John Abercrombie and John Scofield - 1984 [1996] Solar ''the bebop album''

Solar is a studio album by jazz guitarists John Abercrombie and John Scofield. It was initially released in 1984 by Palo Alto Records and reissued in 2001 by West Wind.

Guitarists John Abercrombie and John Scofield join forces for these early-'80s sessions, mostly duets while occasionally adding bassist George Mraz and drummer Peter Donald. They delve into the jazz canon with an intricate duet of "Solar," a driving, Latin-fused take of "Four on Six" (in which Abercrombie overdubs an electric mandolin), and a dreamy duo interpretation of "If You Could See Me Now." The sole standard, "I Should Care," fares just as well in their hands, which settles into a relaxed exchange between the two players as if they are playing for themselves alone. Scofield's "Small Wonder" is scored for the quartet, a bristling post-bop vehicle with a feature for Mraz as well. Abercrombie's introspective "Sing Song" best contrasts the styles of the two leaders, with the composer a bit more melodic and Scofield with a more brittle attack. This is an enjoyable CD that has stood the test of time very well.

I'm a huge Abercrombie fan and this album is one of my favorites. Scofield and Abercrombie dig down deep into some jazzy blues lines that make these two guitar players undeniably some of the most creative to ever play the guitar. Abercrombie is magical as always and Scofield is young, bold, and worthy to share the light with this jazz god. I feel like Abercrombie is passing the torch on to another generation. The album [Timeless] materialized the jazz-rock-fusion era by crossing boundaries and steering music into new directions (an unbeatable accomplishment.) This has been handed off to Scofield who has ever since been attempting to move jazz onto a new canvas.

Abercrombie was second only to McLaughlin among the guitarists of this epoch, to my taste; Scofield was not far behind. Both men had it over the great J Mac in that they played better with others. And this is a great interaction, not "two stars that can't play together", to quote Jelly Roll Morton. Figments of Pat Metheny are floating around here, and the harmonies are the harmonies we remember from Jarrett, ECM and the other masters of this period. I won't deny that there's a certain power of nostalgia at work here, but it's like a wine that never ages into superannuation.

A beautiful as the record was (original date was 1984, so I'm not sure whether it was issued on vinyl or CD - I have a cassette), it might have been stronger if all tracks had been dual electric, with no bass + drums. No criticism of those supporting musicians; just that my memory is a of a downright magical guitar duo.

This duo works as well together as Herb Ellis & Joe Pass, with the same amount of skill and taste. Definitely great listening at home, relaxing after a long day at work. The mood is subdued yet warm and enveloping. This makes me wish that they had worked together for more than just this one disc.

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Track listing:

1.    "Solar"    Miles Davis    4:10
2.    "Even Steven"    Abercrombie    6:51
3.    "Four on Six"    Wes Montgomery    6:25
4.    "Sing Song"    Abercrombie    6:22
5.    "Small Wonder"    John Scofield    6:21
6.    "I Should Care"    Sammy Cahn, Axel Stordahl, Paul Weston    6:39
7.    "If You Could See Me Now"    Tadd Dameron, Carl Sigman    6:02
Total length:    42:35

Personnel:

    John Abercrombie – guitar, electric mandolin, co-producer
    John Scofield – guitar, co-producer
    George Mraz – bass
    Peter Donald – drums

John Abercrombie - 1975 "Timeless"

Guitarist John Abercrombie's first in a long line of recordings for ECM was also his debut as a leader. Teamed up with Jan Hammer (who here plays organ, synthesizer, and piano) and drummer Jack DeJohnette, Abercrombie plays four of his originals, plus two by Hammer. These performances differ from many of the guitarist's later ECM dates in that Hammer injects a strong dose of fusion into the music, and there is plenty of spirited interplay between those two with fine support by DeJohnette. Thought-provoking and occasionally exciting music that generally defies categorization.

The Allmusic review by Scott Yanow awarded the album 4½ stars calling it "Thought-provoking and occasionally exciting music that generally defies categorization". The Penguin Guide to Jazz awarded the album 4 stars noting "There's more filigree than flash on the early Timeless and it's left to DeJohnette and the underrated Hammer to give the set the propulsion it calls for... this is a session that has grown in stature with familiarity, an altogether tougher and more resilient label debut than anyone remembers". The Rolling Stone Jazz Record Guide said "Hammer especially plays with astounding fire and grace on this session, some of the finest organ playing he's recorded"

On Timeless, guitarist John Abercrombie spearheads a session with keyboardist Jan Hammer and drummer Jack DeJohnette for a melding of minds in the first degree.

Guitarist John Abercrombie has often been associated with organists, from his formative years in the 1960s with the deep funk of Johnny "Hammond" Smith to the subtle orchestral underpinnings that Dan Wall provides for Abercrombie's 1990s-era bands. This 1974 recording was Abercrombie's first as a leader, and he's joined by Jan Hammer on organ, piano, and synthesizer and Jack DeJohnette on drums. The high-speed exchanges on Hammer's extended "Lungs" immediately invoke John McLaughlin's Mahavishnu Orchestra, while his "Red and Orange" recalls Tony Williams's Lifetime band. But Abercrombie makes his own voice apparent even in the fusion idiom, with angular solos that find their own paths through the electric storms. His compositions take varied approaches, invoking the more traditional organ trio on "Ralph's Piano Waltz" and emphasizing melody and space on the title tune. The guitarist also engages Hammer's piano on two reflective duets, "Love Song" and "Remembering," that emphasize his roots in the lyrical style of Jim Hall.

The trio kicks things off in high gear with “Lungs,” a heaping pile of kindling set ablaze by Hammer’s high-octane staccato, DeJohnette’s explosive hi-hat, and Abercrombie’s unusually frenetic fretwork. A sublime energy is maintained throughout and the payoff is supremely satisfying—all the more so for its brevity, as the music suddenly changes avenues just a few minutes in. Hammer relays between organ and synth, keeping the pace (and the funk) through trailing guitar solos that send notes like cosmic fingers flicking galaxies into outer space. The organ smolders quietly in the background before clinching a new groove, which Abercrombie laces with lines flanged just right for the mix. It all ends in a game of musical jump rope, with Abercrombie skipping over the alternation of drums and organ. “Love Song” is true to its name and is the first of two exquisite conversations between piano and acoustic guitar. Just as the organ trailed long rows in the soil of our attention, the piano comes as a welcome rain for our crop and the guitar like the sun that infuses it. This brings us to “Ralph’s Piano Waltz,” a highlight of these six fine offerings. Like the album as a whole, this track is a superlative balancing act. It’s a construct so seamless that if you don’t find your foot tapping during this one, you might want to make sure it’s still attached. The electric leads speak in their respective languages, but also mimic each other along the way. “Red And Orange” is what might result if Bach had survived into the 1970s as a closeted jazz musician, and is another standout in a set of many. “Remembering” is an alluring chain of tableux and the second of the two duets. Abercrombie sustains details the piano seems content to ignore, loosening those threads from their weave. We end with the title track, which builds slowly from a synth drone peppered with guitar musings to a full-on embrace of space.

This evergreen stands tall in the ECM forest. There is no sense of competition, only mutual reveling in a distinctly nuclear sound. One could easily call it fusion, but if anything it is fused with itself, for it has created every element it seeks to combine. Timeless indeed.

Track listing

1. "Lungs" – 12:10 (Hammer)
2. "Love Song" – 4:35 (Abercrombie)
3. "Ralph's Piano Waltz" – 4:55 (Abercrombie)
4. "Red and Orange" – 5:24 (Hammer)
5. "Remembering" – 4:33 (Abercrombie)
6. "Timeless" – 11:57 (Abercrombie)

Personnel

• John Abercrombie - Guitar
• Jack DeJohnette - Drums
• Jan Hammer - Organ, piano, synthesizer

Gateway - 1975 Gateway

Gateway is the debut album by Gateway, a trio composed of John Abercrombie, Dave Holland and Jack DeJohnette. It was recorded in 1975 and released on the ECM label in 1976.

Guitarist John Abercrombie was one of the stars of ECM in its early days. His playing on this trio set with bassist Dave Holland and drummer Jack DeJohnette is really beyond any simple categorization. Abercrombie's improvisations are sophisticated yet, because his sound is rockish and sometimes quite intense (particularly on the nearly 11-minute "Sorcery 1"), there is really no stylistic name for the music. Holland contributed four of the six originals while DeJohnette brought in the other two (one of which was co-written with Abercrombie). The interplay between the three musicians is quite impressive although listeners might find some of the music to be quite unsettling. It takes several listens for one to digest all that is going on, but it is worth the struggle.

The Gateway trio of guitarist John Abercrombie, bassist Dave Holland, and drummer Jack DeJohnette made its debut in the midst of the fusion era, recording this album in 1975, but there's a flowing rhythmic ease and complex interplay that immediately distinguish the group's music from the day's electric jazz craze. Abercrombie's electrified lines scurry and wander into strange byways, especially on the extended "May Dance" and "Sorcery 1," but Holland and DeJohnette keep digging in and varying their patterns, knitting together coherent group music. Holland's own solos are models of order and invention, and the CD is also an opportunity for him to demonstrate his skills as a composer. He wrote four of the six pieces here, and the elusive "Jamala" is particularly beautiful.

