FunkFreak75 An ECM production of the collaborative music of three of the greatest jazz musicians to have graced the vinyl and plastic grooves of last 40 years of the 20th Century.

1. "Back-Woods Song" (7:54) starts out sounding a bit like an ALLMAN BROTHERS song before the three start exerting their jazzy virtuosity. John Abercrombie, whom I've come to recognize as one of the greatest jazz guitarists ever, really puts on a display of CHET ATKINS-like virtuosic subtlety, also like Chet, often covering the low and middle ranges as well as rhythm--despite the fact that he's got one of the best rhythm sections ever assembled beneath him. The ECM sound is, as one comes to expect, incredibly well recorded, engineered, and rendered unto tape: it seems that every tiny little nuance of each players' performance is captured with pristine accuracy. Dave Holland is such a lyrical bass player that I don't for a minute lament the absence of vocals or words, and when he's soloing, we get to observe the creative/inventive rhythm strokes of Mr. Abercrombie--one of the areas that he excels in a way similar to that of John McLaughlin and Jan Akkerman. While I don't really like this style of music, I find myself sitting back while bathing in the enjoyment of hearing these fine musicians captured for all time, just for me. (13.75/15)

2. "Waiting" (2:13) interesting little loose piece with Dave's bass providing the focal material. Innocuous and forgettable. (Even as I just heard it two minutes ago.) (4.25/5)

3. "May Dance" (11:04) a piece that sounds a lot like the old jazz of the 1960s when the free-jazz artists were really starting to take off. Jack sounds like he's doing the best job playing off of John's lead guitar work, but then Dave Holland is so adept, so attuned that he may be not only in perfect synchrony but also perhaps the lead instrument. Heck! I understand free-jazz so poorly that maybe Jack's the lead--or all three could be racing off in their own direction. What let's me know that the artists aren't too far out there is the fact that there is some cohesion in the form of the pacing. John's guitar play in the sixth minute is so bizarre it reminds me of the free-form guitar playing of Sonny Sharrock or Robert Fripp. We get a nice extended bass solo in the seventh and eighth minutes as Dave and Jack back off to provide only minimal assistance. When double bass players solo like this I feel that they're really just practicing scales and inventing inversions and chords, never really thinking in terms of melody. In the meantime Jack and John's subtleties are equally, if not more, mesmerizing. Oh, to be in their heads in order to gain some inkling of comprehension for what they are doing! Though this is not my favorite form of music, at least with this song I am able to stay with the guys: I'm not driven away by the dissonance or anarchic chaos. (17.75/20)

4. "Unshielded Desire" (4:52) this song starts out as a Jack DeJohnette drum solo (with emphasis on the cymbal play). John enters about 30-seconds in with some wah-wah-ed staccato machine gun note play, but I find myself still glued to Jack's performance. I'm astonished to find that over two minutes into the song it's still a duet: nary a sign of Dave Holland! And yet, it's brilliant! It's breath-taking! The edge of Jazz-Rock Fusion but fascinating! At the end of the fourth minute the boys turn on the rock afterburners and really charge it up! Wow! Terry Kath and Danny Seraphine: eat your hearts out! (9.5/10)

5. "Jamala" (7:47) delicate cymbal play with sparse- and subtle-ly played volume controlled electric guitar note play and quiet, mostly accenting bass far beneath. John hits some stunningly beautiful riffs and runs, providing just enough space in between to allow the simple listener, such as myself, time to digest the offerings. Such pristine clarity in the guitar notes (and cymbals)! Though the music of this song falls more into the realm of pure jazz, it is still quite accessible and totally enjoyable. On the version I have access to, this song is over seven minutes long--with the final three minutes spaciously evolving into some aggressive, distorted, more-rock-oriented guitar and band play for the final minute. Wow! Now that was unexpected! (13.875/15)

6. "Sorcery 1" (10:56) Jack, followed by a very melodic Dave Holland, establishing a song with some blues-rock attitude. I like it! John enters with the same aggressive, distorted guitar tone that snuck into the end of the previous song. Now this is cutting edge Jazz-Rock Fusion of the highest order! These three musicians are so gifted! To be able to deliver this kind of cohesive music while playing at such high levels of virtuosity--and making it all feel as if it's so EFFORTLESS! Incredible! John sounds as if Jimi Hendrix were gifted, and Dave as if Noel Redding had a clue, and Mitch Mitchell had some skill and restraint! The musicians' performances are so mesmerizing that the song's eleven minutes pass by in the blink of an eye! Dave's intuition for holding back! Jack's intuition for providing such brilliant accent to John's guitar! And John! The dude that makes it all feel so Power Trio rock 'n' roll! Not a note wasted and yet not a note that isn't jaw-droppingly shocking! One of the best trio songs I've ever heard! Total perfection! (20/20)

Total Time: 44:46

Gateway's variety surprises me. The level of virtuosity coming from all three musicians even comes as a surprise. (I mean: I knew, but I never KNEW!) And then put that immaculate ECM production value from Manfred Eicher into the mix and you have an indisputable masterpiece of Jazz-heavy Jazz-Rock Fusion.

A/five stars; a total masterpiece of Jazz-Rock Fusion. If everyone heard that last song, "Sorcery I", alone, there would be a reshuffling of the greatest power trio songs of all-time. Step down Jimi, Eric, Larry, Stevie Ray, and Johnny Mac! There was a trio that was way better than you! And please: let's start adjusting our pantheon of guitar greats to include Mr. John Abercrombie at or near the very top!

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.