GATO BARBIERI with LONNIE LISTON SMITH — Bolivia (1973-2001) JAZZ! Series | FLAC (tracks+.cue), lossless

In 1973, Argentinean saxophonist Gato Barbieri contemplated a move to a more commercially viable, accessible sound, one that appealed to both North and South American audiences. He moved from the jazz vanguard toward it's exotic center (and finally into the commercial world altogether) with a number of records, including this one, which explored the various rhythms, melodies, and textures of Afro-Cuban and Latin American sounds. Bolivia features Barbieri immediately prior to his Impulse recordings that resulted in the celebrated four-chapter Latin America series. Utilizing the talents of musicians as diverse as guitarist John Abercrombie, pianist Lonnie Liston Smith, drummer and percussionists Airto Moreira, M'tume, Bernard "Pretty" Purdie, Gene Golden, and Moulay Ali Hafid, as well as bassists Stanley and J.F. Jenny Clark. Barbieri's musical reach is everywhere here. There's the bolero-like romp of "Merceditas," where his normally raw-toned, feeling-centered playing is kicked up a couple notches into a frenetic, emotional tidal wave, and the haunting "Bolivia," full of shimmering percussion and pianistic glissandi courtesy of Smith. Barbieri's loping, spare playing is reminiscent of Coltrane stating of the melodic frames in "India." There is also the melody of the traditional "Eclypse" wedded to a gorgeous, sensual Cuban son-like melody "Michellina" (for Barbieri's Italian born wife). The final two of the album's five tracks are based in Argentinean folk forms associated with the tango, but are less formal, more open, and modally charged. Setting both "Ninos" and "Vidala Triste" in minor keys with open modal themes, improvisation happens -- á la Ornette Coleman -- in the heart of the melody, despite the intricate nature and complex time and key changes inherent in both tunes. Ultimately, Bolivia is a sensual, musically adept, and groundbreaking recording, which offered Barbieri a chance to come in from the avant-garde before heading back to the fringes with the Latin America series. A fine effort that is finally getting the notoriety it deserves.  
-> This comment is posted on Allmusic by Thom Jurek, follower of our blog 'O Púbis da Rosa' <- 
Tracklist :
1 Merceditas 9:04
Composed By – Gato Barbieri
2 Eclypse / Michellina 6:21
 – Traditional
Composed By [Michellina] – Gato Barbieri
3 Bolivia 7:43
Composed By – Gato Barbieri
4 Ninos 7:11
Composed By – Gato Barbieri
5 Vidala Triste 5:30
Composed By – Gato Barbieri, Michelle Barbieri
Credits :
Acoustic Guitar – John Abercrombie (tracks: 4 to 6)
Bass – J.-F. Jenny-Clark (tracks: 1 to 3), Stanley Clarke (tracks: 2 to 4, 5, 6)
Drums – Pretty Purdie (tracks: 1)
Electric Guitar – John Abercrombie (tracks: 1)
Percussion – Airto Moreira, Gene Golden (tracks: 2), James M'tume (tracks: 1, 3 to 6), Moulay "Ali" Hafid (tracks: 5)
Piano, Electric Piano [Rhodes] – Lonnie Liston Smith
Tenor Saxophone, Flute, Vocals – Gato Barbieri

JOHN ABERCROMBIE — The First Quartet (2015) RM | 3CD-SET | Old & New Masters Edition Series | FLAC (tracks+.cue), lossless