Gateway really is an ECM touchstone - it comes from a time when the label produced dozens of albums that pushed the jazz envelope. In this case, you get a mix of guitar fusion, post bop, and free jazz.
The most obvious parallel is John Abercrombie's classic album Timeless, recorded the previous year, with Dave Holland replacing Jan Hammer. But Holland was a free jazzer at this time, and his presence pulls the group in different directions. Though the influences of Hendrix and McLaughlin loom large, there's a certain looseness and jazziness that was never present on the Mahavishnu Orchestra albums.
"Backwoods Song" is the obvious highlight here - a great tune and loping groove that seems like it could go on for half an hour at least. "Unshielded Desire" is a scorching duet between Abercrombie and DeJohnette, echoing Elvin and Trane on "Vigil" or "Impressions". And "Sorcery" - I guess you could call this a rock tune, except there is an avant-garde edge here that probably would scare most guitar fusion fans senseless.
The rest of the album has more subtle charms, the kind that I missed when I first picked it up as a McLaughlin/Mahavishnu fan. "May Dance" is a great freebop performance; "Waiting" is a solo feature for Dave Holland, a perfect showcase for his great sound; and "Jamala" is a short but beautiful enigma.

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Track listing

    "Back-Woods Song (Dave Holland) - 7:51
    "Waiting" (Holland) - 2:10
    "May Dance" (Holland) - 11:01
    "Unshielded Desire" (Jack DeJohnette, John Abercrombie) - 4:49
    "Jamala" (Holland) - 4:47
    "Sorcery I" (DeJohnette) - 10:56

        Recorded at Tonstudio Bauer, Ludwigsburg in March, 1975

Personnel

    John Abercrombie: guitar
    Dave Holland: bass
    Jack DeJohnette: drums

Gateway - 1978 "Gateway II"

Gateway was an American jazz trio formed in 1975. The members were John Abercrombie, guitar, Dave Holland, bass, and Jack DeJohnette, drums. The group has also joined Collin Walcott on his debut album Cloud Dance (ECM 1062) recorded in 1975. The trio reunited temporarily for a performance in 2012 to mark DeJohnette's 70th birthday

Gateway 2 is the second album by Gateway, a trio composed of John Abercrombie, Dave Holland and Jack DeJohnette. It was recorded in 1977 and released on the ECM label in 1978. The Allmusic review by Scott Yanow states "the playing on the five group originals is generally more fiery than introspective. None of the individual selections are all that memorable but the group improvising does have plenty of surprising moments".

In this era of tawdry sequels, it’s almost difficult to believe that John Abercrombie, Dave Holland, and Jack DeJohnette could have surpassed the profundity of 1975’s seminal Gateway. I say “almost” only because each member of this dream trio has yet to let this committed listener down and always comes to the studio bearing a basket overflowing with fresh ideas. Not only do the results of this 1978 follow-up not disappoint, they ascend into their own category.
At first we aren’t sure what to think in the carefully executed half-sleep of the 16-minute “Opening.” Amid tinkling icicles Abercrombie’s guitar wavers above the bass as it gradually forms intelligible words out of the scattered letters with which we are confronted. The process is so intensely organic that we find ourselves being lulled into its speech-like rhythms. As the snare becomes more forthcoming with its intentions, Holland fleshes out its implications with a tantalizing loop, through which Abercrombie hooks his song with a sound that is wiry yet ethereal. Just as engaging in his supportive statements, he provides ornamentation for Holland as DeJohnette rides with fierce precision into a fine solo of his own. The steam of malleted cymbals condenses into the following “Reminiscence.” Holland and Abercrombie blend into a larger instrument in this pensive track that sounds like the acoustic shadow of Pat Metheny’s “Midwestern Night Dream” (see Bright Size Life). “Sing Song” is another dose of milk-and-honey goodness. Wonderfully nuanced drumming here from DeJohnette uplifts even as it placates. Meanwhile, Abercrombie leans back into an ergonomic continuity that soon plateaus into an engaging turn from Holland, whose quintessential bass line in “Nexus” opens the band to a limber display of virtuosity. Abercrombie is again transcendent in this tower of syncopation, from which trails the Rapunzel-like strands of a limitless creative cache. DeJohnette’s piano turns “Blue” into an ending that is as bitter as it is sweet.
For those who haven’t heard this unit’s first album, I recommend doing so before settling into this one. Not because either is “better” than the other, but only because the development between the two is more readily appreciated when experienced chronologically. In any case, Gateway 2 is its own animal that thrives best in the habitat of our appreciation.

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Track listing

1.    "Opening" (John Abercrombie/Dave Holland/Jack DeJohnette) - 16:17
2.    "Reminiscence" (Holland) - 4:32
3.    "Sing Song" (Abercrombie) - 6:55
4.    "Nexus" (Holland) - 7:55
5.    "Blue" (DeJohnette) - 8:14

        Recorded in July 1977 at Talent Studio, Oslo, Norway

Personnel

    John Abercrombie: electric guitar, acoustic guitar, electric mandolin
    Jack DeJohnette: drums, piano
    Dave Holland: bass

John Abercrombie - 1984 "Night"

Night is an album by guitarist John Abercrombie recorded in 1984 and released on the ECM label.

This surprising 1984 effort from John Abercrombie finds the guitarist in conversation with Jan Hammer, Jack DeJohnette, and Mike Brecker. The lack of a bassist on this session is not felt; the spaciousness of the music and the masterful playing of all parties involved keep the focus clearly on the melodies, both scripted and improvised. This can best be heard on the title track, a lovely, tear-wrenching ballad. On some of the more up-tempo tracks, Hammer covers the bass end with his keyboards almost like he is taking part in an organ trio. Unlike the high-velocity fusion that Hammer is best known for in his work with the Mahavishnu Orchestra, Al DiMeola, and elsewhere, his work on Night is highly subdued. In fact, his playing is one of the most pleasant things about this record. It's nice to hear him doing something other than blaring away at a million miles a minute. He really is an excellent keyboardist, and his range is often underappreciated. However, the excellent compositions by Hammer and Abercrombie are the strongest thing about Night. One of the best is the opener, "Ethereggae," which features an incredible guitar solo over a sparse, haunting synth figure and DeJohnette's incomparable comping. When Brecker adds his pointed, searching tenor, the despair and loneliness of the music are almost too much to bear. This record is the kind of album that one would like to hear while enjoying a late-night cigarette on the roof of a Manhattan apartment. Moody, atmospheric, and beautiful.

As its cover indicates, Night gives us a colorful, collage-like portrait of John Abercrombie, who jumps here into the urban deep end with smoky club atmospheres and tight jams. It’s a joy to see the guitarist working with Jan Hammer again, and the inclusion of Mike Brecker on tenor and Jack DeJohnette on drums make for a winning formula. Hammer adds a particular spike to this sonic punch, competently filling the session’s lack of bass while also fleshing out the production with an evocative sweep. Between the idiomatic blend of “Ethereggae” and the Timeless heat distortion of “3 East,” his billowing keys give Brecker more than enough room to show off his chops (he has hardly sounded better). This date isn’t all fun and games, however, for the rain-slicked streets of “Look Around” give us pause for reflection. Hammer reignites things in “Believe You Me,” which despite being the most straightforward track compositionally sports Brecker’s most uninhibited solo yet. The band saves the best for last with “Four On One,” which draws another ring of fire in an enthralling closer. DeJohnette gets his moment in the sun here as well.

Great combination of musicians! The whole album has an interesting sound. The Hammond organ is a bit of a departure from the typical Jan Hammer sound. Amazing playing from Michael Brecker, (as always) and the compositions are interesting with Abercrombie and DeJohnette's distinct styles. All musicians a featured to a great extent. If you're a fan of any of these players, you won't be disappointed.

This is one of my favourite records of all time & the opener "Etherreggae" one of my favourite tracks of all time. This album also marks (I believe) only Abercrombie's second experimentation with an organ largely replacing other keyboards (the first being "Timeless" in 1974) & personally I think the results are inspired (& certainly induced Abercrombie to repeat the "experiment" on two future albums, with Dan Wall stepping in for Jan Hammer). The other musicians on this disc are Mike Brecker (ts) & Jack de Johnette (d).
Take the aforesaid opener - beginning with a great 6-time repeated augmented B Minor chord with reverb by Abercrombie this track develops into a wonderfully slow reggae rhythm in major scale(s) with overdubbed guitar, a nice Brecker saxophone solo in the middle & a wonderful, uplifting closing electric guitar solo (joined in a wonderful burning conclusion by Brecker) featured. The second track "Night" encapsulates the mood of a reflective late evening at home alone perfectly & features brilliant soulful sax from Brecker plus nice acoustic piano from Hammer. Finally on Track 3 (Three East") Hammer's organ gets a decent workout but again, despite more great guitar work from Abercrombie, it's Brecker who steals the piece - ditto on "Look Around" which also features brilliant work from de Johnette (hitherto a tad understated).
Throughout the album the organ plays mainly an underlying supporting role & really sets a largely reflective & occasionally melancholic tone (although the pace noticeably picks up on the last two tracks). The album also displays Abercrombie's versatility & willingness to experiment as well as what a brilliant saxophonist Brecker was. Enjoy!!

