review
Modern take on Coltrane classic comes up big
Interstellar Space Revisited —
The Music of John Coltrane
Nels Cline and Gregg Bendian
★★★★☆
With their collaborative effort
“Interstellar Space Revisited —
The Music of John Coltrane,” Nels
Cline and Gregg Bendian take a
courageous stab at one of the true
masters of the music world.
Cline is a renowned guitar
player who came up with the
original concept of remaking the
Coltrane tracks. After searching
for accompanying musicians, he
chose the services of Bendian.
Bendian is a master of the drums,
playing a full set, as well as han
dling percussion and vibraphones
throughout the six-track power
house.
The end result is a faux-psyche
delic masterpiece that takes the in
spirational genius of John Coltrane
and gives it a powerful, modern
update. What Cline and Bendian
have constructed is a full-fledged
musical assault, which may not be
exactly what classical Coltrane
fans would expect. This sort of
creative hybrid, however, is exact
ly what an effective cover album
should achieve.
Each of the six tracks were
recorded live, and clock in at over
five minutes. Three of the titles,
“Leo,” “Venus” and “Jupiter,” are
each more than 10 minutes long.
The album opens up with
“Mars,” beginning with a two
minute drum introduction from
Bendian. Cline’s guitar comes
storming over the surface, form
ing a blissful harmony of musical
sounds. The album continues at
this pace through its entirety, with
each of the musician’s skills
beaming to the surface, then
melding into the background.
In the album’s liner notes, Cline
briefly explains where the al
bum’s inspiration came from.
“Doing a new version of the
John Coltrane/Rasheed Ali duets
of Interstellar Space might seem
like a pretentious idea, but it
came about rather innocently,”
Cline writes.
“We performed it live a few
Upcoming concert
Who: Nels Cline/Gregg Bendian
What: Experimental Jazz Rock
When: Tonight
Where: Sam Bond’s Garage
When: 7 pm.
Price: $8
times, and gradually our own
voices emerged,” he adds.
All the tracks were recorded live
in April 1998 in West Hollywood
with the exception of the album’s
closing track “Lonnie’s Lament,”
which was recorded live in Febru
ary 1998 in New York City.
Eric Pfeiffer
Hip-hop
continued from page 2B
“I feel like my first real show
will be [Feb. 25].”
Sechrist is a member of the hip
hop group Logic.
Most local hip-hop artists find
space wherever they can to cypher
— put their lyrics to a beat. Fill-in
spots at places like the WOW Hall
or Wild Duck help pass the time
between a regularly scheduled free
form gathering held every other
Sunday at Agate Hall from 3 p.m.
to 5 p.m.
Every little bit of publicity
helps, says Phil Bauer, business
administration major and member
of Strange Folks. That’s not the
case in bigger cities.
“In New York, they love hip-hop
so much, you just gotta put on a fli
er, ‘Hip-hop at seven o’clock, we’re
at so-and-so’ and you don’t even
have to say who’s there, and there’s
going to be a much bigger turnout
than we’ll get even with the 14
groups,” Bauer says. “Maybe in a
year, just two or three groups will
carry a Eugene show.”
Lorenzo Fourmet organized the
HHSU at LCC in December 1998
and did so in response to his take
on the local hip-hop culture.
“We have a real diverse scene,”
he says. “We have some people
that are into hip-hop as an art form
to the point of abstraction and of
ten a surreal type of thing. [Then]
you’ve got some people that come
from the standard school of rap, fo
cusing on money and hunger and
life’s struggles.
“The scene here is extremely tal
ented, but underexposed.”
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