Blue Train (1958)
7 tracks, 59 minutes (2003 CD version)
Spotify • iTunes
I’ve already told you a bit about my evolution as a jazz listener, from Louis Jordan’s jump-blues to Miles Davis’ Bitches Brew, but it was John Coltrane’s Blue Train that cemented my ever-passionate love of that late 50s-mid 60s hard-/post-bop sound. It also readied my ears for the likes of Ornette Coleman, Modern Jazz Quartet and Albert Ayler.
As a sextet, this album has a bigger band than I normally prefer in my jazz nowadays, but come on, who can find fault in Blue Train? It’s an all-star band for one: Lee Morgan on trumpet, Kenny Drew on piano, Paul Chambers on bass and Philly Joe Jones on drums. It also gives a voice to the under-used hard bop instrument, the trombone, as played here by Curtis Fuller. Everyone needs more trombone solos in their life. And then there’s Trane on the top of his game – great, memorable head sections and genre-defining solos.
I have listened through to this album so many times. Every track is a winner, and instantly recognisable. Favourite moments are all over the place, but I can’t really get over the immaculate cool of the title track and that opening solo. I’ve pored over that more times than I can count, in sonic and dot form and it still fills me with wonder. And then there’s ‘A Moment’s Notice’ which makes me feel really Christmassy for some reason, every time without fail (much more than Rahsaan Roland Kirk’s actual carol).
It all comes together so well. Even the cover is exactly in tune with the music – it features Francis Wolff’s iconic photography that defined the Blue Note visual aesthetic showing a Coltrane relaxed but purposeful, cool but intense and ready to let the music flow through him and his horn.
There’s not much more I can say on this one without getting boring in my waxing lyrical. Just listen and worship at the altar of Saint Coltrane and his five hip apostles.
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