One of Strayhorn’s few ventures away from Duke Ellington and his Orchestra, this is not a famous record, but it is gratifying to hear the composer’s own interpretation of this fascinating jazz ballad. You can, of course, find him in our round up of the most famous jazz composers of all time! Classic version of Lush Life: Billy Strayhorn – The Peaceful Side Its sophisticated lyrics, also by Strayhorn, are a weary lament on failed romance and tiresome nightlife, while its harmony moves through various key centres and contains multiple chromatic shifts.īest known for his long collaboration with Duke Ellington, Strayhorn also composed ‘ Take the ‘A’ Train’, ‘ Chelsea Bridge’ and many others. ISBN 1-7.Lush Life was written by Billy Strayhorn between 19: Strayhorn was, remarkably, still a teenager when he began its composition. Ann Arbor: The University of Michigan Press.
Recording Industry Association of America.
^ "Canadian album certifications – John Coltrane – Blue Train".^ "Traneumentary Podcast - Blue Train".John Coltrane and Black America's Quest for Freedom. ^ RIAA Gold and Platinum Search retrieved AugArchived June 26, 2007, at the Wayback Machine.The Penguin Guide to Jazz Recordings (9th ed.). The Encyclopedia of Popular Music (4th ed.). ^ a b DeVito, Chris Fujioka, Yasuhiro Schmaler, Wolf Wild, David (2013).In 2015, Blue Note/Universal released a Blu-Ray Audio edition of the album with four bonus tracks, one of which is a previously unreleased take of "Lazy Bird".Īll tracks written by John Coltrane except where noted. He stated "Coltrane may have made more important albums, but none swung as effectively as this one." In 2000 it was voted number 339 in Colin Larkin's All Time Top 1000 Albums. In 2003, both a Super Audio Compact Disc version was released, as well as a remastered compact disc as part of Blue Note's Rudy Van Gelder series. In 1997, The Ultimate Blue Train was released, adding two alternate takes and enhanced content, and in 1999 a 24bit 192 kHz DVD-Audio version was issued. Musicologist Lewis Porter has also demonstrated a harmonic relationship between Coltrane's "Lazy Bird" and Tadd Dameron's " Lady Bird". John Coltrane's next major album, Giant Steps, recorded in 1959, would break new melodic and harmonic ground in jazz, whereas Blue Train adheres to the hard bop style of the era. And while it’s kind of easy to play the blues, this has a suspended and haunting kind of quality to it." Legacy It’s his first real mature statement and he wrote all but one of the tunes on this album which was very rare in the fifties and each one is a gem, particularly the title tune Blue Train. Michael Cuscuna, the reissue producer at Blue Note had this to say from Joe Vella's podcast "Traneumentary": "We’re listening to Blue Train, which to me is one of the most beautiful pieces on one of the most beautiful records that Coltrane recorded in the fifties. During a 1960 interview, Coltrane described Blue Train as his favorite album of his own up to that point. His timing was often apart from or over the beat, rather than playing on or behind it. His solos are more harmonic or "vertical" and lines arpeggiated. Ĭoltrane's playing exhibits the move toward what would become his signature style. "Lazy Bird" is in part a transposition into the key of "G" of the Tadd Dameron composition " Lady Bird". "Locomotion" is also a blues riff tune, in forty-four-bar form. The title track is a bluesy song with a quasi-minor (Eb7#9) theme. Though at this point his compositions used conventional diatonic harmonies, they were set in unconventional ways. Īll of the compositions were written by Coltrane, with the exception of the standard " I'm Old Fashioned".
Unlike his previous label, Blue Note paid the musicians to rehearse the music for a couple of days before the recording session. Both trumpeter Lee Morgan and trombonist Curtis Fuller were up-and-coming jazz musicians, and both were members of Art Blakey's Jazz Messengers in due course. The personnel include Coltrane's Miles Davis bandmates, Paul Chambers on bass and Philly Joe Jones on drums, both of whom had worked before with pianist Kenny Drew. The album was recorded in the midst of Coltrane's residency at the Five Spot as a member of the Thelonious Monk quartet.
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