Here, the melody of "Indiana" is more a pretext for exploration and improvisation than the real center of interest, all the more since no harmonic instrument that could allude to the song's chord pattern is involved. Osby starts on the alto in a brisk, rather Steve Coleman-like manner, after which Carrington's powerful, dynamic drums enter, next Colley's bass brings some earthy foundations, then comes Osby again on overdubbed clarinet. And for 4:34 these four voices intertwine their melodic and rhythmic lines in a fascinating contemporary counterpoint that gives a highly interesting and original overview on a timeless tune.
"Wow!" marveled Zoot Sims, watching the 1969 telecast as astronauts first set foot on the Moon. "Look at that! And I'm still playing 'Indiana'!" Thirty years later, Joey DeFrancesco was still
playing "Indiana," a tune written in 1917. Thank God. Even for listeners not enamored of the Hammond B-3 organ-trio formation, this is one of those 11-minute jump-on-the-table scream-&-holler performances that will, as musicians say, swing you into bad health. Hell, this'll swing you into intensive care! Joey DeFrancesco, who always barrels his butt off (and, 'case you haven't noticed, that's a sizable appendage), outdoes himself. Wow! Listen to that!
Now here is a burning number. Richard “Groove” Holmes pulls out all the stops in leading his trio through a riotous take of “(Back Home Again in) Indiana” to open a stand at Count Basie’s in New York. He does everything imaginable to his B-3 over the course of these nine and a half minutes – dazzling runs up and down the keys, pulse-quickening arpeggios and glissandos, hair-raising sustains. The drummer, George Randall, churns and churns the rhythm, eliciting sympathy for his poor drum kit, which is having its senses knocked out. Guitarist Gene Edwards, who had been comping ably with chords, strikes forth with a blistering, single-note solo, and then Holmes is at it again, soloing in double time. What a romp.
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