Customer Reviews

Pursuance: Music of John Coltrane

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My homeboy DAMN! right I'm from the "D". This CD's a beautiful because it pays homage not only to great artist but, a great person. It tripped me out because I never would imagine this CD with a Alto saxophone. Trane played Tenor on most of the songs selected but, Kenny is that deal. If anyone could pull off this feat it was Kenny. He should have was a Grammy for this but, they never show Detroit cats love anyway. His interpretation of Equinox and Lonnie's Lament with Pat Metheny's solos highlight the album. On top of that he has another homeboy on the bass my man Rodney Whitaker who nothing short of brilliant. I gotta put this out there. The real jazzheads know who Kenny G is. Not the white cat form Washington state. This has been one of the best Alto players for many years. I believe his is respected but, he still is slept on. This guy keeps dropping solid CD's and making guest appearances. What I like about him best is his live performances. I was blessed with the opportunity to see him this spring in Detroit play with a couple of locals LOL! None other than Geri Allen, Ali Muhummad Jackson, Robert Hurst and their teacher the great Marcus Belgrave. This was the best jazz performance I've seen. This album and any album Kenny records are must haves.

Peace,
Emmanuel

While clearly paying homage to Coltrane Kenny Garrett is such a huge talent that he creates something here that is uniquely his own. Never imitative the tunes have the spirit of Coltrane's versions while incorporating a bright texture that centers on Garrett's alto but is certainly enhanced by the addition of Pat Methany. Brian Blades is amazing as always. This guy is Max Roach and Tony Williams in one package. What a drummer ! Overall this is a very fine collection and Garrett can play both melodically sweet and on the edge in a way that makes him one of this eras finest jazz musicians. Highly recommended.

A CD that combines Kenny Garrett and Pat Metheny plus Brian Blade is too good to pass up. Please get this, it'll leave you breathless -doesn't matter if you're a devoted Trane fan -what makes this recording so unique is the artistry of the musicians, who not only pay their dues to one of the greatest jazz composers and improvisers that ever lived but combine their efforts to take John Coltrane's music a step further.
Isn't that what Coltrane always wanted in the first place, to have younger jazzcats play and feel the music he crafted and perform it in their own way?
This is jazz at its best -both classic and contemporary.

This album is among my favorites of Kenny Garrett's. Though a lot of people mistake this album as an attempt to copy John Coltrane's music, one has to understand the remarkable similarities between Garrett and Coltrane. They have each developed a similar harmonic concept and melodic approach to their playing (however, Garrett obviously was simply another student of Coltrane, like all saxophone players...).

There was no doubt in my mind that Garrett was up to the task of playing Coltrane's music when I bought the CD, because he's pretty much the undisputed champion of the alto saxophone, but I was really impressed by the rest of the group in matching the force and imagination that was behind Garrett's playing.

First of all, Pat Metheny assumes the roll of McCoy Tyner as the accompanist. This is an unsusal setting for the guitarist, but he does an amazing job of laying back, although almost too much at times. Tyner was agressive and intense while staying out of the way of Coltrane. I read a review saying that Metheny was wrong for spraying his "Cheeze Whiz" guitar synth sound all over this record. I felt I had to respond. The effects (which were used sparingly) allow the sound of Metheny's guitar to match the intensity of Garrett's tone, and I fell it works beautifully. Metheny also plays his 42-string Pikasso guitar, adding to the creativity. Garrett hired Pat Metheny for a reason: because he's freaking PAT METHENY man! No one else could have done as good a job, and the use of guitar over piano forced innovation onto the quartet.

The rest of the quartet holds it down as well. Rodney Whitaker (bass) is just the rock of the whole group. He lays an amazing foundation for improvisation. I really like listening to Brian Blade's playing on the record as well because he's still getting to where he is now (check out Directions in Music...) but he's well on his way. I also think that its cool how he dropped a beat coming out of a fill into the head on Countdown. Its not cool that he messed up so much as it is that they didn't go all 'digital' and fix it. They keep it totally real on this album, and its definitely worth checking out.

