years ago, Bob Bowman, Todd Strait, Danny Embrey and Rod Fleeman have played with each other -- and with other KC jazz musicians -- for much longer than that. They are four of the finest, and most in-demand musicians in the Kansas City area.

Interstring has a unique sound: fresh, and sometimes spare, but always swinging, intuitive and musical. With two guitars on the front line, it is, at times, hard to tell who is playing what; add to the mix the bass in its upper register and there's a certain similarity there, too. But, in the end, it all makes for an ensemble sound that is unlike any other.

One of the many unusual features of this album is the frequency with which the melody is carried by the bass. It's not often we hear this many bass solos, let alone bass in the lead on various selections. But Bob Bowman is one of the best, and he carries it off well.

The album begins with an uptempo version of Jerome Kern's "Dearly Beloved" with solos by Bob, Danny and Rod. "Swifts," by L.A. guitarist Riner Scivally, has a lilting minor melody set to a medium samba. "East of the Sun," the venerable standard by Brooks (no relation) Bowman is next, providing yet another framework for creative soloing by all three string players, plus a tasty drum solo by Todd Strait.

Bob Bowman's "Odahoda" ("odahoda," as the story goes, is how Rod Fleeman's son Spencer pronounced "Idaho" as a child) begins with a bluesy bass solo before moving into a bona fide "hoe-down" with a noticeably Western flavor. Not an easy bed upon which to improvise, but all soloists handle it nicely. (Be ready for a surprise at the end!)

Fifth in line is Duke Ellington's "Prelude to a Kiss," done here as a bossa. Again, the arrangement begins with the melody in the bass, and the relaxed tempo will make the listener want to close their eyes and put up their feet.

Jim Hall's "Careful" begins with just bass and drums before adding guitars, its angular melody setting the stage for some of the album's more memorable moments of e.s.p. between Rod and Danny.

Bob again states the melody on Sammy Cahn's "I Should Care" before the rest of the group moves in to support another strong bass solo. Things are then turned over to Danny and Rod followed by fours between bass and the guitars. Again, the spotlight is on the empathy and interplay of Interstring.

Next is "Defunct," a swunky minor key original written by Danny Embrey. And "November" is a soulful Bob Bowman composition, done here to great advantage as a slow and lush ballad.

In a change of pace, the group moves on to "Prince," a clever arrangement by Danny and Rod of "Someday My Prince Will Come." Talk about "changes." The key on this chart shifts with the same frequency as does its waltz-to-straight ahead tempo.

The final track, "For Moe," is another Bowman original on which Bob plays both lead and accompaniment a cappella. This man is no ordinary bass player!

Bob, Rod and Danny are an endless source of creative solos on this album. And, although Todd Strait has but one moment to stretch, he brings energy, cohesion and excitement to the group with his always subtle and tasteful drumming.

Odahoda is a wonderful hour of music by four outstanding Kansas City jazz musicians and is highly recommended. Pick it up at Interstring's live appearances around KC, or at area retail outlets.

-- Jerry Landsbaum

Kevin Mahogany
ANOTHER TIME ANOTHER PLACE
Warner Bros. #9 46699-2

Personnel: Kevin Mahogany, vocals; Cyrus Chestnut, piano; Dave Stryker, guitar; Ben Wolfe, bass; Clarence Penn, drums; Joe Lovano, tenor sax (trks 1, 2, 3); Randy Travis, vocal (duet on "I Believe She Was Talkin' 'Bout Me")

Tracks: Big Rub, Free, Goodbye Pork Pie Hat, Cloudburst, I Believe She Was Talkin' 'Bout Me, Nature Boy, In the Wee Small Hours of the Morning, Another Time Another Place, Fix It in the Mix, Parker's Mood/Kansas City

Recorded March 4-6, 1997 at Sony Music Studios, New York, NY; Malcolm Pollack, engineer; "I Believe She Was Talkin' 'Bout Me" recorded May 5, 1997 at Ocean Way Studios, Los Angeles, CA; Bernie Kirsh, engineer.

It is said that "From whom much is given, much is expected." Hence, I expect perfection in a Kevin Mahogany CD.