Though something of an blip in the Abercrombie back catalogue, Night is far from benign. Aside from the effusive music, what really distinguishes this album is its sound. Another slam-dunk for engineer Jan Erik Kongshaug.

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Track listing:

1. "Ethereggae" (Jan Hammer) - 8:28
2. "Night" - 5:02
3. "3 East" - 4:33
4. "Look Around" - 9:02
5. "Believe You Me" - 7:42
6. "Four On One" - 6:42

Personnel:

John Abercrombie – guitar
Michael Brecker – tenor saxophone
Jan Hammer – keyboards
Jack DeJohnette – drums

Mark Egan - 2007 "As We Speak"

(2-CD Set) The new release from legendary contemporary jazz bassist, composer and producer Mark Egan is an all-star trio recording featuring guitarist John Abercrombie and former Pat Metheny Group bandmate and Elements co-founder Danny Gottlieb on drums. This tour de force super trio showcases Mark, who is considered by many to be one of the world's leading bassists, performing highly interactive original compositions. This incredible 2CD set contains that rare combination of 16 stellar compositions, first rate musicianship and virtuoso solos from one of the most influential contemporary jazz improvising musicians in history. "As We Speak" is an important bass recording of our time and an absolute must for any creative music listener.

A daring, highly interactive trio outing from one of the premier electric bassists of contemporary jazz, a high water mark in his recording career

The only reason this gets 5 stars is because there are not more to give.
This is a double CD, trio with Egan on fretless bass, John Abercrombie on guitar and Danny Gottlieb on drums.
The music is contemporary improvisational. No standards here. It is very much in the moment and it is a first class example of jazz musicianship at its best.
The tunes range from engaging, mid-tempo jazz grooves (do NOT read that as "smooth jazz") to highly interactive free form improv. Most of the compositions are Mark's.
The musicians are constantly interacting, trading ideas. (I've had the CD for months and every time I play it, it sounds new) Egan's fretless Pedulla sings. It is the hallmark of the recording but does not dominate it. In fact, blindfold you might mistake this for a John Abercrombie CD. John is clearly enjoying himself here and this could be some of his best trio work ever. The give and take is palpable. Gottlieb is subtle and creative. Not constantly pushing as he might in a quartet, but weaving in and out, supporting, driving, creating.
And to top it all off, the production and recording quality couldn't be better.
I just can't say enough about how good this recording and this music is. But because it is released on a small label, As We Speak will probably not garner any big awards. And that is a true shame because this is great music and a recording.

This is full of some subtly exciting music on these two discs, recorded over two days, and produced by Mark Egan. There's a lot of tight ensemble work here. Egan's five string bass, and Abercrombie's guitar mesh into a seamless blend. Egan's (at times) lead bass blends effortlessly with Danny Gottlieb's drumming, which is very tight and on the money. His sensitive touch and constantly changing drum patterns are truly one-third of this trio's sound. He plays busily but never cluttered or overpoweringly.

Listen to "Stiletto" on Disc Two for a perfect example of the group's playing chops. Both Egan and Gottlieb, along with Abercrombie, have created some intense, tightly woven music in the truest sense of the guitar/bass/drums format. There's no pyrotechnics here. Abercrombie keeps everything at a subtle boil, and when he steps out for a solo, he's still a part of the trio's overall sound. Egan's bass work is always inventive and organic, and Gottlieb's drumming keeps the various parts from flying apart.

The first track, "Spirals", is a good introduction to this set but, if anything, the music seems to get even better the further you listen. Fans of early Pat Metheny Group will occasionally detect the sound from the Metheny/Egan/Gottlieb period of that group. All the compositions were written by Egan, except one ("Alone Together"), with four other tunes written by the trio. The discs snap in, inside a four panel cardboard holder. There's track information, small photos of the group, and a short essay from both Egan and Gottlieb.

This is one of those releases that rewards the listener the more you hear this music. The interplay between the players is very intuitive, and almost seems to be a living, breathing thing. If you're interested in some complex yet unfussy jazz, from three veterans of the genre, check this out.

While the innovations of the late Jaco Pastorius continue to be felt to this day, he's not the only electric bassist to develop a recognizable fretless sound. Born the same year as Pastorius, Mark Egan has built his career around a denser tone and more eminently lyrical disposition. While Pastorius was capable of equal melodism but often resorted to greater bombast, Egan has remained distinctive and been a more consistent team player. As We Speak is a strong example—the bassist's most open-ended blowing session as a leader, and a sharp contrast to the more produced Freedom Town (Wavetone, 2001).

Egan teams up with drummer Danny Gottlieb and guitarist John Abercrombie for this intimate trio date. Gottlieb and Egan go back over thirty years, best-known as charter members of guitar icon Pat Metheny's first group and their ongoing collaboration, Elements. Abercrombie may be the new face here, but his ability to fit any context—chameleon-like but always distinctly himself—makes him the perfect choice.

While Abercrombie continues to record as a leader for ECM, it's been many years since either Egan or Gottlieb have recorded for the German label. Still, this double-disc set of largely Egan compositions, recorded over just two days, has a certain in-the-moment vibe that wouldn't be out of place on that label. Songs like the ethereal "Spirals, with Gottlieb's delicate cymbal work and Abercrombie's sixteen-note motif, constantly reharmonized by Egan's shifting harmonic center, seem custom-fit for ECM, opening up into a free middle section that recalls the chemistry of Abercrombie's work with the Gateway trio.

It's no surprise that Egan was listening to Gateway when he conceived this project. On the title tune he manages to double its lengthy theme with Abercrombie, while dropping down deep throughout to give the song its harmonic foundation. This kind of shifting roleplay makes the disc so compelling. But what's perhaps most remarkable is how deep the shared chemistry is for a first meeting. Egan and Gottlieb would be expected to have an almost telepathic connection, but Abercrombie sounds as if he's been playing with them for years.

While the overall ambience is atmospheric and light, and many of the tunes open up into freer space, Egan's not averse to writing changes. The bluesy yet lyrical "Mississippi Nights features Abercrombie and Egan trading off the theme, while Gottlieb's brushwork keeps a subtle groove throughout.

Four free improvisations on disc two manage to generate some added heat to this generally understated session. Egan's "Stiletto also motors along, with Gottlieb creating a lightly funky foundation, while the rubato "Plane to the Trane is driven by Egan's singing tone.

Egan has been a busy sideman with everyone from Gil Evans to Sting, but this effort is distinctive and special. One of those unexpected gems that crop up only occasionally, As We Speak suggests a personal direction that he should pursue far more often.

Atmospheric and serpentine, the two-disc As We Speak finds electric fretless bassist Mark Egan leading his trio through a series of enigmatic and propulsive original songs. An acolyte of the late great bassist Jaco Pastorious, Egan has a lithe touch on his instrument, and tracks such as the leadoff "Spirals" evince a hypnotic, fusion-esque aesthetic. Joining Egan here are the equally superb jazz giants guitarist John Abercrombie and drummer Danny Gottlieb. These are three technical dynamos as well as artists sensitive to creative group interplay. Cuts such as "Dream Sequence" showcase this as Abercrombie and Egan both lay down harmonic lines against each other allowing Gottlieb to fill in the background with organic cymbal flourishes and flickering drum patterns. Cinematic and expansive, As We Speak has a real spark of intimacy and is a truly engaging work.

Disc 1
1    Spirals
2    As We Speak
3    Vanishing Point
4    Mississippi Nights
5    Alone Together
6    Your Sweet Way
7    Three-Way Mirror
8    Tone Poem for My Father
            

Disc 2
1    Shade and Shadows
2    Next Left
3    Dream Sequence
4    Depraw
5    Stiletto
6    Plane to the Trane
7    Time Out
8    Summer Sand

Personnel:

Mark Egan - Bass
John Abercrombie (guitar);
Danny Gottlieb (drums).

John Abercrombie Marc Johnson Peter Erskine - 1989 [2019] "John Abercrombie Marc Johnson Peter Erskine"

John Abercrombie / Marc Johnson / Peter Erskine is a live album by jazz guitarist John Abercrombie with bassist Marc Johnson and drummer Peter Erskine that was recorded in 1988 in Boston and released by ECM Records in 1989.

An excellent trio outing with Abercrombie, inventive bassist Marc Johnson, and careening drummer Peter Erskine. The trio sometimes unite for piercing interpretations as on "Stella By Starlight," and other times collide and interact on furious rhythm dialogues and extended improvisations.