As part of ECM's Old & New Masters series of box sets, John Abercrombie's The First Quartet collects three albums recorded for the label between 1978 and 1980. Two titles, 1979's Abercrombie Quartet and 1981's M, have been unavailable for decades. By the guitarist's own admission, this band represents the guitarist's first time as a "proper" bandleader. His earlier dates on ECM had been co-led sessions (Timeless, Gateway, Sargasso Sea), a solo album (Characters), and sideman gigs (Jack DeJohnette's New Directions, David Liebman's Lookout Farm, etc.). These three dates also represent an important foundation for Abercrombie as a composer. Arcade's title track is an energetic post-bop number that borders on jazz-rock, with keen interactions between the front-line players and the rhythm section. Another aspect of the band's conversational ability can be heard on Richie Beirach's gentle "Nightlake." Their lyrical interplay on the ballad "Paramour" is almost luxurious. The long journey on the pianist's "Alchemy" spends its first half as a ballad, but eventually moves into higher gear with almost euphoric group improvisation. Abercrombie Quartet's most inspiring moments include the syncopated cooking on "Blue Wolf," the moody yet focused "Dear Rain," and the more rockist groove that drives "Riddles." It gets more ponderous on "Stray" (where the piano solo jumps from the tune's nearly washed-out body as a genuine surprise) and on the closing "Foolish Dog" -- despite a fine mandolin-guitar break and woody, fluent solo from George Mraz. "Boat Song," the opening track on M, showcases a deeper collective confidence all around. The tune emerges rather than begins. The foundation is a repetitive six-note pattern by Beirach. Abercrombie catches and builds on it, seemingly one extra note at a time, until he's sliding through one series of fluid harmonic inventions to the next during his solo. The shimmering cymbal and snare work by Peter Donald adds a swinging waltz feel to the bottom. "What Are the Rules" is a canny open improvisation that works exceptionally well. "Flashback" haltingly follows suit before transforming itself into a funky groover. Closer "Pebbles," written by the bassist, seems to circle back to "Boat Song," but it's more elliptical until his bassline grounds the more atmospheric interplay of the front line and Donald becomes the bridge to communication. While none of these recordings is perfect, they are all necessary parts of Abercrombie's catalog. What's more, they remain thoroughly engaging after all these decades. The simple fact that the quartet form remains one of this guitarist's favorite ways of working well into the 21st century can be attributed to the creative fire and enduring merit of what is found here. 
-> This comment is posted on Allmusic by Thom Jurek, follower of our blog 'O Púbis da Rosa' <- 
Arcade (1979)
1. Arcade 9:43 
Composed By – John Abercrombie
2. Nightlake 5:35 
Composed By – Richie Beirach
3. Paramour 5:09 
Composed By – John Abercrombie
4. Neptune 7:34 
Composed By – Richie Beirach
5. Alchemy 11:33 
Composed By – Richie Beirach 
Abercrombie Quartet (1980)
1. Blue Wolf 8:33 
Composed By – John Abercrombie
2. Dear Rain 6:54 
Composed By – John Abercrombie
3. Stray 6:36 
Composed By – Richie Beirach
4. Madagascar 9:05 
Composed By – Richie Beirach
5. Riddles 8:12 
Composed By – Richie Beirach
6. Foolish Dog 6:18 
Composed By – John Abercrombie 
M (1981)
1. Boat Song 9:57 
Composed By – John Abercrombie
2. M 6:19 
Composed By – John Abercrombie
3. What Are the Rules 7:33 
Composed By – Richie Beirach
4. Flashback 6:17 
Composed By – Richie Beirach
5. To Be 5:17 
Composed By – John Abercrombie
6. Veils 5:44 
Composed By – Richie Beirach
7. Pebbles 4:45
Composed By – George Mraz
Credits :
Double Bass – George Mraz
Drums – Peter Donald
Guitar, Mandoguitar [Mandolin Guitar] – John Abercrombie
Piano – Richie Beirach

JACK DeJOHNETTE — Sorcery (1974-1994) RM | Original Jazz Classics Limited Edition Series | FLAC (tracks+.cue), lossless