Mahogany is blessed with the best baritone chops to come down the pike in decades. Mix in his innate hipness, his imaginative observations, his gift for grab, and expectations run high.

His latest effort has much to offer, almost something for everyone. There's even a duet with country icon, Randy Travis. Matter of fact, "I Believe She Was Talkin' 'Bout Me" is a clever, well-written Mahogany original and, consarnit, it swings.

Speaking of Kevin the composer, he has evolved into a very good songwriter. A really polished Mahogany (sorry, I couldn't help myself). He wrote the opener, "Big Rub," a vocalese tour de force that rivals the best of Jon Hendricks or Joe Carroll.

Check your pulse if you can sit still as you listen to the very funny, very funky Mahogany-penned (with guitarist Dave Stryker) "Fix It in the Mix." It will make both musician and aficionado alike laugh out loud and could easily become a countrywide standard amongst tonier lounge acts..

If you like scatting you'll love this CD, and no one does it better that the rubber-tongued leader of the group. You know the joke that ends with the punch line, "Because he can!" That's what comes to mind when Kevin scats.

Not every cut is a novelty. There's a hauntingly beautiful "Nature Boy," worth the price of product alone. The chart is exquisite albeit simple -- rhythm double time, vocal/piano ballad tempo -- with a rich yet feather-soft refrain you'll want to hear again and again.

For the more contemporary ear there is "Free," an angular Pat Metheny line with lyrics by Pamela Baskin Watson, Bobby's wife, I believe, and perhaps a member of the local multi-talented Baskin family. (Does anyone remember Karita, one of the better trombonists ever born?)

The title tune, "Another Time, Another Place," by Pamela and Bobby Watson offers a fresh melodic edge underpinning pensive and potent lyrics. Mahogany feels it for us and we can relish the symbiosis.

Metheny, Mahogany, Watson and Watson... K.C.-rooted compositions abound, not the least of which is one "Parker's Mood," a refreshing rendition made even more bittersweet with only semi-stride piano accompaniment. Pianist Cyrus Chestnut renders superlatively on every song but his solo on this cut is particularly impressive. Paired with Bird's song is "Kansas City," this time framed in gospel gold. Thank God he found a new way to revive this old chestnut.

"Goodbye, Pork Pie Hat" is a litmus test for jazz singers. The intervals are unconventional and unforgiving. Reference my opening remarks about expecting perfection from Kevin. Someone should have insisted that he nail the "listen, listen" leap. He's too good to have had that slip by.
Mahogany croons "In the Wee Small Hours of the Morning," in the process giving a workshop of the value of a discriminating vibrato.

You'll need a pair of those high powered drug store reading glasses to make out the printed word one this one, but ink is the only thing they skimped on. Enjoy!

-- Carol Comer

CLASSICS: FOR THE RECORD

John Coltrane
BLUE TRAIN
Capitol/Blue Note
CDP 7243 8 53428 0 6

Personnel: John Coltrane, tenor saxophone; Lee Morgan, trumpet; Curtis Fuller, trombone; Kenny Drew, piano; Paul Chambers, bass; Philly Joe Jones, drums.

Tracks: Blue Train, Moment s Notice, Locomotion, I'm Old Fashioned, Lazy Bird, Blue Train (alternate take), Lazy Bird (alternate take)

Recorded September 15, 1957 by Rudy Van Gelder, Hackensack, NJ

Produced by Alfred Lion; reissue produced by Michael Cuscuna

John Coltrane was one of the very few modern jazz musicians whose dynamic innovations rivaled those of earlier greats Louis Armstrong and Charlie Parker. Like those and other immortals, his legacy is a force to be forever reckoned with. Not only has Trane's saxophone style proven to be the most influential of the post-bop era, he also penned a series of wonderful compositions that continue to be frequently performed.

Although his time on the scene was relatively brief (he died thirty years ago at 40 of liver cancer), Coltrane was well-recorded on various labels, both as sideman (most notably in Miles Davis' great '50s quintet/sextet) and then as leader of his own seminal quartet. 1957's Blue Train is one of Coltrane's unequivocal masterpieces, as important as its contemporary, Soultrane (Prestige) and the best of his subsequent projects for Atlantic (beginning with Giant Steps) and Impulse! (culminating in A Love Supreme).