Recorded live at The Nightstage in Boston a long time ago (1988) it may be that venue no longer exists, or if it does, no longer features great jazz. April 21st 1988 would have been one night to have caught this great trio in full flight. Rather than guitar plus support, this programme is very much a collaborative and shared musical experience, especially concerning the impact Mr Erskine does have on the proceedings - the drums are prominent, though never domineering, from the opening track Furs on Ice, and there is even one track Drum Solo in which Mr Erskine demonstrates his skills especially subtley on the bass drum. Four of the tracks are " standards" or "classics" of American popular song made so by interpretations over the years by many greats, including the late great pianist Mr Bill Evans. Indeed, it is not drawing too long a bow to consider this CD a tribute by Mr Abercombie to Mr Evans - please note that bassist Mr Johnson was a former member of the Bill Evans Trio so such a tribute has a special resonance. Some of the tracks swing - Stella by Starlight - some cook - Samurai Hee Haw has a joyous guitar shout by Mr Abercombie - and some are just sheer beauty - Haunted Heart is wrenchingly so. I did not find the guitar synthesiser intrusive or annoying but musically effective in its context. Having listened to this CD a number of times over a decade, I can recommend it as defying the times. It remains a good listening experience.

Wonderful trio album from three beautiful musicians. Abercrombie is in great form. Mainly, all I want to say about this cd is that it is worth the price simply for the closing rendition of "Haunted Heart". Just hauntingly beautiful improvisation and musical interaction captured during live performance. I have only heard a handful of musicians express such raw emotion in this sense - I feel that this performance ranks among the greatest of such expressions.

Despite some negative opinions expressed toward the synth guitar in use on this album, I find that texturally, compositionally and sonically, the synth guitar is used beautifully throughout (guitar synthesis being a path sadly not followed by Abercrombie as time wore on). "Light Beam" in particular is one of the greatest uses of guitar synth i have ever heard. Breathtaking.

This album is quite simply not given the attention it deserves. If you have heard anything about it, or even just heard the samples on this page, buy it. You will not regret it.

Track listing:

01.    "Furs on Ice"    Johnson    7:28
02.    "Stella by Starlight"    Ned Washington, Victor Young    7:34
03.    "Alice in Wonderland"    Sammy Fain, Bob Hilliard    7:22
04.    "Beautiful Love"    Haven Gillespie, Wayne King, Egbert Alstyne, Victor Young    7:55
05.    "Innerplay"    Abercrombie, Erskine, Johnson    5:35
06.    "Light Beam"    Abercrombie    3:08
07.    "Drum Solo"    Erskine    3:00
08.    "Four on One"    Abercrombie    6:03
09.    "Samurai Hee-Haw"    Johnson    8:22
10.    "Haunted Heart"    Howard Dietz, Arthur Schwartz    5:26
Total length:    61:51

Personnel:

    John Abercrombie – guitar, guitar synthesizer
    Marc Johnson – double bass
    Peter Erskine – drums

John Abercrombie - 1994 "Speak of the Devil"

Speak of the Devil is an album by jazz guitarist John Abercrombie with organist Dan Wall and drummer Adam Nussbaum that was recorded in 1993 and released by ECM in 1994.

The follow-up to While We're Young has a less melodic, more loosely structured feel, as if it were all kinetically inspired and freely improvised within various structures. The intuition or trust level of electric guitarist John Abercrombie, organist Dan Wall, and drummer Adam Nussbaum is clearly evident: They are listening, reacting, and responding to each other from measure to measure, and that is the basis for their music making.

It's a fusion of feelings, and those moods -- many times dark -- lie beneath the surface only to rise at their behest. The snarly, stealth, and swirling sound is evident on the introductory cut "Angel Food," courtesy of Abercrombie, Wall, and Nussbaum, respectively, going to a tick-tock beat that is positively blackened on the closer "Hell's Gate." In between you get two free, seemingly unstructured pieces: the unhurried "Now & Again" and the more reverent but interactive "Farewell." "Dreamland" is like "Angel Food" in attitude, while the collective improvisation "Mahat" has hopping 2/4 tom tom beats from Nussbaum moving into full drum kit swing.

The melodies are either nonexistent or harder to grasp; Abercrombie's searing or lilting guitar sound requires close attention. Skating around a melody for "Chorale," you actually get the impression the leader is building disparate, multiple, chameleonic changes within a more definite swing. A true melodic motif, albeit slight, informs "BT-U" in a more rock/R&B beat, while the waltz "Early to Bed" suggests a lovely, extrapolated Bill Evans line, perhaps from "Very Early." Though "While We're Young" was a definitive recording for Abercrombie's vaunted trio, this CD simply offers a different slant. It's the sign of a group either in transition of evolution, and whatever the case, it's an intriguing step for these three uncanny sonic explorers.

Despite all of this, it's an album of deep grooves, a searching and mysterious atmosphere, and above all some fabulous playing. Dan Wall and Adam Nussbaum play really great, but then they always do. In fact I really dig Adam Nussbaum's drumming in this music. He's the one lighting fires under this trio; and yes, I deliberately borrow that line from Miles. What he said of Tony Williams' amazing playing in his fabulous 60's quintet really comes to mind when I hear Adam Nussbaum's drumming bringing life to this particular music. It is inspired playing, and is probably the highlight of the album for me.

What's significant about the playing of John Abercrombie is that in my opinion his playing here is way ahead of anything he's done since. Purely on a guitar-playing level this one is right up there. There's some great solos from JA, and his rhythmic, chordal playing is also absolutely superb. For just one example, check out the wonderful comping behind Dan Wall's solo on 'Early to Bed'. It's an absolute master class! I don't think he's ever played better, but if he has someone please let me know!

On the down side, 'Speak of the Devil' does not contain many memorable compositions, if any; even though there are four JA originals. In fact the weak link, if there is one, is that none of these tunes really stick in your memory for long - I can't hum or recall any of the tunes beyond the time of actually listening to it. It's probably more a case of the abstract treatment than any inherant weaknesses in the compositions though, and this music, though not pretty, is absolutely engaging and totally captivating nonetheless. Though it may not be to everyone's tastes, it is absolutely great Jazz.

Guitarist John Abercrombie is joined by Adam Nussbaum on drums and Dan Wall on the Hammond B-3 organ in a trio recording that really does sound like three musicians making music together rather than a soloist and rhythm section. As always, Abercrombie plays with fluid grace, while Wall alternately simmers and flat-out burns on the B-3, with Nussbaum propelling things right along with his imaginative drumming, all captured with ECM's traditional attention to sound quality. This is a CD that will put your mind in a deep groove for 68 minutes, and as soon as it is over, you just might find yourself hitting the play button for another 68 addictive minutes, and then another...

Track listing:

1. Angel Food (7:55)
2. Now And Again (6:16)
3. Mahat (8:27)
4. Chorale (8:21)
5. Farewell (6:16)
6. BT-U (6:22)
7. Early To Bed (8:20)
8. Dreamland (9:12)
9. Hell's Gate (7:07)

Total time 68:16

Personnel:

    John Abercrombie – guitar
    Dan Wall – Hammond organ
    Adam Nussbaum – drums

Jack DeJohnette - 1978 [2000] "New Directions"

 

New Directions is an album by Jack DeJohnette released on the German ECM label. It was recorded June 1978 at Talent Studio in Oslo and released in 1978.

New Directions found drummer/pianist Jack DeJohnette reflecting on the multiple routes his musical life had taken and summarizing them in a single band. “My idea was to put together a cast of unlikely characters”. He’d worked with Eddie Gomez in the Bill Evans Trio, played extensively with John Abercrombie in the Gateway trio and a new alliance with Art Ensemble trumpeter Lester Bowie reconnected Jack to the experimental spirit of the early AACM. “With Lester added we had four strong and very different characters, could cover a lot of musical areas, and the chemistry was fantastic.” New Directions, recorded in 1978, won France’s Prix du Jazz Contemporain de L’Academie Charles Cros.

