4.5/5 stars
Released in 1957, Blue Train is an established classic, and ranks among Kind of Blue and Time Out in popularity. But, as anyone who has endured a “Top 40″ countdown should know, that does not necessarily mean quality. Popularity typically signifies accessibility, not innovation, but this improvisational hard bop jazz album manages to achieve both. Whether you’re a connoisseur craving Coltrane’s wails in their purest form or a novice in search of a catchy introductory album, a ride on the Blue Train is sure to satisfy, expertly touring the familiar and boldly exploring the uncharted simultaneously.
Above: The cover of Blue Train, taken by Francis Wolff
Coltrane, joined by trumpeter Lee Morgan, trombonist Curtis Fuller, pianist Kenny Drew, drummer Philly Joe Jones, and bassist Paul Chambers, had not yet been influenced by the modal approaches of Miles Davis and McCoy Tyner when Blue Train was written and recorded. Thus, the album exposes a less influenced, refreshingly raw style that might be called ’standard’ if not for the subtle experimentation with chord changes and pedal points. But, even before Coltrane’s work was informed by his eventual stylistic uniqueness, he could certainly write a gripping and orderly tune, and Blue Train is proof.
Coltrane’s command of the saxophone was already recognized as remarkable by this time, and he shamelessly showcases his talent time and time again, through countless explosive and boastful solos. He may not make any apologies while his five bandmates take an obvious backseat, but why should he? His sound, though subtler than in the albums to follow, is strikingly rugged, urgent, and acidic. If anything, I found myself merely tolerating the contributions of others as I waited [in joyful hope] for [the coming of the savior] John Coltrane (note the initials…eerie).
According to Wikipedia, Blue Train’s title track is the crowd favorite. According to moi, this is largely due to its singable AABA chorus, which is repeated three times in a row at the start of the song while Drew comps along. Coltrane then interrupts without an ounce of modesty, pouring into an incredible blues scale solo that lasts four whole precious minutes; meanwhile, Drew softens the comping almost to the point of inaudibility. Accompanied by the cymbal, Morgan’s solo follows Trane’s and Drew’s follows Morgan’s. Chambers, who has been playing subtle riffs throughout, then takes the stage for a brief but endearing moment before the band collaboratively returns to the melody, ending the piece with satisfying familiarity. Overall, the tune in inviting and pleasant, but not overly so; there is a certain tongue-in-cheek, coquettish quality that steers it clear of conventionality.
But “Moment’s Notice” is the album’s true masterpiece, innovative in its ABAC structure (8 bars, 8 bars, 8 bars, 14 bars) and incredibly fast-paced, ear-tickling chord progressions. The song begins with its melody and branches into (surprise, surprise) another massive Trane solo, only fleetingly interrupted by a few ever-so-slightly less impressive performances by Morgan (Morgan should be flattered by this). True, from “Moment’s Notice” to “Giant Steps” is indeed a giant step, but both songs are on the same staircase; “Moment’s Notice” gave birth to the “sheets of sound” that Coltrane displays mastery of in “Giant Steps” and thus becomes known for. If all this hasn’t already won you over, the remarkable interplay between instruments certainly will; every player compliments his bandmates with absolute perfection.
“I’m Old Fashioned” is the only composition of Blue Train that Coltrane didn’t write (Jerome Kern and Johnny Mercer did), but trust me: he owns the song. Coltrane starts off with a sinfully silky, buttery solo. Verging on miraculous, it’s as therapeutic as “Rockabye Baby” but, at the same time, as sexy as “Let’s Get It On.” To my dismay, Trane’s heavenly wails end within the first third of the song, as Morgan undeservingly steals the other two. Morgan’s velvety whispers on the trumpet are certainly intriguing, but unfortunately pale in comparison to Trane’s rich and steady tones. On the whole, the song illustrates everything we love about gooey, sentimental romance without making us gag.
“Lazy Bird” and “Locomotion” are a bit less extraordinary, but are extraordinary nonetheless. The former gives Jones a chance to take the stage at last during a 80 second solo and also features an airy and frolicsome Morgan, an easy and tender Trane, and a passionate Drew. “Locomotion” gives us the trumpet/sax duet we’ve been dying to hear, and allows Trane to go wild with insanely fast-paced chord progessions as the song comes to a close.
As far as chart information goes, Blue Train makes appearances on several “Top 100″ lists; Jazz 100 ranks it #18 and Digital Dreamer ranks it #47. However, it doesn’t make All About Jazz’s list, nor that of 100 Greatest Jazz Albums.
Carrying on a conversation during Blue Train is like storing an original Van Gogh in your basement: ignorant and disrespectful. The album commands your full attention, and holds it despite Coltrane’s underdeveloped style. Overalll, the album’s vibe is mellow and energetic. If nothing else, it’s a satisfyingly swingy preview of Coltrane’s subsequent driving intensity.
Other reviews:
allmusic.com
onefinalnote.com
amazon.com
Sources:
Wikipedia