Newly reissued by Capitol/Blue Note, this comprehensive CD edition includes two alternate takes (released here for the first time), a handsome slipcase (featuring a larger image of the classic original photo by Francis Wolff), the original liner notes by Robert Levin, some wonderfully historic photos, and new notes by reissue producer Michael Cuscuna. These features alone warrant the moniker "ultimate," yet still another bonus awaits! For those with computers -- and CD-ROM -- there are multimedia computer enhancements contained on the CD. More on that later.

While the strength of the front line is exceptional, Blue Train also features a near-perfect rhythm section for this brand of small-group jazz. Propelled by Jones' electrifying rhythms, the horn soloists are really able to assert themselves. And yet for all the excitement, each solo (those of Coltrane and Fuller in particular) retains a wonderful melodic sense. Perhaps the highlight is the playing of the 19 year old Lee Morgan; his lines are self-assured and brash. Indeed, his unrivaled approach here -- and on many subsequent Blue Note recordings -- suggests Louis Armstrong playing the vocabulary of hard bop. And a special mention must go to Kenny Drew, who plays some fantastic piano throughout.

Blue Train (interestingly, Coltrane's sole date as leader for the label) is perhaps the prototypical Blue Note project of the time, given the caliber of the musicians and the stylistic unity between them, the material chosen, the superb sound quality, the striking cover art, the consistency of the performances, and the interesting arrangements. (A careful listen to the entirety of Blue Train suggests the musical equivalent of traveling by train; jazz musicians had long been taken with the idea of train sounds, in everything from Ellington's arrangement of "Five O'clock Whistle" to Brown & Roach's version of Strayhorn's "A Train;" this album represents the trend's culmination.) Although by this time Blue Note had established itself as the one jazz label consistently incorporating these many elements into a unified whole, Alfred Lion may have reached the pinnacle with this album. (Honorable mentions: Kenny Dorham's Whistle Stop, Sonny Clark's Cool Struttin, and Wayne Shorter's Juju.)

Things commence with the outstanding title track, a funky, medium blues. The melody is stated twice, sans drums (first played by two horns, then by all three). Coltrane takes a dandy first solo, a statement which effectively sets the inspired tone for all that comes afterwards. Lee Morgan then succeeds Trane with an astounding proclamation of his own. Considering this was one of the first LPs he appeared on, what a powerful impression this brassy, confident solo must have made. Curtis Fuller plays some melodic and soulful lines, followed by infectious blues variations from Kenny Drew. The great Paul Chambers gets in a couple of bass choruses (accompanied only by Jones) before the returning melody brings "Blue Train" to its conclusion.

The "Blue Train" alternate features Trane playing a bit more aggressively. Although Morgan misses a few notes, he still sounds quite vital, and Fuller seems more confident here than on the master. As explained in the booklet's new notes, Drew's piano solo was grafted into what became the released version, yet I wonder if this information is correct, as there is a more noticeable splice after this take's solo. (Perhaps the new explanation has it backwards? Hard to doubt Michael Cuscuna, however!). At any rate, a very valuable take to have.

"Moment's Notice" is up second, a buoyant tune that has since become a jazz standard. After the melody is stated twice (in different arrangements!), Trane takes a brilliant solo as he deftly wends his way through the intricate harmonies. Fuller's relaxed, mid-register playing, in which he quotes Miles Davis' "Solar," is wonderful; it's remarkable to hear a trombonist negotiate changes like this so well (especially at 22 years old). Morgan's engaging brashness leads fluently into supple statements from Chambers and Drew. After the restatement of the theme (second arrangement), the tune manages to end on the same chord as did "Blue Train."

An eight-bar solo break serves as a preface to the speedy "Locomotion," a twelve-bar blues with an eight-bar chromatic twist. The solos again are fabulous, starting with Trane and working through Fuller, Morgan, Drew and finally Jones (exhibiting his typically clear, inventive phrasing). The artful arrangement of the coda clearly suggests a train slowing down.