Jack DeJohnette's New Directions was a jazz supergroup (circa 1978) made up of Lester Bowie (of the Art Ensemble of Chicago), Eddie Gomez (known for his work with Chick Corea), John Abercrombie (an ECM guitarist whose previous work had been in the John McLaughlin vein) and, of course, DeJohnette himself on Drums. I would call this music ambient jazz, with an eery, yet beautiful, dreamlike quality.
The playing (of DeJohnette, Abercrombie, and particularly Lester Bowie) on this album is revelatory.
DeJohnette's cymbal and snare work, recorded here in ECM's pristine clarity, seems to flow directly out of the collective unconcious. He plays endless variations on rhythms, never ceasing to groove, oh so subtly. If you broke his beats down measure by measure, any given measure would be enough for another drummer to fill an entire song.
John Abercrombie lays back and plays atmospherics throughout most of the album. He displays very little of the Mahavishnu-esque pyrotechnics he was wont to spew previous to this album. The atmosphere's he creates remind me of Brian Eno's ambient music at times. Maybe he had been listening to Robert Fripp. I don't know. But his playing is beautiful and unique throughout most of the album. In fact, while I doubt many 1980's pop/rock guitarists ever listened to this album, Abercrombie's playing here is an ambient jazz precursor to the playing of people like the Edge (on Unforgettable Fire), or Johnny Marr, or the guitar work on Joy Divisions Closer album.
But it is the trumpet of Lester Bowie for which this album most deserves to be remembered. While Lester did much great work in his life, he would often interrupt his best work to express the clown spirit which was so much a part of his nature. Here, though, Lester seems on a mission to express the entirety of his spirit. There's clowning to be sure, but it's framed in the larger picture of "Great Black Music, Ancient to the Future" which the Art Ensemble set out to express.
This album contains two tracks which should go down in the history of jazz as classics.
Bayou Fever is an extended, almost formless, field-holler with a a humid and surreal atmosphere. On this track Bowie plays the Blues as if he were it's culmination. It's not a blues, but Bowie's feel embodies the blues while, at the same time, being something else entirely.
Jack DeJohnette's piano ballad Silver Hollow is exquisite; touching and sentimental, without being sappy. Once again, Lester Bowie steals the show. Who would have guessed he could play this tenderly? His work on this track rivals Miles Davis' playing on tracks such as Blue in Green, Round Midnight, or Someday My Prince Will Come.

Jack's playing is perpetually crisp and inventive. He really has no clichés in his playing, yet his touch and feel are unmistakable. The real gem on this set has no drums at all, but Jack plays the piano. Silver Hollow is one of my favorite DeJohnette compositions, and its treatment here in the hands of Jack, John Abercrombie, Eddie Gomez and MVP Lester Bowie goes above and beyond. Buy it for that track, the rest is merely outstanding.

This is a great record -- nearly an all-time jazz classic. From the very first chords of "Bayou Fever," you're in a dreamscape created by four brilliant musicians at the very peak of their abilities, and enmeshed in a telepathic quartet setting that brought out the best in them. Abercrombie never sounded better -- he's at his most subtle and oracular here; Lester Bowie sounds like he's infected with some kind of voodoo that Miles himself never came down with; DeJohnette sounds like three guys, but never too busy, always selflessly stoking the groove; and Gomez is perfect here, adding lead notes that haunt the melodies like a voice you can't get out of your head. This is the stuff. The acoustic "Silver Hollow" at the end, after all that swirling blackness, is so beautiful it's almost too much!  

Track listing:

All compositions by Jack DeJohnette except as indicated.

    "Bayou Fever" – 8:40
    "Where or Wayne" – 12:25
    "Dream Stalker" (Abercrombie, Bowie, DeJohnette, Gomez) – 5:55
    "One Handed Woman" (Abercrombie, Bowie, DeJohnette, Gomez) – 10:49
    "Silver Hollow" – 8:24

Personnel:

Jack DeJohnette – drums, piano
John Abercrombie – guitar, electric mandolin
Lester Bowie – trumpet
Eddie Gómez – double bass

Collin Walcott - 1976 [2008] "Cloud Dance"

Cloud Dance is the debut album by American sitarist and composer Collin Walcott, released in 1975 on the ECM label. For this record Walcott was joined by the group Gateway consisting of John Abercrombie, Dave Holland and Jack DeJohnette. It was recorded in March 1975, as was the group's debut Gateway. Abercrombie had worked with Walcott the previous year on David Liebman's Drum Ode (ECM 1046), and they collaborated again on Walcott's 1977 album Grazing Dreams.

The authors of the Penguin Guide to Jazz Recordings awarded the album 4 stars, praising its "freshness and originality," and stating: "'Prancing', for just tablas and double bass, is one of the most exciting performances in the ECM catalogue and convincing evidence of Walcott's desire to extend the idiom of the Garrison/Jones rhythm section... the album as a whole can quite reasonably be heard as a suite of related pieces that dance towards their thematic source in the closing title-piece."[7]

Writing for Vinyl Vault, Geoff Anderson commented: "The musicians were all top-flight and leaders in their own right. They came together and mixed the eastern and western sounds to create something like acoustic jazz-fusion with an Indian twist. Abercrombie's ethereal electric guitar, floating above and around Walcott's sitar is particularly effective in creating a dreamy, cloud-like ambience on several tunes. On the cut 'Prancing,' Walcott on tabla and Holland on bass put the 'dance' in 'Cloud Dance' with a particularly energetic and, yes, danceable performance."[8]

In an article at Between Sound and Space, Tyran Grillo called the recording "one of [Walcott's] most powerful albums ever to grace ECM's vinyl... grooves", and wrote: "The telephone wires on the cover are like the strings of some large instrument, with the sky as its sound box. Its clouds don't so much dance as perform, caressing endless waves of voices careening through the ether. The joy of Cloud Dance is that it makes those voices intelligible. Fans of Oregon, of which Walcott was of course an integral part, need look no further for likeminded contemplation."

Collin Walcott defined a corner of improvisation all his own with his unique approach to the sitar and tabla. When the newly-formed Gateway trio of John Abercrombie, Dave Holland and Jack DeJohnette joined him for “Cloud Dance” the results were magical.

The late, great Collin Walcott made his proper ECM debut on Cloud Dance (after an appearance three years earlier on Trios/Solos), where he was joined by the Gateway trinity—John Abercrombie, Dave Holland, and Jack DeJohnette—for one of his most powerful albums ever to grace ECM’s vinyl (and later, digital, thanks to a vital Touchstone series reissue) grooves. The marrow-warming twang of Walcott’s sitar sets up the opening “Margueritte” to be a long raga, when suddenly Abercrombie’s electric appears in kind, beckoning a chill entourage of bass and drums and touching off a pair of graceful solos from Abercrombie and Holland. The album’s remainder is fleshed out by a variety of intimate configurations. “Night Glider” and “Vadana” both feature guitar, bass, and sitar, the latter two instruments feeding beautifully off one another, the guitar weaving in and out where it may. The two duets between Walcott and Holland, however, are really where this album gilds its worth. Our frontman lays out plush carpets of tabla and sitar on “Prancing” and “Eastern Song,” respectively, over which Holland takes stock of every variation of pattern and thread count. The second of these pieces, while the briefest of the album, is also one of its most mesmerizing. Contrary to what the titles might have us believe, these are all genuinely realized pieces where the word “exotic” is but another puff of smoke in the breeze. And so, the heavy tabla and shawm-like guitar of “Scimitar” describes not the weapon wielded in the hands of countless white actors in uninformed filmic productions, but rather an exploration of the object on its own terms, tracing forms and histories, battles and silences alike, with due abandon. So, too, with the final and title cut that brings DeJohnette back into the mix for an animated closer.

The telephone wires on the cover are like the strings of some large instrument, with the sky as its sound box. Its clouds don’t so much dance as perform, caressing endless waves of voices careening through the ether. The joy of Cloud Dance is that it makes those voices intelligible. Fans of Oregon, of which Walcott was of course an integral part, need look no further for likeminded contemplation.

Track listing:

All compositions by Collin Walcott except as indicated.

"Margueritte" - 8:32

"Prancing" - 3:24

"Night Glider" - 6:40

"Scimitar" (John Abercrombie, Walcott) - 2:46

"Vadana" - 7:00

"Eastern Song" - 2:34

"Padma" (Abercrombie, Walcott) - 2:47

"Cloud Dance" - 5:47

Personnel:

Collin Walcott — sitar, tabla

John Abercrombie — guitar

Dave Holland — bass

Jack DeJohnette — drums

Jack Dejohnette - 1975 "Cosmic Chicken"

Cosmic Chicken is an album by Jack DeJohnette featuring Alex Foster, John Abercrombie, and Peter Warren recorded in 1975 and released on the Prestige label.

