I first heard this album when it was reissued on LP on Blue Note in about 1986. When I got it home, it was one of those things I simply couldn't believe. "I could have been listening to this for twenty odd years!"
Duke, for me, has always been much more a pianner player than a bandleader. So it's been his albums with small groups that I've mainly collected. Seeing it in the racks when it came out, it obviously fitted in with that sort of approach. So I took it home with me.
But when you listen to it! When you hear the title track, it just grabs you by the balls. I've seldom heard such dramatic urgency in music coupled with utter funkiness of groove. And it's not a one-track album. "Switch blade" is another that severely gets to me; uncut funk, as George used to say. And that's true of "REM blues" and "Backward country boy blues". These gentlemen were so goddam funky!
I like most of the tracks on this, but it is when Duke gets funky that he really bowls me over. I don't think there has ever been a pianist who could drive six inch nails into your forehead with the blues like Duke could. He seems to reach into the uttermost parts of the galaxy and pull down ideas that rush at you with the force of a meteor. You get this sort of feeling on "Weary Blues" from "Back to back", where Duke consciously imitates Avery Parish, but in an astounding way, and "Summertime", from "Piano in the foreground". But this album is a summation of and concentration on that side of Duke's vision.
The only track I'm not so keen on is the treatment of "Warm valley". I have Duke's original version on a 78 and I so much associate it with Johnny Hodges that I can't really concentrate on this version. My fault really.
MG