"I'm Old Fashioned" (the one tune not written by Coltrane) is taken at an attractively slow tempo, featuring the leader playing Jerome Kern's beautiful melody. Fuller follows suit, followed by a nice solo from Drew; Morgan then takes the final version of the theme. Trane joins him on the last chord -- the only time the instrumentation of this performance exceeds a quartet.

Blue Train closes with Coltrane s uptempo bebop line "Lazy Bird," its opening measures introduced by Drew (by way of Powell) and Jones. Morgan plays the exciting 32 bar melody with the other horns joining in at the bridge. After an exhilarating trumpet solo, Fuller's rich trombone statement highlights his unique, buttery sound. Trane's three articulate choruses feature eighth notes expressed a bit more calmly than on the other tunes. Drew's single chorus has him pulling out some more Bud stops. Chambers takes a short bowed solo, followed by a great chorus from Jones. In closing, Morgan again plays the tune, as the proceedings conclude with another extended coda whose arrangement suggests a train pulling into a station. The "Lazy Bird" alternate is strikingly similar to the master both in format and performance (indeed, this could have easily been considered an alternate master, as per the many other alternates Blue Note was wont to release during this period).

Quite a session; no weaknesses that I can hear. As for the multimedia contents, if you should lack access to a computer, there's no need to feel shortchanged; this reissue remains impressive enough. But if you're properly wired up, a few clicks on your hard drive (either a PC or a Mac will do) and you'll be treated to a Coltrane movie of sorts with interviews, recollections, photos and video clips of live performances.

No need to spoil the surprises by being more specific than that. This reissue is the ultimate Blue Train indeed.

-- Paul Hofmann

(A former Kansas Citian, pianist Paul Hofmann is currently living and performing in the Rochester, NY area. -- Ed.)

RETURN TO OCTOBER/NOVEMBER 1997 MAIN INDEX

------------------------------------------------------------------------
© Kansas City Jazz Ambassadors 1996-2001. All rights reserved.