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), are less memorable. While one admires DeJohnette's willingness to take chances, this music has not dated well. Scott Yanow
Tracklist :
1. Sorcery, No. 1 - 13:50
 Jack DeJohnette
2. The Right Time - 2:21
 Jack DeJohnette
3. The Rock Thing - 4:14
 Jack DeJohnette
4. The Reverend King Suite: Reverend King/Obstructions/The Fatal Shot/Mourning/Unrest/New Spirits on the Horizon (John Coltrane/DeJohnette) - 14:19
 John Coltrane / Jack DeJohnette
5. Four Levels of Joy - 3:09
 Jack DeJohnette
6. Epilog (DeJohnette-Holland) - 3:11
 Jack DeJohnette / Dave Holland
Credits :
Jack DeJohnette - Drums, Keyboards, C-Melody Saxofone
Bennie Maupin - Bass Clarinet
John Abercrombie, Mick Goodrick - Guitars
Dave Holland - Bass
Michael Fellerman - Metaphone, Trombone

JACK DeJOHNETTE — Pictures (1977) FLAC (tracks+.cue), lossless

Tracklist :
1 Picture 1 4:48
 – Jack DeJohnette
2 Picture 2 7:57
 – Jack DeJohnette
3 Picture 3 5:13
 – Jack DeJohnette, John Abercrombie
4 Picture 4 5:21
 – Jack DeJohnette
5 Picture 5 6:05
 – Jack DeJohnette
6 Picture 6 7:52
 – Jack DeJohnette
Credits :
Drums, Piano, Organ – Jack DeJohnette
Electric Guitar, Acoustic Guitar – John Abercrombie (tracks: 3 to 5)

BILLY COBHAM — Crosswinds (1974-2001) RM | Atlantic Masters Series | FLAC (tracks+.cue), lossless

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. Scott Yanow
Tracklist :
Spanish Moss - "A Sound Portrait" 17:08
1.a Spanish Moss 4:08
Acoustic Bass, Electric Bass – John Williams 
Guitar – John Abercrombie
Keyboards – George Duke
Percussion – Billy Cobham
Percussion [Latin] – Lee Pastora
Trombone – Garnett Brown
Trumpet – Randy Brecker
Woodwind – Michael Brecker
1.b Savannah The Serene 5:09
Acoustic Bass – John Williams  
Acoustic Guitar – John Abercrombie
Keyboards [Solo] – George Duke
Percussion – Billy Cobham
Trombone [Solo] – Garnett Brown
1.c Storm  2:46
Percussion [Solo] – Billy Cobham
1.d Flash Flood 5:05
Acoustic Bass, Electric Bass – John Williams  
Guitar [Solo] – John Abercrombie
Keyboards – George Duke
Percussion – Billy Cobham
Percussion [Latin] – Lee Pastora
Trombone – Garnett Brown
Trumpet [Solo] – Randy Brecker
Woodwind – Michael Brecker
2 The Pleasant Pheasant 5:11
Acoustic Bass, Electric Bass – John Williams  
Guitar – John Abercrombie
Keyboards [Solo] – George Duke
Percussion [Latin, Solo] – Lee Pastora
Percussion [Solo] – Billy Cobham
Trombone – Garnett Brown
Trumpet – Randy Brecker
Woodwind [Solo] – Michael Brecker
3 Heather 8:25
Acoustic Bass, Electric Bass – John Williams  
Guitar – John Abercrombie
Keyboards [Solo] – George Duke
Percussion – Billy Cobham
Percussion [Latin] – Lee Pastora
Trombone – Garnett Brown
Trumpet – Randy Brecker
Woodwind [Solo] – Michael Brecker
4 Crosswind 3:39
Acoustic Bass, Electric Bass – John Williams 
Guitar [Solo] – John Abercrombie
Keyboards – George Duke
Percussion – Billy Cobham
Percussion [Latin] – Lee Pastora
Trombone – Garnett Brown
Trumpet – Randy Brecker
Woodwind – Michael Brecker

