[.ca] Pursuance: the Music..

From Amazon.co.uk:
Detroit-born alto saxophonist Garrett first stepped out with Mercer Ellington's orchestra in 1978, but really came of age playing for Miles Davis a decade later. This was his third Warners album, with all but one tune spurting from Coltrane's improvisatory flashfire. Garrett's chief foil throughout is guitarist Pat Metheny, the quartet completed by bassist Rodney Whitaker and drummer Brian Blade. "Countdown" sets off immediately on a probing race, a typically marathon Garrett solo, drums splashing and pounding around him, split into separate speakers in the old-fashioned way. "Equinox" adopts an easier pace, initially restful, with Metheny smoothing over the ruffles, but again building up to an overblowing intensity. The guitarist enters "Lonnie's Lament" with a screaming solo, emitting a nervier pitch from his synth array than is sometimes the case. "After The Rain" suspends its introductory cry for virtually the complete course, Garrett eternally hanging, never resolving, with Metheny coaxing uncanny harp-like shards from between his strings, once again contributing a siren solo to the closing "Latifa", the album's only non-Coltrane exception, bowing out with a Siamese-twinned alto/guitar squeal. Given that Garrett's latest opus, Simply Said, is somewhat mellow and meandering by comparison, it's probably wise to delve back a few years for this and 1997's Songbook. --Martin Longley

fabulous!:
it's a music of the century~ sound great... it's a greatest of greats!

The real Kenny G:
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

So deep it compares to the past:
There are very few CDs today that have the same depth and vibe than albums cut in the '60s (mostly Blue Note). One night I woke up to hear Metheny's incredible guitar synth solo on "Lonnie's Lament" (yes, it really does fit!). This is one of the deepest albums I have ever heard, and they should make the perp that stole it from my car listen to Culture Club for the rest of his life!

Great scope!:
This album is great. Coltrane's sound changed a lot during his career and Garrett's performance addresses most of these stylistic moments (excepting some of the farther out stuff). It's great to hear the band dig deep into the groove on Lonnie's Lament. Coltrane's version on Crescent is awesome but it's so cool to hear a modern recording that grooves so hard. Buy this album even if you only like one or two of Coltrane's developments; Garrett will draw you into them all. P.S. The saxophone break after the melody on Liberia is one of the best things ever :)

A worthy tribute:
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.

• Countdown
• Equinox
• Liberia
• Dear Lord
• Lonnie's Lament
• After the Rain
• Like Sonny
• Pursuance
• Alabama
• Giant Steps
• Latifa