	Search our site:		Interstring ODAHODA Igmod Records Personnel: Bob Bowman, acoustic bass; Todd Strait, drums; Danny Embrey, electric guitar; Rod Fleeman, acoustic guitar Tracks: Dearly Beloved, Swifts, East of the Sun, Odahoda, Prelude to a Kiss, Careful, I Should Care, Defunct, November, Prince, For Moe Recorded March 14, 15, 29, April 4-5, 1996 at Soundtrek Studios, Kansas City, MO; Ron Ubel, engineer. Interstring is an exceptional combination of individual soloists and ensemble players, all of whom have played together long enough get inside each other's heads. Though Interstring was formed only a few short years ago, Bob Bowman, Todd Strait, Danny Embrey and Rod Fleeman have played with each other -- and with other KC jazz musicians -- for much longer than that. They are four of the finest, and most in-demand musicians in the Kansas City area. Interstring has a unique sound: fresh, and sometimes spare, but always swinging, intuitive and musical. With two guitars on the front line, it is, at times, hard to tell who is playing what; add to the mix the bass in its upper register and there's a certain similarity there, too. But, in the end, it all makes for an ensemble sound that is unlike any other. One of the many unusual features of this album is the frequency with which the melody is carried by the bass. It's not often we hear this many bass solos, let alone bass in the lead on various selections. But Bob Bowman is one of the best, and he carries it off well. The album begins with an uptempo version of Jerome Kern's "Dearly Beloved" with solos by Bob, Danny and Rod. "Swifts," by L.A. guitarist Riner Scivally, has a lilting minor melody set to a medium samba. "East of the Sun," the venerable standard by Brooks (no relation) Bowman is next, providing yet another framework for creative soloing by all three string players, plus a tasty drum solo by Todd Strait. Bob Bowman's "Odahoda" ("odahoda," as the story goes, is how Rod Fleeman's son Spencer pronounced "Idaho" as a child) begins with a bluesy bass solo before moving into a bona fide "hoe-down" with a noticeably Western flavor. Not an easy bed upon which to improvise, but all soloists handle it nicely. (Be ready for a surprise at the end!) Fifth in line is Duke Ellington's "Prelude to a Kiss," done here as a bossa. Again, the arrangement begins with the melody in the bass, and the relaxed tempo will make the listener want to close their eyes and put up their feet. Jim Hall's "Careful" begins with just bass and drums before adding guitars, its angular melody setting the stage for some of the album's more memorable moments of e.s.p. between Rod and Danny. Bob again states the melody on Sammy Cahn's "I Should Care" before the rest of the group moves in to support another strong bass solo. Things are then turned over to Danny and Rod followed by fours between bass and the guitars. Again, the spotlight is on the empathy and interplay of Interstring. Next is "Defunct," a swunky minor key original written by Danny Embrey. And "November" is a soulful Bob Bowman composition, done here to great advantage as a slow and lush ballad. In a change of pace, the group moves on to "Prince," a clever arrangement by Danny and Rod of "Someday My Prince Will Come." Talk about "changes." The key on this chart shifts with the same frequency as does its waltz-to-straight ahead tempo. The final track, "For Moe," is another Bowman original on which Bob plays both lead and accompaniment a cappella. This man is no ordinary bass player! Bob, Rod and Danny are an endless source of creative solos on this album. And, although Todd Strait has but one moment to stretch, he brings energy, cohesion and excitement to the group with his always subtle and tasteful drumming. Odahoda is a wonderful hour of music by four outstanding Kansas City jazz musicians and is highly recommended. Pick it up at Interstring's live appearances around KC, or at area retail outlets. -- Jerry Landsbaum Kevin Mahogany ANOTHER TIME ANOTHER PLACE Warner Bros. #9 46699-2 Personnel: Kevin Mahogany, vocals; Cyrus Chestnut, piano; Dave Stryker, guitar; Ben Wolfe, bass; Clarence Penn, drums; Joe Lovano, tenor sax (trks 1, 2, 3); Randy Travis, vocal (duet on "I Believe She Was Talkin' 'Bout Me") Tracks: Big Rub, Free, Goodbye Pork Pie Hat, Cloudburst, I Believe She Was Talkin' 'Bout Me, Nature Boy, In the Wee Small Hours of the Morning, Another Time Another Place, Fix It in the Mix, Parker's Mood/Kansas City Recorded March 4-6, 1997 at Sony Music Studios, New York, NY; Malcolm Pollack, engineer; "I Believe She Was Talkin' 'Bout Me" recorded May 5, 1997 at Ocean Way Studios, Los Angeles, CA; Bernie Kirsh, engineer. It is said that "From whom much is given, much is expected." Hence, I expect perfection in a Kevin Mahogany CD. Mahogany is blessed with the best baritone chops to come down the pike in decades. Mix in his innate hipness, his imaginative observations, his gift for grab, and expectations run high. His latest effort has much to offer, almost something for everyone. There's even a duet with country icon, Randy Travis. Matter of fact, "I Believe She Was Talkin' 'Bout Me" is a clever, well-written Mahogany original and, consarnit, it swings. Speaking of Kevin the composer, he has evolved into a very good songwriter. A really polished