MARK EGAN — As We Speak (2006) 2CD | FLAC (image+.cue), lossless

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. Matt Collar
Tracklist
1-1 Spirals 6:22
Mark Egan 
1-2 As We Speak 10:01
Mark Egan 
1-3 Vanishing Point 9:38
Mark Egan 
1-4 Mississippi Nights 6:19
Mark Egan 
1-5 Alone Together 8:10
Mark Egan 
1-6 Your Sweet Way 5:55
Mark Egan 
1-7 Three-Way Mirror 9:07
Mark Egan 
1-8 Tone Poem For My Father 4:59
Mark Egan 
2-1 Shade And Shadows 8:54
Mark Egan 
2-2 Next Left 2:17
John Abercrombie / Mark Egan / Danny Gottlieb
2-3 Dream Sequence 3:39
John Abercrombie / Mark Egan / Danny Gottlieb
2-4 Depraw 7:49
Mark Egan 
2-5 Stiletto 5:21
Mark Egan 
2-6 Plane To The Trane 7:46
Mark Egan 
2-7 Time Out 3:37
John Abercrombie / Mark Egan / Danny Gottlieb
2-8 Summer Sand 2:25
John Abercrombie / Mark Egan / Danny Gottlieb
Credits
Bass Guitar – Mark Egan
Drums – Danny Gottlieb
Guitar – John Abercrombie

DANNY GOTTLIEB — Aquamarine (1987) FLAC (tracks+.cue), lossless

Tracklist:
1. Aquamarine (Doug Hall) 4:59
2. Monterey (Danny Gottlieb, Joe Satriani) 4:22
3. The Aviary (Danny Gottlieb, John Abercrombie) 4:39
4. Alaska (Danny Gottlieb, Doug Hall) 6:52
5. Waterfall (Doug Hall) 3:08
6. Being (Mitchell Forman) 6:27
7. Duet (John McLaughlin) 3:28
8. Upon A Time (John Abercrombie) 4:54
9. Peace Of Mind (John McLaughlin) 3:33
Credits:
Personnel:
Bass – Mark Egan (tracks: 2, 4, 5, 9)
Drums – Danny Gottlieb
Guitar – Jeff Mironov (tracks: 4), Joe Satriani (tracks: 2), John Abercrombie (tracks: 1, 3, 8), John McLaughlin (tracks: 7), Steve Kahn (tracks: 1)
Keyboards – Mitchell Forman (tracks: 2)
Keyboards, Producer, Engineer, Mixed By – Doug Hall (tracks: 1, 2, 4, 5)
Percussion – Cafe (tracks: 1, 2, 5)
Saxophone – Bill Evans (tracks: 4, 5)
Vibraphone – Dave Samuels (tracks: 5)

THE GIL EVANS ORCHESTRA — Plays the Music of Jimi Hendrix (1974-2002) RM | Serie Bluebird First Editions | FLAC (tracks+.cue), lossless