What does one do when tackling the works of an acknowledged master that has not been already done? A tough question and even tougher job. Mr. Garrett does an admirable job with a compact group of stellar musicians. Playing the entire set on alto gives the pieces a different dynamic. Mr. Garrett is seldom excessive nor does he go off the deep end as tempting as that might be. He soars, he glides, he caresses as each piece warrants. Pat Metheny, Brian Blade and Rodney Whitakers round out this ensemble. They play to each other's strength. The interplay is strong and seamless. While not reinventing the wheel they give a different enough reading of these pieces to make this album worth buying. Mr. Garrett has developed into one of the finer voices on saxophone these days. He has a unique clear tone and a way with bending certain notes. Pat Metheny solos and accompanies excellently on various guitars. Brian Blade shows why he is one of the most noteworthy young drummers on the scene. He swings and drives the pieces along. Houtstanding cymbal work. Rodney Whitaker has his hand on the pulse throughout. There is enough of an edge to these pieces to keep make it fresh. "Like Sonny" swings. "Dear Lord" exhorts and pulls at the heart strings. "Lonnie's Lament" is a highpoint. "Countdown" starts out out there a little frenetic then settles into a pocket. "Equinox" is absolutely beautiful. This album and this particular ensemble reminds me of the best Jazz ensembles that make shelling out the money at a Jazz club worthwhile. This album was recorded quite well. It has a "live" feel to it.

This album accomplishes the rare feat of being at once accessible to inexperienced listeners and engaging for long-time jazz aficionados. The performaces, particularly those of Garrett and guitarist Pat Metheney, are emotionally quite intense, as well as stunning in their instrumental complexity. Coltrane's songs are developed thoroughly, but the musicians preserve the spirit of the pieces even during extreme moments of elaboration. It is an excellent tribute: passionate, melodic, and cohesive.

A great album! This is a fine tribute to Coltrane. Garret and Pat Metheny pay homage to the great man and add something extra special of their own!
A worthy addition to any collection - even if you are not a Coltrane fan (but especailly if you are!)

Any self respecting saxophone player attempting to address the music of John Coltrane has to be either a very brave soul, a total egomaniac or crazy. It seems that for the most part, Garrett fits into the brave soul category. There are times he almost transcends the material to find things of his own in this most familiar of saxophone based music. But the real genius here is guitarist Pat Metheny, who track after track finds a way to deal with Trane's music entirely on his own terms. Not one *lick* here, just pure melodic and rhythmic invention. And his comping throughout the record finds a way to suggest a Tyner like vibe without bludgeoning Garrett with needless harmonic information. The rhythm section is functional but one has to wish that a stronger bass player like Dave Holland had been there. Also, it would have been fantastic to have the actual Elvin Jones there since he is still around and playing as good as ever. In the end, Garrett impresses with his technique, but for the soul and spirit of creativity that the name John Coltrane invokes, this is Metheny's record; especially on the tracks Lonnie's Lament and the collective improv that ends the record.

Here we have a tribute to John Coltrane from young alto saxophonist Kenny Garrett, with support from Pat Metheny on guitar, Rodney Whitaker on bass, and Brian Blade on drums. Ten of the 11 songs on Pursuance are Coltrane compositions (surprisingly, "Naima" is not included), plus there is one original composition attributed to the quartet. Although his recordings with his own group might lead one to assume otherwise, Metheny really shines when accompanying saxophonists (his recordings with Gary Thomas and Josh Redman are both excellent), and his guitar really adds to the musical tapestry woven by this tight group. The four players really dig into Coltrane's music, playing these tunes with an enthusiasm that makes them seem new no matter how many times you may have heard some of them before. Man, this is good stuff! Fans of Garrett, Metheny, Coltrane, jazz, and music in general should definitely pursue Pursuance.

It takes some nerve to cover Trane's signature tunes. Failure is easy. But Kenny Garrett assembled the right people with the right conception to pull off a tribute album that never falls into mere imitation or sentimentality. Although Garrett plays alto and Trane is most famous for his tenor and soprano work, the difference never takes away from the strong and passionate feel of all the tracks (one of which is a Garrett original). Pat Metheny provides a rich chordal background as well as gifting us with superb solos, two of which are tastefully done on guitar synthesizer. "Giant Steps" lacks the full punch of Trane's original (what would not?), but the band does well in a lighter vein, more laid-back grove. The bass and drum work are solid, but the spotlight goes to Garrett and Metheny. One cannot help but compare Brian Blade's drumming to Elvin Jones--and there is only one Elvin. Nevertheless, Blade delivers a strong, churning beat with plenty of creativity. Trane fans and Garrett fans (and they must overlap) should both appreciate this fine effort.

Douglas Groothuis