Mahogany (sorry, I couldn't help myself). He wrote the opener, "Big Rub," a vocalese tour de force that rivals the best of Jon Hendricks or Joe Carroll. Check your pulse if you can sit still as you listen to the very funny, very funky Mahogany-penned (with guitarist Dave Stryker) "Fix It in the Mix." It will make both musician and aficionado alike laugh out loud and could easily become a countrywide standard amongst tonier lounge acts.. If you like scatting you'll love this CD, and no one does it better that the rubber-tongued leader of the group. You know the joke that ends with the punch line, "Because he can!" That's what comes to mind when Kevin scats. Not every cut is a novelty. There's a hauntingly beautiful "Nature Boy," worth the price of product alone. The chart is exquisite albeit simple -- rhythm double time, vocal/piano ballad tempo -- with a rich yet feather-soft refrain you'll want to hear again and again. For the more contemporary ear there is "Free," an angular Pat Metheny line with lyrics by Pamela Baskin Watson, Bobby's wife, I believe, and perhaps a member of the local multi-talented Baskin family. (Does anyone remember Karita, one of the better trombonists ever born?) The title tune, "Another Time, Another Place," by Pamela and Bobby Watson offers a fresh melodic edge underpinning pensive and potent lyrics. Mahogany feels it for us and we can relish the symbiosis. Metheny, Mahogany, Watson and Watson... K.C.-rooted compositions abound, not the least of which is one "Parker's Mood," a refreshing rendition made even more bittersweet with only semi-stride piano accompaniment. Pianist Cyrus Chestnut renders superlatively on every song but his solo on this cut is particularly impressive. Paired with Bird's song is "Kansas City," this time framed in gospel gold. Thank God he found a new way to revive this old chestnut. "Goodbye, Pork Pie Hat" is a litmus test for jazz singers. The intervals are unconventional and unforgiving. Reference my opening remarks about expecting perfection from Kevin. Someone should have insisted that he nail the "listen, listen" leap. He's too good to have had that slip by. Mahogany croons "In the Wee Small Hours of the Morning," in the process giving a workshop of the value of a discriminating vibrato. You'll need a pair of those high powered drug store reading glasses to make out the printed word one this one, but ink is the only thing they skimped on. Enjoy! -- Carol Comer CLASSICS: FOR THE RECORD John Coltrane BLUE TRAIN Capitol/Blue Note CDP 7243 8 53428 0 6 Personnel: John Coltrane, tenor saxophone; Lee Morgan, trumpet; Curtis Fuller, trombone; Kenny Drew, piano; Paul Chambers, bass; Philly Joe Jones, drums. Tracks: Blue Train, Moment s Notice, Locomotion, I'm Old Fashioned, Lazy Bird, Blue Train (alternate take), Lazy Bird (alternate take) Recorded September 15, 1957 by Rudy Van Gelder, Hackensack, NJ Produced by Alfred Lion; reissue produced by Michael Cuscuna John Coltrane was one of the very few modern jazz musicians whose dynamic innovations rivaled those of earlier greats Louis Armstrong and Charlie Parker. Like those and other immortals, his legacy is a force to be forever reckoned with. Not only has Trane's saxophone style proven to be the most influential of the post-bop era, he also penned a series of wonderful compositions that continue to be frequently performed. Although his time on the scene was relatively brief (he died thirty years ago at 40 of liver cancer), Coltrane was well-recorded on various labels, both as sideman (most notably in Miles Davis' great '50s quintet/sextet) and then as leader of his own seminal quartet. 1957's Blue Train is one of Coltrane's unequivocal masterpieces, as important as its contemporary, Soultrane (Prestige) and the best of his subsequent projects for Atlantic (beginning with Giant Steps) and Impulse! (culminating in A Love Supreme). Newly reissued by Capitol/Blue Note, this comprehensive CD edition includes two alternate takes (released here for the first time), a handsome slipcase (featuring a larger image of the classic original photo by Francis Wolff), the original liner notes by Robert Levin, some wonderfully historic photos, and new notes by reissue producer Michael Cuscuna. These features alone warrant the moniker "ultimate," yet still another bonus awaits! For those with computers -- and CD-ROM -- there are multimedia computer enhancements contained on the CD. More on that later. While the strength of the front line is exceptional, Blue Train also features a near-perfect rhythm section for this brand of small-group jazz. Propelled by Jones' electrifying rhythms, the horn soloists are really able to assert themselves. And yet for all the excitement, each solo (those of Coltrane and Fuller in particular) retains a wonderful melodic sense. Perhaps the highlight is the playing of the 19 year old Lee Morgan; his lines are self-assured and brash. Indeed, his unrivaled approach here -- and on many subsequent Blue Note recordings -- suggests Louis Armstrong playing the vocabulary of hard bop. And a special mention must go to Kenny Drew, who plays some fantastic piano throughout. Blue Train (interestingly, Coltrane's sole date as leader for the label) is perhaps the prototypical Blue Note project of the time, given the caliber of the musicians