Steve Wyzard WINTERY

Despite being 12 minutes shorter, if you liked John Abercrombie's 2013 album 39 Steps, you should also enjoy 2017's Up and Coming. It features the same supporting cast (Marc Copland, piano, Drew Gress, double bass, Joey Baron, drums) and occupies a similar subtle, measured sound world. Which is not to say the two albums are carbon copies of each other. The end-of-summer wistfulness of 39 Steps has been replaced by a duskier, even chillier atmosphere on Up and Coming that fits in well with the ECM Records "winter afternoon jazz" mystique.

All the players are in fine form, and everyone receives plenty of solo space. This is definitely a band album, with not any one performer (least of all Abercrombie) dominating the material. Whimsically, Up and Coming opens with its two shortest compositions: a dirge entitled "Joy", and the up-tempo "Flipside" that is over before it starts. Copland's searching, thoughtful playing on "Sunday School" and the stately-yet-sobering "Tears" are true highlights. Gress's rumbling double-bass work and the brushes and cymbals of Baron contribute extensively to the album's hushed, sunset-glow textures. Still, it's Abercrombie's poignant, understated tones that make this album unique, with his soloing on "Silver Circle" and "Jumbles" letting everyone know that he hasn't been relegated to a "supporting player".

Since its release, Up and Coming has taken on an added pathos after proving to be Abercrombie's final album with his passing in August 2017. There are no foreboding glimpses into the abyss, nor is this a "grand summation"/"career retrospective" album. Comparisons to recordings from decades past are rather pointless, as Up and Coming looks neither backward nor forward. It's simply four marvelously talented players doing what they do best, saying everything they have to say in 47:16. In spite of its ironic title, this is a worthy addition to the discographies of all the performers, and like 95% of everything Abercrombie ever released, will stand the test of time and repeated listening. Special mention must be made of Sheilah Rechtschaffer's remarkable cover pastel, which (like many ECM covers) visually captures and encapsulates the music contained within.

Steve Wyzard SUBTLE, CALM, MEASURED

In a world of perpetual change, it's nice to know there are some things you can continue to count on. Take, for instance, the much-discussed "ECM Records sound": the haunted, melancholy, "wide open spaces" atmosphere that can be heard as far back as its early-1970s releases. If it's beautiful, autumnal, heartland, Sunday-afternoon chamber jazz you're looking for, you've come to the right place with longtime ECM guitarist John Abercrombie's 39 Steps.

Recorded in April 2013 with Marc Copland on piano, Drew Gress on double bass, and Joey Baron on drums, 39 Steps is much more, well, "down to earth" than his last few releases. Albums such as Class Trip, The Third Quartet, Wait Till You See Her, and Within a Song were more on the noir-ish, late-night side of Abercrombie's guitar-playing spectrum, while 39 Steps will prove to be much more compatible with those who enjoy the classic ECM sound. It should be stated from the outset that those looking for more of his fiery 1970s soloing or his 1980s experimental freak-outs may find this album somewhat pale in comparison. Tracks such as "Vertigo", "Bacharach", "Greenstreet", and "As It Stands" are best described as subdued, peaceful, or even relaxing. The compositions are strong, the solos are solid, and interest is always sustained, but this is not music that will disturb your neighbors. Copland's two compositions, "LST" and "Spellbound", are both much busier and simultaneously more mysterious. Long-time Abercrombie listeners are sure to enjoy "Another Ralph's". Quoting directly from "Ralph's Piano Waltz" (which appeared on both 1975's Timeless and 1986's Current Events), this song has Abercrombie out in front rather than just another player in the quartet. While the soloing spotlight is consistently shared amongst all the players, 39 Steps remains unequivocally a John Abercrombie album. "Shadow of a Doubt" is a group improv (another ECM trademark), and "39 Steps" is a mini-epic, appropriately summing up all that's come before. An offbeat, jesting cover of "Melancholy Baby" closes the album, leaving a smile on the face of all but the most determined listeners. And after a not-too-long (59:42) meandering journey, we're right back where we started.

With all the references to past glories, there's no doubt many will consider this a "long-past-his-prime, career-achievement" album. As a 30+ year listener to Abercrombie's fluid fretwork, I can only urge others to give the introspective and atmospheric textures of 39 Steps a real chance. Newbies may not be impressed, but they are gladly referred to the earlier albums (such as the two mentioned above) of one of the greatest jazz guitarists of our time. While 39 Steps may be lacking in intensity, it more than compensates in true artistry, and not just on cloudy Sunday afternoons.

Steve Wyzard THUNDERSTORM FADING TO SLOW DRIZZLE

The 1990s were not a golden age for ECM Records in general, or for John Abercrombie in particular. He entered the decade still focused on the guitar-synth/electronic experimentalism that was not popular with his fan base. Then he formed the trio featured on this album, with Dan Wall on Hammond organ and Adam Nussbaum on drums. While We're Young is the best of the three albums this trio recorded, but for those who were hoping for another album along the lines of 1975's Timeless, you may be disappointed. Which is not to say that it's a bad album, but it could have been so much more.

