Sean Trane The amazing thing about some jazz sessions is that a one-single day sitting can produce as much as two perfectly excellent albums, and this is what happened in Feb 11, 1970. The even more amazing feat is that both albums were recorded by a very unusual flute-lead trio. Indeed, Jeremy is with his usual trio, that consists of himself (on different type of flutes), drummer Don Alias and bassist Eddie Gomez. Yes, we have here ¾ of the line-up that would record the absolute Something Else gem, once keyboardist Jan Hammer would join them for a double album as well.

Compared to Legwork, Stranger is a bit more adventurous, at least in terms of ethnic influences, but in a jazzier way as well. Tracks like mint tea and waves are typically in the JR/F mode of the era, but in a much sober way, because of the limited trio instrumentation. Nevertheless, this trio manages to sound like quintet, because you’re never bored even so much as a second on WS. Things get a tad more expansive and wild with the superb In The Beginning track, which allows alias and Gomez to strut their stuff with showing off.

What’s truly amazing as well is that a jazz trio, lead by a wind instrument can be so exciting, energetic and rivets you to your seat for the duration. Indeed, Steig’s flute playing is absolutely enthusiastic and full of energy, of course helped out by multi-tracking of his mad flaut. Actually, the overdubs or multi-tracking only renders even more impressive the prowess of recording two albums in one single sitting. It’s difficult to actually recommend either Legwork over Stranger, or the opposite, because both are so excellent, so if you’re willing to make a tad of a sacrifice, you can have an excellent selection from both on the Howling for Judy compilation.

Sean Trane The amazing thing about some jazz sessions is that a one-single day sitting can produce as much as two perfectly excellent albums, and this is what happened in Feb 11, 1970. The even more amazing feat is that both albums were recorded by a very unusual flute-lead trio. Indeed, Jeremy is with his usual trio, that consists of himself (on different type of flutes), drummer Don Alias and bassist Eddie Gomez. Yes, we have here ¾ of the line-up that would record the absolute Something Else gem, once keyboardist Jan Hammer would join them for a double album as well.

I was never sure which of Legwork or Wayfaring stranger was released first, but it doesn’t matter much, since they were recorded the same day and they’re both equally good. If I had to guess, I’d say Legwork got to the record racks first, because it seems a tad bluesier and less experimental than WS. Howling For Judy and Alias (a collective composition or improv) are energy-filled blues-jazz-rock tracks, but Miles’ Nardis cover adds an experimental edge with the intro, but its main body is probably as trad-jazz as it gets on this album. On the aptly-named Permutations track, Steig changes flute and goes for a more strident sound, which adds a bit of drama to the 8-mins of improvisation. Definitely the album’s more difficult track.

What’s truly amazing as well is that a jazz trio, lead by a wind instrument can be so exciting, energetic and rivets you to your seat for the duration. Indeed, Steig’s flute playing is absolutely enthusiastic and full of energy, of course helped out by multi-tracking of his mad flaut. Actually, the overdubs or multi-tracking only renders even more impressive the prowess of recording two albums in one single sitting. Legwork is definitely an album worth owning, but there exists a compilation of the present and Wayfaring Stranger that’s called Hoàwling for Judy proposes a good selection of the two albums. So that CD might just be worth a good shot.