This CD reissue (which adds additional material to the original LP program) is much more successful than one might have expected. Jimi Hendrix was scheduled to record with Gil Evans' Orchestra but died before the session could take place. A few years later, Evans explored ten of Hendrix's compositions with his unique 19-piece unit, an orchestra that included two French horns, the tuba of Howard Johnson, three guitars, two basses, two percussionists and such soloists as altoist David Sanborn, trumpeter Marvin "Hannibal" Peterson, Billy Harper on tenor, and guitarists Ryo Kawasaki and John Abercrombie. Evans' arrangements uplift many of Hendrix's more blues-oriented compositions and create a memorable set that is rock-oriented but retains the improvisation and personality of jazz. [This album was re-released in 2002 on the Bluebird label with four bonus tracks from the same sessions] Scott Yanow
Tracklist :
1. ANGEL 4:09
Arranged By – Tom Malone
Soloist, Alto Saxophone – David Sanborn
2. CROSSTOWN TRAFFIC / LITTLE MISS LOVER 6:34
Arranged By – Tom Malone
Vocals – "Hannibal" Marvin Peterson
3. MEDLEY: CASTLES MADE OF SAND / FOXY LADY 11:30
Arranged By – Gil Evans, Warren Smith
Tenor Saxophone – Billy Harper
Tuba – Howard Johnson
4. UP FROM THE SKIES 10:39
Arranged By – Gil Evans
Electric Guitar – Ryo Kawasaki
5. 1983 – A MERMAN I SHOULD TURN TO BE 7:29
Arranged By – David Horowitz
Electric Guitar – Keith Loving
Flugelhorn – Lew Soloff
6. VOODOO CHILE 5:03
Arranged By, Tuba – Howard Johnson
7. GYPSY EYES 3:44
Arranged By, Soprano Saxophone – Trevor Koehler
8. LITTLE WING 6:34
Alto Saxophone – David Sanborn
Arranged By – Gil Evans
Electric Bass – Herb Bushler
Vocals – "Hannibal" Marvin Peterson
– Alternate And Unused Takes –
9. ANGEL (ALTERNATE TAKE) 4:07
Alto Saxophone – David Sanborn
Arranged By – Tom Malone
10. CASTLES MADE OF SAND (ALTERNATE TAKE) 5:04
Arranged By – Gil Evans
Tenor Saxophone – Billy Harper
Tuba – Howard Johnson
11. UP FROM THE SKIES (ALTERNATE TAKE) 10:02
Arranged By – Gil Evans
Electric Guitar – Ryo Kawasaki
Trumpet – "Hannibal" Marvin Peterson
12. GYPSY EYES (ALTERNATE TAKE) 3:23
Arranged By, Soprano Saxophone – Trevor Koehler
Personnel :
Gil Evans - Piano, Electric Piano, Arranger, Conductor
Hannibal Marvin Peterson - Trumpet, Vocals
Lew Soloff - Trumpet, Flugelhorn, Piccolo Trumpet
Peter Gordon - French Horn
Pete Levin - French Horn, Synthesizer
Tom Malone - Trombone, Bass Trombone, Flute, Synthesizer, Arranger
Howard Johnson - Tuba, Bass Clarinet, Electric Bass, Arranger
David Sanborn - Alto Saxophone, Soprano Saxophone, Flute
Billy Harper - Tenor Saxophone, Flute
Trevor Koehler - Tenor Saxophone, Alto Saxophone, Flute, Baritone Saxophone, Soprano Saxophone, Arranger
John Abercrombie, Ryo Kawasaki - Electric Guitar
Keith Loving - Guitar
Don Pate - Bass
Michael Moore - Electric Bass, Acoustic Bass
Bruce Ditmas - Drums
Warren Smith - Vibraphone, Marimba, Chimes, Latin Percussion
Sue Evans - Drums, Congas, Percussion

LEE KONITZ - Sound of Surprise (1999) FLAC (tracks+.cue), lossless

While Whitney Balliett coined the phrase "sound of surprise" to describe jazz, it also pretty well sums up the entire career of Lee Konitz, whose fluid, dynamic alto has been a constant source of inspiration, distinction, and clarity. This effort teams him with such empathetic instrumental foils as Ted Brown John Abercrombie Marc Johnson and Joey Baron, who are superb rhythmic navigators, plotting interesting paths for Konitz with metered maps of their own drafting. Brown, a quite literate tenor saxophonist much in the style of old Konitz confrere Warne Marsh, has never had much use for the music business, and is rarely heard anymore. But he drops in here, shining on four cuts. The loose, freewheeling "Hi Beck" finds Brown and Konitz in unison, then counterpointed on heads and tails, with Baron tastefully trading eights in between. They play individual lines during the course of the ballad "Soddy & Bowl" but are firmly welded together for "Thingin'," the now-obligatory Konitz adaptation of "All the Things You Are." With Abercrombie, who is much more reserved and less affected, they do a crisp bossa line of "Mr. 88," the swinging bopper "Friendlee," and "Crumbles," a good swinger with upper-register melody. The bluesy "Bits & Pieces" is randomly tossed about, as Johnson drops out and then saunters back in with a solo, as does the roiling Baron. The famous "Subconsciouslee" finds each member playing by himself, then together, then with solos and rhythmic backup. Baron is really head and shoulders above most drummers; his dynamic concept consistently commands attention. Yet another fine recording from Konitz, this adds to an already immense discography that seems to get broader and deeper as it lengthens. Michael G. Nastos  
Tracklist :
1    Hi Beck    6:17
2    Gundunla    3:46
3    Mr. 88    4:39
4    Bits And Pieces    3:00
5    Blues Suite    7:51
6    Friendlee    7:32
7    Soddy And Bowl    5:39
8    Singin'    2:26
9    Wingin' 6:40
Composed By – Joey Baron, John Abercrombie, Lee Konitz, Marc Johnson , Ted Brown
10    Thingin'    7:26
11    Crumbles    5:33
12    Subconsciouslee    8:20
Credits :
Alto Saxophone, Vocals, Composed By – Lee Konitz
Bass – Marc Johnson
Drums – Joey Baron
Guitar – John Abercrombie
Tenor Saxophone – Ted Brown

