Ahh, walking bass-lines. Quarter notes or eighths chugging along -- they're the gigging bassist's stock in trade. In the hands of a drunk guy in a blue tux who has played in one too many lackluster wedding bands, those walking lines can dreadfully boring -- but in the hands of a bassist like Steve Swallow, they can be molded, like sculptor's clay, into all sorts of diverting shapes and gestures.

On Damaged in Transit, the seasoned bassist does just that. Joined by tenor saxophonist Chris Potter and drummer Adam Nussbaum for a series of trio gigs in France, Swallow lays down nine originals. All are simply numbered "Item 1, D.I.T", "Item 2, D.I.T.", etcetera. While this falls a little short in programmatic panache, it underscores the fact that you should listen to Damaged in Transit as a multi-movement composition, rather than a series of "tunes".

Helpfully, Swallow has provided, in place of liner notes, the written-out charts for all nine D.I.T. pieces. It's a fantastic idea and a real treat for those who can read musical scores! In looking over the pieces, it appears that Swallow has composed with a bassist's perspective — linking many of the melodic lines to the walking bass-lines so prevalent in the D.I.T. texture. As a result, most of the pieces have a kind of uniform rhythmic design. In "Item 2", for example, the trio plays in an almost laid-back West Coast style.

But it's not all easy-going, swinging eighths. "Item 5" creates a hard-driving post-bop environment. Potter plays some Monk quotes and Coltranesque "sheets of sound" during his solos, and Nussbaum takes a much more aggressive stance behind the kit. Swallow's lines are a study in angular bass virtuosity.

"Item 3," on the other hand, is a lovely ballad. Swallow's quarter notes are slowed way down and Nussbaum remains in the background for much of the tune's beginning and middle -- he makes up for it with a drum solo later on. Potter's throaty solos seem to take on an almost gospel-tinged lilt in places.

Like all well-worked suites, Damaged in Transit balances unity (those walking bass-lines) with variety (the wide range of arrangements and soloing styles) to create an engaging whole. Now, if you'll excuse me, I've got to have another look at those charts!