By 1975, drummer Jack DeJohnette was just a few years removed from his sideman stint with Miles Davis and was deeply immersed in his own search and discovery mission as a composer and bandleader in his own right. Joining him on this October 10, 1975 performance at the Great American Music Hall were kindred spirits John Abercrombie on guitar, Alex Foster on alto sax and Mike Richmond on bass (the same crew that had appeared on DeJohnette's Prestige album of that year, Cosmic Chicken). With a nod to both the burgeoning fusion movement and the hippie-jazz aesthetic that had been unleashed by saxophonist Charles Lloyd in 1967 with Love-In and his popular 1968 followup, Forest Flower (DeJohnette played on both of those breakthrough recordings), these forward-thinking colleagues kept things suitably energetic, spacey and frequently wah-wah-fueled throughout their daring set.
With DeJohnette on keyboards, they open their GAMH set with a subtly playful piece, "One for Devadip and the Professor," which was written for guitarist Carlos Santana and DeJohnette's former mentor, saxophonist Charles Lloyd. The minimalist piece is marked by some probing Lloyd-inspired sax work from Alex Foster and pungent, distortion-laced guitar lines by Abercrombie, whose own potent ECM release that year (Timeless with DeJohnette and keyboardist Jan Hammer) was a significant addition to the fusion genre. Richmond, on big-toned upright bass, also feeds his signal through a wah-wah pedal for that quintessential '70s effect. Richmond then kicks off the title track of Cosmic Chicken with a wild Hendrix-inspired solo bass showcase that has him bowing his upright while simultaneously activating his wah-wah pedal and flanger effect for a startling array of tonal colors and textures. Following that extended bass intro, the band jumps in with slashing power chords and slamming beats, clearly channeling the turbulent rock power of Miles' most dynamic electric period before settling into a kind of slow-grooving, meditative ostinato that has Foster stretching heroically and provocatively on tenor sax. Abercrombie follows with a ferocious six-string onslaught over Richmond's bubbling wah-wah basslines that rivals John McLaughlin's raw, ripping, proto-punk stylings on Miles Davis' Jack Johnson or Tony Williams Lifetime's Emergency. Hardcore fusion aficionados will fall to their knees with their teeth chattering over the intense guitar solo. Next up is DeJohnette, who takes his time developing his own masterful solo, traversing the kit with quick hands, lightning instincts and signature aplomb to complete the sequence of individual showcases on this marathon 36-minute vehicle.
The quartet follows with "The Vikings Are Coming," which would later appear on DeJohnette's 1976 ECM album, Untitled. This piece is noteworthy for the leader's appearance on tenor sax, shadowing Foster's own tenor lines on the folkish theme that starts off the tune as Abercrombie and Richmond freelance behind them. Abercrombie and Foster later engage in some heated exchanges near the end of this swirling, atmospheric number. The multi-faceted, multi-directional DeJohnette opens the set-closer with a contemplative solo piano piece, "Memories," that eventually heads into just a touch of jaunty stride playing. By the time the band enters, they are swinging in straight ahead fashion on "Eiderdown" (from Cosmic Chicken), with the drummer demonstrating remarkable facility and surging sense of swing indicating that he could have easily had a whole separate career as a jazz pianist, if he had so chosen. Midway through this extended jam, the leader returns to the drum set to beautifully underscore Foster's blistering alto sax solo and Abercrombie's probing guitar solo. Richmond then takes over with an unaccompanied bass solo that again has him exploring the use of effects pedals with his upright bass (this time a volume pedal). This extended jam closes with a kinetic, conversational duet between guitarist Abercrombie and drummer DeJohnette that peaks when Abercrombie stomps on his distortion pedal and heads to the stratosphere with DeJohnette fueling his excursion…shades of John Coltrane and Elvin Jones in full stride. Abercrombie, DeJohnette and Foster then engage in a brisk exchanging of eights, in classic bebop tradition, before completing this very potent set in San Francisco.

In 1975, DeJohnette also formed the highly interactive Gateway trio with Abercrombie and bassist Dave Holland, and the three colleagues continued to record together off and over the next three decades. DeJohnette was a key member of Pat Metheny's 80/81 band (which also featured tenor saxophonists Michael Brecker and Dewey Redman and bassist Charlie Haden) and in 1985 appeared on Metheny's landmark collaboration with Ornette Coleman on the provocative Song X. The drummer-composer-bandleader continued to record prolifically through the '70s and '80s for ECM with his Special Edition, Directions and New Directions bands. For the past 25 years he has been a member of the Keith Jarrett Trio (with bassist Gary Peacock). In 2003, he recorded the Tony Williams Lifetime tribute album Suadades with Trio Beyond (guitarist John Scofield and organist Larry Goldings) and in 2005 he formed his own Kindred Rhythm/Golden Beams label, which has so far released such diverse offerings as the world music recording Music from the Hearts of the Masters, the relaxation disc Music in the Key of Om, a provocative duet with Bill Frisell entitled The Elephant Sleeps But Still Remembers, the Grammy Award-winning New Age album Peace Time and the trio recording Music We Are with bassist John Patitucci and pianist Danilo Perez. DeJohnette's most recent projects include The Intercontinentals, featuring South African vocalist Sibongile Khumalo, and his current working quartet featuring guitarist Dave "Fuze" Fiuczynski, bassist Jerome Harris and alto saxophonist Rudresh Mahanthappa.

For 1975 this album was way ahead of its time. This is very spacey jazz with great interplay, interesting compositions, and amazing playing. This is a great example of DeJohnette's "tonal"drumming. It's not just beats, he's playing notes. His organ playing (a pleasant surprise) on "Shades of the Phantom" conjured up the tunes namesake very well. I don't know what planet Alex Foster (sax) comes from, but he plays like a man on fire. Hearing Peter Warren's loopy phase shifted upright bass bowing on the title track let's you know you've just entered a different place. John Abercrombie (guitar) is the best of the Berklee guitarists (sorry Pat Metheney),and better known for his work with Billy Cobham, but his earlier work here is stellar too. "Stratocruiser" is a fast and furious ride that leaves you gasping for air. The "Last Chance Stomp" (An abridged history of jazz in five movements), is a virtual time machine. It starts off sounding like early 1920's jazz from a 78 record. The tune and the sound quality morph from a simple riff to some super fast jazz, as if it was being played by successive generations of musicians.
This album begs to be re-released on CD, but if you are lucky enough to own it on vinyl, treasure it. If you are looking for some mellow smooth jazz, RUN for the nearest exit. You won't find it here.

Track listing

    All compositions by Jack DeJohnette except as indicated

    "Cosmic Chicken" - 4:53
    "One for Devadip and the Professor" - 3:35
    "Memories" - 5:58
    "Stratocruiser" - 7:28
    "Shades of the Phantom" - 6:13
    "Eiderdown" (Steve Swallow) - 5:35
    "Sweet and Pungent" - 3:32
    "Last Chance Stomp" - 7:07

        Recorded at Fantasy Studios, Berkeley, CA on April 24–26, 1975

Personnel

    Jack DeJohnette – drums, piano, keyboards
    Alex Foster – alto saxophone, tenor saxophone
    John Abercrombie – electric guitar
    Peter Warren – electric bass

Gateway - 1995 "Homecoming"

Homecoming is an album by Gateway, a trio composed of John Abercrombie, Dave Holland and Jack DeJohnette. It was recorded in 1994 and released on the ECM label in 1995 and is the trio's first album since Gateway 2 in 1978. 

The Gateway Trio is a cooperative in the greatest sense of the word, as guitarist John Abercrombie, bassist Dave Holland, and drummer Jack DeJohnette are all respected players, composers, and bandleaders on the jazz scene. Even though this only the third Gateway recording and the group's first in 17 years, each group member collaborates frequently with the others. As a result there is always a great sense of interplay between Abercrombie's sometimes-mellow-sometimes-distorted guitar, Holland's huge toned bass, and DeJohnette's dancing drums. All of the compositions are by the band members and are wide-ranging in scope. Highlights include the title track, which begins as a medium swinger but drifts into collective improvisation before coming back to medium swing, Modern Times, with its melody reminiscent of "Yesterdays" over a samba feel, the rockish "How's Never" and "7th D," what one might call a "free blues." This is a fine return to recording for a great group".

https://jazz-rock-fusion-guitar.blogspot.com/search?q=Gateway

https://jazz-rock-fusion-guitar.blogspot.com/search?q=John+Abercrombie

https://jazz-rock-fusion-guitar.blogspot.com/search?q=Dave+Holland

https://jazz-rock-fusion-guitar.blogspot.com/search?q=Jack+DeJohnette


Track listing:

    "Homecoming" (Holland) - 12:37
    "Waltz New" (Abercrombie) - 8:32
    "Modern Times" (Holland) - 7:31
    "Calypso Falto" (Abercrombie) - 7:46
    "Short Cut" (Abercrombie) - 6:12
    "How's Never" (Holland) - 7:34
    "In Your Arms" (Holland) - 5:48
    "7th D" (DeJohnette) - 9:30
    "Oneness" (DeJohnette) - 7:43

Personnel:

    John Abercrombie: guitar
    Jack DeJohnette: drums, piano
    Dave Holland: bass

Michal Urbaniak - 1975 [2012] "Fusion III"

Michal Urbaniak is a jazz-fusion violinist from the 1970s who style is similar to Jean-Luc Ponty. Issuing many fine albums over decades, many of them feature his wife Ursula Dudziak. Fusion III was originally issued in 1975 on Columbia Records. In addition to Dudziak, this album features John Abercrombie, Anthony Jackson, Steve Gadd & Larry Coryell.

With song structures similar to Mahavishnu Orchestra and electric-era Return to Forever, Michal Urbaniak's Fusion III appealed to the same fusion-buying clientele. What most distinguishes this music from that of its contemporaries was the unique vocalizing of Urbaniak's wife, Ursula Dudziak. She could sound at times like a Polish Flora Purim, at other times like a synthesized presence from another world. On this recording, Urbaniak's playing is fresh and engaging, and his compositions occasionally sound like Frank Zappa's instrumental work from this same era. John Abercrombie and Larry Coryell turn in blistering guitar passages, and bassist Anthony Jackson and drummer Steve Gadd provide a funkified rhythmic foundation. 