CHARLES LLOYD - Voice in the Night (1999) FLAC (tracks+.cue), lossless

Charles Lloyd teams with a different band here, replacing Bobo Stenson's piano with John Abercrombie's guitar, bassist Anders Jormin with Dave Holland, and drummer Billy Hart with Billy Higgins. The title references the feeling on the album in that Lloyd was going for more of a jazz sound, something more basic and lyrical as opposed to exotic and unusual. Of the eight tunes here, six are Lloyd originals, one is a cover of the Elvis Costello/Burt Bacharach hit "God Give Me Strength," and one is the Billy Strayhorn classic, "A Flower Is a Lovesome Thing," which follows a gorgeous reprise of Lloyd's own "Forest Flower" from the '60s. The Costello/Bacharach tune is the most telling for this band in that they take a standard pop melody and turn it into a modal exploration of harmony and chromatic invention. As Lloyd plays variations on the melody, the band turns one harmonic sequence into a pillar from Coltrane's version of "My Favorite Things" and back. The "Forest Flower" suite is awesome. The interplay between Lloyd and Abercrombie is fully realized as they trade flatted sevenths and then Abercrombie moves into augmented ninths and diminished sixths before both Lloyd and he solo against the harmonic body of the tune while retaining its melodic sensibility. It's just breathtaking.
|> This comment is posted on Allmusic by Thom Jurek, follower of our blog 'O Púbis da Rosa' <|
Tracklist :
1     Voice in the Night 6'30
Charles Lloyd    
2     God Give Me Strength 4'45
Burt Bacharach / Elvis Costello    
3     Dorotea's Studio 7'47
Charles Lloyd    
4     Requiem 5'57
Charles Lloyd    
5     Pocket Full of Blues 11'41
Charles Lloyd    
6     Homage 9'27
Charles Lloyd    
7     Forest Flower: Sunrise/Sunset 15'22
Charles Lloyd
8     A Flower Is a Lovesome Thing 6'49
Billy Strayhorn
Credits :
Cover, Photography By [Photos] – Dorothy Darr
Double Bass – Dave Holland
Drums, Percussion – Billy Higgins
Guitar – John Abercrombie
Producer – Manfred Eicher
Tenor Saxophone – Charles Lloyd