While We're Young is quite simply a dichotomy: the first four tracks feature the atmospheric, boundary-pushing music Abercrombie is known for, while the last four tracks are much more relaxed, and well, mellow. Listen to the hushed opening measures of both "Rain Forest" and "Stormz". The former builds slowly to a fabulous pinched-tone Abercrombie electric solo. The latter showcases a drum/guitar duet, and Abercombie's bended/tremolo notes must be heard to be believed. On "Dear Rain", Nussbaum plays only cymbals over Abercrombie's clear tone and Wall's sustained chords. "Mirrors" is this album's most aggressive and uptempo number, with a drum/organ duet and Wall handling the bass line under Abercrombie's solo. It leads one to wonder what a double-bassist or electric-bassist could have contributed to Abercrombie's understated but distinctive, fluid yet bluesy playing on this album.

After an impressive start, the brakes are applied and the intensity fades. To put it plainly, the last four tracks are elusive, muted, effortless, moody, peaceful, leisurely, etc. There are occasional moments of vigor and energy, but for the most part both compositions and performances pale next to the previously established sound-world and blend one into another. Abercrombie's amplified acoustic on "Scomotion" would fit right in on most any Pat Metheny album of the last 20 years. Such a drastic change-of-pace on an album's second half is not unprecedented, but it is disheartening after such a promising beginning.

At 59:08, While We're Young doesn't overstay its welcome, but the final four tracks do not help matters. Perhaps it's unfair (especially with the passage of decades) to compare everything Abercrombie records with the incandescence of Timeless or 1976's Gateway, but a precedent was indisputably set. If you're a long-time Abercrombie listener, there is much to enjoy on this album, but it can't rightfully be classified among his best. Thankfully it doesn't meander into the long-winded aimlessness of some of his later albums, and it does provide enjoyable listening every time it comes off the shelf. But that's all.

Steve Wyzard LATE SUMMER SUNSET

If you've come to this album looking for John Abercrombie's high-intensity fusion playing, you're in for a great disappointment. If, however, you are interested in his gifts as a composer, an interpreter, a technological innovator, and a mood-creator par excellence, this album is a must-have. Released in 1986, Current Events is not only one of Abercrombie's greatest albums/performances EVER, but also one of the very best albums released by ECM Records in the entire decade.

Current Events can be described as AUTUMNAL, but it never descends into overt sentimentality or nostalgia. With the exception of "Killing Time" (an over-the-top improv freak-out), this is a thought-provoking and atmospheric album. Songs like "Clint" and "Hippityville" are constructed with Abercrombie's guitar synth laying down a quirky pattern, adding Peter Erskine's solid drumming/amazing cymbal work and Marc Johnson's rumbling, adventuresome bass-playing, building slowly, and soloing on top. The acoustic guitar is prominently featured on "Lisa" and "Ralph's Piano Waltz" (originally recorded on the 1975 fusion classic Timeless).

The two performances that make this album one of the greats are also the two longest. Sammy Fain and Bob Hilliard's "Alice in Wonderland" (also covered by Bill Evans) opens with 1-1/2 minutes of the most hauntingly beautiful guitar playing you will ever hear. Then Johnson solos over Erskine's brushwork and you have a very unlikely masterpiece. "Still" is built on a mesmerizing, repeating cadence - close your eyes and you're in a vast cathedral listening to solemn chords on the pipe organ. Johnson (bass) and Abercrombie (acoustic guitar) both have their say before it fades into nothingness. The effect is absolutely unforgettable, embedding itself in the memory long after it's over. Still indeed.

Give Abercrombie credit for departing from expectations and giving us something truly different. He would continue with the guitar synth, and with Johnson and Erskine for the rest of the 1980s, but never again recaptured the atmospheres created on Current Events. While some will dismiss this as an experiment gone wrong or "mindless noodling", this late 80s masterwork has truly transcended its time and become one for the ages in spite of the risks taken.

Abraxas Check the line-up. What did you imagine? Wrong. Jan Hammer is mainly playing the organ throughout, so his Mahavishnu synth lines are almost inexistent. Ironically, John Abercrombie is the one that reminds us of Mahavishnu, with the often fast guitar licks. But mind you, this is not high fuelled jazz rock.

One thing you probably didn't notice was that this album belongs to the ECM label. And yes, this label shows its characteristic mellow, moody and cold sound, already by 1974. Its ECM, I think, that restrains John and the rest from doing anything really rock-ish. And that's a good thing. The remaining member of the trio being the widely known drummer, Jack DeJohnette.

The six compositions share the label's dark and mysterious mood, but some with more powder than others. Both 'Red and Orange' and 'Lungs' will make you doubt if what I'm saying is actually true, since these two are very force-driven with an exhilarating band, but still these have some elements that are not usually heard on say Mahavishnu Orchestra or Return to Forever.

'Love Song' and 'Remembering' however, are acoustic, piano and guitar only. These remind me a bit of Metheny's mellow acoustic affairs, a man well associated with ECM, or also Bill Connors' acoustic albums, also an associate from the label.

The title track couldn't be more ECM-ish. Twelve minutes of slow-moving music that has very subtle elements. Probably Jan Hammer's greatest intervention with the Moog in his entire career, creating channels of mystery and psychedelicness. One will either dismiss this for its lack of memorable melodies, or praise it for its unique atmosphere and progression.

Timeless isn't exactly "timeless", but it's unmistakably a noteworthy album in any wide jazz collection, being an interesting and smart link between post-bop, fusion and ECM jazz. Recommended with the guarantee of discovering something pretty fresh, though not exactly stunning.