Very engaging and funky fusion disc from 1975, featuring not only Urbaniak's soaring gypsy drenched violin but also the other-worldly vocalese of his then-wife Ursula Dudziak (quite an original vocal artist in her own right).

The songs combine a lot of playfully twisty be-bop like melody lines with rip-snorting funk, chiming electric pianos and fiery rock sensibilities, particularly the searing guitars of John Abercrombie (check out the spine-chilling solo on "Metroliner") and Larry Coryell (who seriously rocks out on "Bloody Kishka"). plus a killer rhythm section of bassist Anthony Jackson with drummers Steve Gadd and Gerry Brown.

My favorite tracks include the bluesy and yet thoroughly unpredictable "Roksanna" that builds from a loping 3/4 time swing to a fiery romp with those bop lines by Michal and Urszula weaving in and out of each other like mad! As mentioned earlier, "Metroliner" with it's grand sweeping chord progressions and John Abercrombie's thick searing legato solo. "Prehistoric Bird" soars like its namesake, and then gets downright funky, with bassist Anthony Jackson laying down a relentless and creative groove the whole way through as Steve Gadd plays like he had only 5 minutes to live. Other highlights include the alternately mournful and playful "Kuyaviak Goes Funky" the mysterious "Cameo" and the crazed funk of "Chinatown" Pts 1 AND 2, part one sees Abercrombie dueling with Michal, and on Pt 2, it's Larry Coryell's turn.

If you like your fusion with lots of funk and soem East European gypsy flavor thrown in, you can;t go wrong with Michal Urbnaniak's Fusion III. 

It's been a long time since I heard this album on the turntable. After buying this classic on cd recently, it brought me back to the time in the 1970's when Jazz Fusion was heard on the radio and when I went to the local record stores and was able to purchase this great genra of music readily. This is a long lost classic, however, I'm so glad that it's available online. If you truly enjoy virtuoso violin and electric guitar as well as great electric bass and drums, along with some cool oddities thrown in for good measure and amusement, then this is the cd for you. Excellent!!

Tracks Listing

1. Chinatown [part 1] (5:24)
2. Kujaviak Goes Funky (6:12)
3. Roksana (5:42)
4. Crazy Kid (2:35)
5. Prehistoric Bird (5:19)
6. Bloody Kishka (4:21)
7. Cameo (4:41)
8. Stretch (6:20)
9. Metroliner (4:44)
10. Chinatown [Part II] (3:56)

Line-up / Musicians

-Michal Urbaniak/ electric violin, violin synthesizer
-Urszula Dudziak/ voice, percussion, electronic percussion
-Wlodek Gulgowski/ electric piano, Moog, and electric organ
-Anthony Jackson/ bass guitar
-Gerald Brown/ drums
-Steve Gadd/ drums
-Larry Coryell/ guitar
-John Abercrombie/ guitar
-Joe Caro/ guitar
-Bernard Kafka/ voice

Various Artists - 2005 "Visions Of An Inner Mounting Apocalypse"

The Mahavishnu Orchestra was one of the true pioneers of jazz/fusion as was their leader, visionary guitar icon John Mclaughlin. This collection features stellar performances by some of today's greatest guitar talents including: John Abercrombie, Warren Haynes (Govt Mule), Jimmy Herring (Allman Brothers), Mike Stern (Miles Davis), Steve Lukather (Toto), Steve Morse (Deep Purple), Greg Howe (Michael Jackson, Justin Timberlake), Frank Gambale (Chic Corea), Jeff Richman and Dave "Fuze" Fiuczynski. Backed by an incredible band featuring Vinnie Colaiuta (Sting Frank Zappa), Kai Eckhardt (John Mclaughlin, Garaj Mahal) and Mitch Foreman, this is one fusion super session you can't afford to miss!!!

Guitarist Jeff Richman conceived of, produced, and arranged for this project. A tribute to the Mahavishnu Orchestra, it utilizes the same instrumentation, with Mahavishnu alumnus Jerry Goodman being a welcome addition on violin. Each song features a different guitarist and there is plenty of heat displayed by the individual but complementary players (practically every top fusion guitarist other than Al DiMeola), all of whom are rockish and passionate. One almost doesn't miss John McLaughlin, since the band is playing his songs and the guitarists are mostly influenced by him. The only change of pace from the intensity is the closer, a version of the relatively mellow "Follow Your Heart" (which predated the Mahavishnu Orchestra) featuring John Abercrombie. This project is well conceived, and one would imagine that John McLaughlin would appreciate the colorful tribute.

This all star jazz-fusion tribut CD features some of the greatest names in porgressive jazz fusion guitar, each paying tribute to guitar innovator, master musician, John McLaughlin, McLaughlin's Mahavishnu Orchestra was a ground breaking fusion group that essentially "wrote the book" of fusion. Artists featured: Steve Morse, John Abrecrombie, Dave "Fuse" Fiuczynski, Frank Gambale, Jimmy Herring, Warren Haynes among others.

This one is a MUST for Mahavishnu fans, and lovers of fusion guitar. Without exception the soloists understand the drawing power of each song they play. The orchestration in several cases actually improves on the original recording, in Lila's Dance, Jazz, and Can't Stand Your Funk. The MO's one weakness was its occasionally thin sound - and here each song gets the full treatment. The guitarists are literally tearing the place apart with every solo. And it is so fantastic to hear violinist Jerry Goodman in top form on several songs, like the original MO didnt play 30 years earlier. It's like he's the special guest star. Add to that how modern recording makes the music sound better, and you will love this music every bit as much as the originals.
A final tribute in the album is John Abercrombie's gentle and subtle rendition of one of McLaughlin's early, best songs, Follow Your Heart. Does anyone remember that from Joe Farrell's quartet LP? A beautiful song, and a perfect way to close and calm down from the joyful frenzy you have just experienced.

I am an old time Mahavishnu fan who has been going back down memory lane and rediscovering the band. Being a purist I NEVER buy tribute albums. I find them unnecessary & unworthy. I stumbled across the listing for this when I was buying the remastered version of Visions of Emeralds Beyond and after seeing that it contained some of my all time favorite players I decided to give it a shot. I'm so glad I did! I can't stop playing it.

What makes this tribute different? How about the inclusion of original band members to back up the guest guitarists! The contributions of the much underrated Mitchel Forman on Keys and the superb Jerry Goodman (often covering what was Ponty material)on violin are outstanding.

What are the highlights...nearly too many to list: Steve Lukather (Toto)shines on "Birds of Fire'. The Mike Stern (Miles Davis & solo work)and Jerry Goodman interplay on "can't Stand Your funk" is exceptional. I bought this in part because I am addicted to the Dixie Dregs but found Steve Morse playing a little too clean. (Most of the other players expanded beyond the Mahavishnu parameters but sadly not Morse). Jimmy Herring (Aquarium Rescue Unit & the Other Ones) strikes a nerve on "Meeting of the Spirits". "Jazz" is a nice unexpected inclusion from '84. Frank Gambale's (Vital Information) cover of "Dawn" again with Goodman is lively and memorable. As much as I admire Warren Haynes (Govt Mule/Allman Brothers) I was skeptical of how he might come across on a fusion LP; in truth "Lila's Dance" may be the best cut on the CD. The final wind down comes with John Abercrombie bringing us back to Earth with "Follow your heart" The whole cd is a solid pleasant surprise. If your an old fan give it a try. If you are a new fan listen to this first and then compare it to the original material; you'll be opening the doors to some great fusion.

Tracks Listing:

1. Birds Of Fire (6:47)
2. Can't Stand Your Funk (6:43)
3. Celestrial Terrestrial Commuters (4:46)
4. Meeting Of The Spirits (6:51)
5. Jazz (4:53)
6. Dawn (6:34)
7. Lila's Dance (5:22)
8. Faith (5:47)
9. Dance Of Maya (6:16)
10. Follow Your Heart (7:46)

Total Time: 61:45

Line-up / Musicians:

- Vinnie Colaiuta / drums
- Kai Eckhardt / bass
- Mitchel Forman / keyboards
- Jeff Richman / guitars

Guest musicians:
- Steve Lukather / guitar (1)
- Mike Stern / guitar (2)
- Jerry Goodman / violin (2)
- Steve Morse / guitar (3)
- Jimmy Herring / guitar (4)
- Frank Gambale / guitar (6)
- Jerry Goodman / violin (6)
- Warren Haynes / guitar (7)
- Jerry Goodman / violin (7)
- David Fiuczynski / guitar (8)
- Greg Howe / guitar (9)
- Jerry Goodman / violin (9)
- John Abercrombie / guitar (10)

Jack Dejohnette - 1974 [1994] "Sorcery"

Sorcery is an album by Jack DeJohnette featuring Bennie Maupin, John Abercrombie, Mick Goodrick, Dave Holland and Michael Fellerman recorded in 1974 and released on the Prestige label.