CHARLES LLOYD - The Water Is Wide (2000) WV (image+.cue), lossless

Like 1999's Voice in the Night, The Water Is Wide features Charles Lloyd in the company of one of his dearest friends, drummer Billy Higgins, who would pass away less than a year after the album's release. Guitarist John Abercrombie also remains on board, but Lloyd extends the group's generational span by recruiting two younger players: pianist Brad Mehldau and bassist Larry Grenadier. The album begins with a straightforward, elegant reading of Hoagy Carmichael's "Georgia." Lloyd goes on to lead his ensemble through two lesser-known Ellington pieces, "Black Butterfly" and "Heaven"; Strayhorn's "Lotus Blossom"; two original ballads, "Figure In Blue" and "Lady Day"; and Cecil McBee's "Song of Her," a track from Lloyd's 1968 classic, Forest Flower. It's a glorious amalgam of sound: the leader's unique, glissando-laden phraseology, Mehldau's harmonic nuances, unerring rhythmic backbone from Grenadier and the majestic Higgins -- and only occasionally, pointed and eloquent guitarism from Abercrombie. The session ascends to an even higher level with the inclusion of two spirituals, "The Water Is Wide" and "There Is a Balm in Gilead." The latter features just Lloyd and Higgins, starkly setting the melody against a hypnotic drum chant. In addition, Lloyd's closing "Prayer," written for Higgins during a life-threatening episode back in 1996, features just the composer, Abercrombie, and guest bassist Darek Oles. (Oddly, Oles' credit is relegated to the fine print.) These tracks, most of all, resonate with personal meaning and profundity. David R. Adler
Tracklist :
1    Georgia 6'36
Composed By – Hoagy Carmichael
2    The Water Is Wide 5'01
Traditional
Arranged By – Charles Lloyd
3    Black Butterfly 4'35
Composed By – Duke Ellington
4    Ballade And Allegro 3'45
Composed By – Charles Lloyd
5    Figure In Blue 5'12
Composed By – Charles Lloyd
6    Lotus Blossom 5'37
Composed By – Billy Strayhorn
7    The Monk And The Mermaid 8'34
Composed By – Charles Lloyd
8    Song Of Her 7'36
Composed By – Cecil McBee
9    Lady Day 7'28
Composed By – Charles Lloyd
10    Heaven 4'14
Composed By – Duke Ellington
11    There Is A Balm In Gilead 5'12
Traditional
Arranged By – Charles Lloyd
12    Prayer 4'20
Composed By – Charles Lloyd
Credits :
Design, Photography By [Photos], Painting – Dorothy Darr
Double Bass – Darek Oles (pistas: 12), Larry Grenadier
Drums – Billy Higgins
Executive-Producer – Manfred Eicher
Guitar – John Abercrombie
Piano – Brad Mehldau
Producer – Charles Lloyd, Dorothy Darr
Tenor Saxophone – Charles Lloyd
Text By – Robinson Jeffers

CHARLES LLOYD - Hyperion with Higgins (2001) FLAC (tracks+.cue), lossless

The December 1999 sessions that produced The Water Is Wide yielded enough material for a second album. Hyperion With Higgins is the result, and its title reflects the sad fact that Billy Higgins, Lloyd's friend and soul mate and the session's drummer, passed away not long after the music was put to tape. The music's spiritual quality is heightened by the after-the-fact dedication. Quite unlike The Water Is Wide, Hyperion With Higgins is comprised entirely of Lloyd's original compositions, although the same lineup is featured: Lloyd, Higgins, John Abercrombie, Brad Mehldau, and Larry Grenadier. After a couple of fairly straightforward jazz pieces ("Dancing Waters, Big Sur to Bahia" and "Bharati"), the quintet delves into two longer works: "Secret Life of the Forbidden City" and the Coltrane-esque "Miss Jessye." They then romp through the title track, a spirited mid-tempo blues, before tackling the album's centerpiece: the five-part "Darkness on the Delta Suite," an ambitious, free-leaning melange of Eastern and rural blues connotations (with a brilliant solo interlude by Abercrombie). The last two pieces -- "Dervish on the Glory B" and "The Caravan Moves On" -- depart almost completely from jazz vernacular. The former recalls the upbeat, folk-like drone of the sunset portion of "Forest Flower," while the latter, featuring Lloyd on taragato, evokes not only the Middle Eastern desert, but also the inexorable march of time. Thus does a fitting homage to the departed Higgins conclude this exceptionally focused, all-original statement from Charles Lloyd. David R. Adler
Tracklist :
1     Dancing Waters, Big Sur To Bahia (For Gilberto and Caetano) 5'51
Charles Lloyd
2     Bharati 6'59
Charles Lloyd
3     Secret Life Of The Forbidden City 10'03
Charles Lloyd
4     Miss Jessye 10'21
Charles Lloyd
5     Hyperion With Higgins 7'19
Charles Lloyd
6     Darkness On The Delta Suite: Mother Where Art Thou/Robert Johnson On The Bank Of The Ganges/Perseverance/Till The River Runs Free/Peace In The Storm 12'39
Charles Lloyd
7     Dervish On The Glory B 8'23
Charles Lloyd
8     The Caravan Moves On 8'32
Charles Lloyd
Credits :
Double Bass – Larry Grenadier
Drums, Percussion – Billy Higgins
Executive-Producer – Manfred Eicher
Guitar – John Abercrombie
Photography By – Dorothy Darr
Piano – Brad Mehldau
Producer – Charles Lloyd, Dorothy Darr
Tenor Saxophone, Tárogató [Taragato], Maracas – Charles Lloyd

