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The Beat, March 2007, page 48

Review by Norman Weinstein

"John Coltrane was arguably the most important jazz saxophonist of the past half century. His popularity internationally is even greater now than it was during his brief lifetime (1926-1967). On the 40th anniversary of Coltrane's recording of a long work entitled Meditations, two musicians from Accra, Ghana, who identify themselves as Accra Trane Station joined with ethnomusicologist Steven Feld to improvise a tribute to Coltrane and his landmark recording. The result ranks among the most significantly original African jazz--no--I'll remove the qualifier and say this is major jazz and experimental spiritual music beyond any category.

To appreciate and enjoy this recording, I would suggest listening to Coltrane's Meditations first, a complex composition for large jazz ensemble offering musical meditations on four subjects: "The Father and the Holy Ghost," "Love," "Consequences," and "Serenity." That point of reference can heighten the pleasure of hearing how Accra Trane Station extends Coltrane's ideas. But Meditations for John Coltrane can still offer a deeply rewarding listening experience without contact with Coltrane's album.

The group changes the sequence of themes from Coltrane's recording and opens with a faithful rendition on also sax of Coltrane's sax solo on the "Love" theme. Then sparks begin to fly as Nii Noi Nortey performs on a variety of homemade reed and wind African instruments with clarinet or saxophone mouthpieces. The other-worldly sounds Nortey produces on these one-of-a-kind instruments is absolutely haunting.

"Meditations 3" and "5" (this recording expands Coltrane's original four meditations to nine) are where these horns can be best heard--but be aware that this is not music for the timid. It can be hoarsely vocal and sharply dissonant. Fans of Coltrane's music of 1966-67, or friends of Sonic Youth, will glide into this music easily; "smooth" or "lite" jazz or world music had better fasten their cerebral seat belts before listening.

As riotous as Accra Trane Station can sound with sharply blasting horns and a battery of unusual percussion played by Nii Otoo Annan and Steven Feld, the music is always well shaped and carefully improvised. It seamlessly merges experimental jazz with experimental African musical ideas played on both traditional and futuristic African musical instruments. It opens doors to musical meditation on core spiritual issues, and that is remarkable for any recording to achieve. And I think Coltrane would be highly moved by this African homage."