From The Round Box

Being the legacy of perhaps the most exalted musical martyr of the 20th century carries certain expectations. After all, John Coltrane's are some pretty big shoes to fill. His son, Ravi Coltrane, has his father's facial profile, but, so far, all similarities end there. "Social Drones," the Ralph Alessi composition that begins this quintet album, is closer to Doc Severinsen than the senior Coltrane--a plodding number that's all arid highs, no lows. "The Chartreuse Mean" is a literal toot-around that features Coltrane junior blowing arpeggios in sequence, perhaps in an effort to emulate his dad's celestial textures on such albums as Meditations. Similarly, "Word Order" broaches more of the melodic turf of the elder Coltrane's Crescent period, complete with suitably representative McCoy Tyner-esque accompaniment by Geri Allen. However, Coltrane senior isn't the only influence on his son. Latin traces mark the Ornette Coleman staple "The Blessing," but it's a botched job with Allen once again contributing what amounts to mere atmospherics, and an almost Miles Davis-ish wheeze stamping out any similarities to the original. The band ups the tempo on "Blues a la Carte," a Wayne Shorter composition, but Allen's piano is the equivalent of playing scales (with a touch of pastoral Tyner technique tossed in). Trumpeter Alessi contributes another tune, "Irony," in which Coltrane once again provides flutters of notes that fall short of evoking any kind of melodic force. Comparisons with dad are again inevitable--and that's where he falls short. But then, to be fair, who wouldn't? --Joe S. Harrington