Egan is a very lyrical bassist, known for his work on the fretless electric. His basslines tend to be powerful, while his melody and solos consist of long sustained notes that are nuanced to the nth degree. He seems to effortlessly bend those thick bass strings.
Don Alias's percussive sheets help make the perfect bed for Egan's sustained and somber exposition to lie upon. The opening strains are solemn and slowly drawn out. Egan's bass doesn't sound like Coltrane's horn, but his melodic approach to the master's composition sure evokes Coltrane's memory. At least, it does for the tune's head. The body of the piece is something totally different. It becomes samba-like. This solemn tune now takes on a light and relaxed feel. Egan plays soothing lines. The character of the piece changes again as the gifted and underappreciated Steve Khan adds some blues before the band descends back into the beautiful languidness of the opening theme. It is remarkable how fine musicians can change our perception of a tune no matter how indelible we thought it may have been.
April 08, 2008 · 0 commentsTags: after the rain
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