and the stylistic unity between them, the material chosen, the superb sound quality, the striking cover art, the consistency of the performances, and the interesting arrangements. (A careful listen to the entirety of Blue Train suggests the musical equivalent of traveling by train; jazz musicians had long been taken with the idea of train sounds, in everything from Ellington's arrangement of "Five O'clock Whistle" to Brown & Roach's version of Strayhorn's "A Train;" this album represents the trend's culmination.) Although by this time Blue Note had established itself as the one jazz label consistently incorporating these many elements into a unified whole, Alfred Lion may have reached the pinnacle with this album. (Honorable mentions: Kenny Dorham's Whistle Stop, Sonny Clark's Cool Struttin, and Wayne Shorter's Juju.) Things commence with the outstanding title track, a funky, medium blues. The melody is stated twice, sans drums (first played by two horns, then by all three). Coltrane takes a dandy first solo, a statement which effectively sets the inspired tone for all that comes afterwards. Lee Morgan then succeeds Trane with an astounding proclamation of his own. Considering this was one of the first LPs he appeared on, what a powerful impression this brassy, confident solo must have made. Curtis Fuller plays some melodic and soulful lines, followed by infectious blues variations from Kenny Drew. The great Paul Chambers gets in a couple of bass choruses (accompanied only by Jones) before the returning melody brings "Blue Train" to its conclusion. The "Blue Train" alternate features Trane playing a bit more aggressively. Although Morgan misses a few notes, he still sounds quite vital, and Fuller seems more confident here than on the master. As explained in the booklet's new notes, Drew's piano solo was grafted into what became the released version, yet I wonder if this information is correct, as there is a more noticeable splice after this take's solo. (Perhaps the new explanation has it backwards? Hard to doubt Michael Cuscuna, however!). At any rate, a very valuable take to have. "Moment's Notice" is up second, a buoyant tune that has since become a jazz standard. After the melody is stated twice (in different arrangements!), Trane takes a brilliant solo as he deftly wends his way through the intricate harmonies. Fuller's relaxed, mid-register playing, in which he quotes Miles Davis' "Solar," is wonderful; it's remarkable to hear a trombonist negotiate changes like this so well (especially at 22 years old). Morgan's engaging brashness leads fluently into supple statements from Chambers and Drew. After the restatement of the theme (second arrangement), the tune manages to end on the same chord as did "Blue Train." An eight-bar solo break serves as a preface to the speedy "Locomotion," a twelve-bar blues with an eight-bar chromatic twist. The solos again are fabulous, starting with Trane and working through Fuller, Morgan, Drew and finally Jones (exhibiting his typically clear, inventive phrasing). The artful arrangement of the coda clearly suggests a train slowing down. "I'm Old Fashioned" (the one tune not written by Coltrane) is taken at an attractively slow tempo, featuring the leader playing Jerome Kern's beautiful melody. Fuller follows suit, followed by a nice solo from Drew; Morgan then takes the final version of the theme. Trane joins him on the last chord -- the only time the instrumentation of this performance exceeds a quartet. Blue Train closes with Coltrane s uptempo bebop line "Lazy Bird," its opening measures introduced by Drew (by way of Powell) and Jones. Morgan plays the exciting 32 bar melody with the other horns joining in at the bridge. After an exhilarating trumpet solo, Fuller's rich trombone statement highlights his unique, buttery sound. Trane's three articulate choruses feature eighth notes expressed a bit more calmly than on the other tunes. Drew's single chorus has him pulling out some more Bud stops. Chambers takes a short bowed solo, followed by a great chorus from Jones. In closing, Morgan again plays the tune, as the proceedings conclude with another extended coda whose arrangement suggests a train pulling into a station. The "Lazy Bird" alternate is strikingly similar to the master both in format and performance (indeed, this could have easily been considered an alternate master, as per the many other alternates Blue Note was wont to release during this period). Quite a session; no weaknesses that I can hear. As for the multimedia contents, if you should lack access to a computer, there's no need to feel shortchanged; this reissue remains impressive enough. But if you're properly wired up, a few clicks on your hard drive (either a PC or a Mac will do) and you'll be treated to a Coltrane movie of sorts with interviews, recollections, photos and video clips of live performances. No need to spoil the surprises by being more specific than that. This reissue is the ultimate Blue Train indeed. -- Paul Hofmann (A former Kansas Citian, pianist Paul Hofmann is currently living and performing in the Rochester, NY area. -- Ed.) RETURN TO OCTOBER/NOVEMBER 1997 MAIN INDEX ------------------------------------------------------------------------ © Kansas City Jazz Ambassadors 1996-2001. All rights reserved.