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Pursuance: Music of John Coltrane

4.6 out of 5 stars 21 customer reviews

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Audio CD, June 25, 1996
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Editorial Reviews

No Description Available
No Track Information Available
Media Type: CD
Artist: GARRETT,KENNY
Title: PURSUANCE-MUSIC OF JOHN COLTRA
Street Release Date: 06/25/1996
Domestic
Genre: JAZZ

Track Listings

Disc: 1

  1. Countdown
  2. Equinox
  3. Liberia
  4. Dear Lord
  5. Lonnie's Lament
  6. After The Rain
  7. Like Sonny
  8. Pursuance
  9. Alabama
  10. Giant Steps
  11. Latifa


Product Details

  • Audio CD (June 25, 1996)
  • Number of Discs: 1
  • Label: Warner Bros.
  • ASIN: B000002N69
  • Average Customer Review: 4.6 out of 5 stars  See all reviews (21 customer reviews)
  • Amazon Best Sellers Rank: #127,150 in Music (See Top 100 in Music)

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Customer Reviews

Top Customer Reviews

By P. Deunet on September 14, 2005
Format: Audio CD
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.
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Format: Audio CD Verified Purchase
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.
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Format: Audio CD
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
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By A Customer on March 12, 2000
Format: Audio CD
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.
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Format: Audio CD
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.
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