A lot of rambling takes place on this interesting but erratic LP. Drummer Jack DeJohnette (doubling on keyboards) performs three songs with a group featuring bass clarinetist Bennie Maupin and the guitars of John Abercrombie and Mick Goodrick; the music shows the influence of fusion (most obviously on "The Rock Thing") and has its strong moments (much of the nearly 14-minute "Sorcery #1"). But the attempt at humor on "The Right Time" is self-indulgent. The second half of this release, with trios by DeJohnette, bassist Dave Holland, and Michael Fellerman on metaphone (whatever that is).

This CD is awesome. It's creative, soulful, got a funk-edged blues jazz and is from 1974 (need I say more?). John Abercrombie and Mick Goodrick on guitars, Dave Holland on bass. DeJohnette's got a lot going on here. His horn work in Sorcery #1 (13:51) is fantastic, but while I enjoy all the solos here, what really impresses me is the rhythms and progressions they vamp over. They're very smooth, near progressive rock pieces. Track 4, The Reverend King Suite is a 6-part suite (though at only 14:19) with such colorful titles as A) Reverend King B) Obstructions C) The Fatal Shot D) Mourning E) Unrest F) New Spirits On The Horizon. If I didn't know any better I'd say these looked more like tracks off a Wishbone Ash album. 1974 is vintage stuff whether rock or jazz and this album is no exception. I think people who enjoy long jam 70s concept rock would like this as well fans of cross-over jazz such Miles' Bitches Brew. Not that the jams here are long (the whole album is only 41 minutes) - it's just that tunes are internally diverse, often hanging or alternating somewhere between a soul-jazz and loose rock feel. With only the occasional foray into cacaphony. If this album could just get 24-bit remastered, well, that would just be the cherry.

Quite possibly the most tripped-out of all albums by Jack DeJohnette – one that really shows his roots in many streams of the free, soul, and fusion jazz scenes of the time – and which is served up with a heck of a lot of surprises in the mix! Jack himself plays both drums and keyboards on the set – plus a bit of c-melody sax – and other players include Benny Maupin on clarinet, Dave Holland on bass, John Abercrombie on guitar, and Michael Fellerman on the metaphone 1 – a great instrument that really makes the sound of the record special. The keyboards are especially nice on the set, and electrify the proceedings in a way that seems to spark even more fire in DeJohnette's drums – especially on the classic break track "Epilog" – an excellent funky number that's almost worth the price of the set! Other tracks include "Sorcery #1", "The Rock Thing", "Reverend King Suite", "Four Levels Of Joy", and "The Right Time" – which is a wild vocals-only number!

"Sorcery" isn't a Fusion album but an album of Electric Bop. And for this motive "Sorcery" is an album of Fusion. Unreservedly Jack DeJohnette able to record an album very technical and easy to read. This is because Jack has a great musical sensibility and, in a period where everyone was trying to play hard, he tries to communicate what the music can be emotion and melody. With these ingredients "Sorcery" becomes an album of POP Fusion but not an album of POP Jazz, because 100% Bop. (P.s.: I do not have other words to describe this concept... Excuse me).

The experience of "Sorcery" is a sort of trip to the dreams and shadows of an human mind and for this fact I think that "Sorcery" is a good album if magic, inventive and feelings are what we seek in music.

Track listing

    All compositions by Jack DeJohnette except as indicated

    "Sorcery, No. 1" - 13:50
    "The Right Time" - 2:21
    "The Rock Thing" - 4:14
    "The Reverend King Suite: Reverend King/Obstructions/The Fatal Shot/Mourning/Unrest/New Spirits on the Horizon" (John Coltrane/DeJohnette) - 14:19
    "Four Levels of Joy" - 3:09
    "Epilog" (DeJohnette, Dave Holland) - 3:11

        Recorded at Willow, NY in March 1974 and at Bearsville Studios, NY in May 1974

Personnel

    Jack DeJohnette: drums, keyboards, C-melody saxophone
    Bennie Maupin: bass clarinet
    John Abercrombie, Mick Goodrick: guitars
    Dave Holland: bass
    Michael Fellerman: metaphone, trombone

Billy Cobham - 1974 [2000] "Crosswinds"

Crosswinds is the second album of fusion drummer Billy Cobham. The album was released in 1974. It comprises four songs, all composed by Billy Cobham. It was used as the basis for the Souls of Mischief's hit song "93 'til Infinity". Wiki

Billy Cobham's second date as a leader was one of his better sessions. Four songs (all originals by the leader/drummer) comprise "Spanish Moss -- A Sound Portrait," and, in addition, Cobham contributed three other pieces. The selections team him with guitarist John Abercrombie, both of the Brecker Brothers, trombonist Garnett Brown, keyboardist George Duke, bassist John Williams, and Latin percussionist Lee Pastora. In general, the melodies and the vamps are reasonably memorable. Cobham also takes an unaccompanied drum solo on "Storm." Worth searching for by fusion collectors.  All Music

Billy Cobham made this album at a pivotal point. The original Mahavishnu Orchestra had disbanded, John McLaughlin was wallowing, and jazz purists were beginning to complain about the rock influence. Billy helped show a new direction. Crosswinds opening suite has lush and sophisticated horn arrangments, soothing a subtly intense rhythm. The effect is like night, tropical breezes, just as he wants to convey. You can almost hear the ocean, the music of the wild Caribbean (no steel drums of course, just cool). The rest of the album alternates between hot and cool, with some funky fusion and a beautiful extended piece, Heathers, near the end, featuring a trombone solo that sounds like the soundtrack to a loving and relaxing dream. The album is inspired, Billy at his creative best, showing the jazz world a new dimension that fusion had not shown before. At 35 minutes it is a little short, but we have quality here, not quantity. This album belongs in any jazz or fusion collection. By D. M. Paine

"Crosswinds" has been in my vinyl collection since 1974, when I first picked up a copy at King Karol Records on 42nd Street in Manhattan. Well, I recently became reacquainted with this recording after picking up a CD copy at a "oh so trendy" record store in Haight-Ashburry, San Francisco. As I did then, I played the new CD over and over again, completely enraptured by Cobham's "Ripley's Believe or Not" staccatto drumming and Lee Pastora's smoking Latin percussion. Joined by the Brecker Brothers, George Duke, John Abercrombie, Alex Blake, John Williams, Garnett Brown and other great luminaries of early jazz fusion, Cobham and his willing partners beat and shape a veritable masterpiece. Drive along Big Sur and take in the vast and dramatic California skies and scarred bluffs and you'll begin to undertand what hues of emotions this exquisite recording conjures. Crosswinds alternates between adrenaline musical rushes and absolute sublime chill, creating a perfectly balanced sinuous stream of sound. Simply exquisite!  By Hector Reyes-erazo.

I got this album as a gift in 1974 when I was 19 years old. My unsuspecting sister had heard the name Billy Cobham, but did not realize what a masterpiece she had placed in my hands. Although a virtuoso drummer with monstrous chops, Billy doesn't let his virtuosity run away with him. Although those looking for impressive drumming will not be disapointed. His use of time on the the Crosswinds suite, his climactic "Storm" solo the driving end movement will satisfy drummers, air-drummers and percussion fans. This album exhibits Billy Cobham, composer and arranger. With a dark hues on his palette and a wide brush, Billy paints us quite a seascape. The "Pleasant Pheasant",one of my favorites, is energetic, driving, exciting and just a little bit funky. This features an exceptional and rhythmic drum solo. "Heather", what can I say about "Heather", hypnotic, seductive, well paced. It starts as a whisper of a siren's song and builds to what to date might be one of Michael Breckers most beautiful and haunting solos. This one is for the headphones, folks. "Heather" is worth the price of this recording alone. A stellar cast of musicians on this album work in concert and in symbiosis to produce one of the underated recordings in the "fusion" era. No pyrothechnics for it's own sake here. Impressive solo's abound within the context of the pieces. John Abercrombie, Michael Brecker, Randy Brecker, Garnett Brown, Lee Pastora ...etc., a dream team of musicians. This album should never have been gone this long from the CD shelves/racks/bins of music outlets. Few of Billy's recording measure up to this one in my opinion. By ND.NY 

Tracks Listing

Spanish Moss - "A Sound Portrait":
1. a. Spanish Moss (4:11)
2. b. Savannah the Serene (5:14)
3. c. Storm (2:52)
4. d. Flash Flood (5:08)
5. Pleasant Pheasant (5:21)
6. Heather (8:40)
7. Crosswind (3:42)

Total Running Time: (35:08)

Line-up / Musicians

-Billy Cobham/ drums, percussion.
- John Williams/ guitar (acoustic), bass (acoustic), bass (electric).
- Randy Brecker/ trumpet.
- Garnett Brown/ trombone.
- John Abercrombie/ guitars.
- George Duke/ keyboards, vocals.
- Lee Pastora / percussions