CHARLES LLOYD - Lift Every Voice (2002) 2xCD | FLAC (tracks+.cue), lossless

As Charles Lloyd prepared to kick off a gig at New York's Blue Note club the night of Tuesday September 11, 2001, some murderous terrorists had some other plans for that morning a bit further south. The gig thus didn't begin until that Friday, and the wheels in Lloyd's mind kept on rolling through the aftermath, resulting in this double-CD album. Going his own way, he drew from public-domain spirituals, pop/rock songs, protest R&B, folk songs, and Ellingtonia and mixed them with his own compositions and meditations, assembling and reining in top-notch musicians like pianist Geri Allen, guitarist John Abercrombie, bassists Marc Johnson and Larry Grenadier, and drummer Billy Hart. The result is one of the most unusual and deeply spiritual recordings in Lloyd's always-unusual career, one that says more with fewer means. The leadoff track itself is an ear-opener, Lloyd's "Hymn to the Mother," which opens the gates with an Indian flavor, with its arco bass drone on a single chord and sitar-like articulation from Abercrombie. It's a miraculously subtle yet compelling way to grab your attention, like the introduction to a raga, thoughtfully sustained over 15 minutes. Somehow, the rest of the 130-minute album manages to maintain and develop the rapt atmosphere, reaching its central pivot of emotion three tracks into the second disc with the Coltrane quartet-like treatment of "Go Down Moses." As is often the case in a Lloyd performance, the tenor saxophonist is tempted to go to the outside, but usually in a gentle way, his head now in a thoughtful fog. Marvin Gaye's "What's Going On" stays largely with the tune except toward the close, matching the haunted, dazed mood of the original. Billy Strayhorn is appropriately represented by "Blood Count"; Lloyd's own "Beyond Darkness" finds him on flute. Even "Amazing Grace," the over-exposed staple of every other folk or gospel revival, sounds fresh, devout, and genuine. Each disc concludes with something meaningful: Lloyd mourns alone and soulfully on "Hafez, Shattered Heart" at disc one's close and one more lengthy meditation, followed by an up-tempo release, "Prayer, the Crossing," ends disc two. Let responses like this from the jazz world be the real legacy of the aftermath of 9/11. Richard S. Ginell  
Tracklist 1 :
1     Hymn To The Mother 15'00
Charles Lloyd
2     You Are So Beautiful 4'05
Bruce Fisher / Billy Preston
3     Amazing Grace 4'42
Public Domain / Charles Lloyd / John Newton / Traditional
4     Red Bank 9'40
Charles Lloyd
5     What's Going On 5'07
Renaldo Benson / Al Cleveland / Marvin Gaye
6     Angel Oak 3'33
Charles Lloyd
7     Te Amaré 6'46
Silvio Rodríguez
8     I'm Afraid 7'38
Duke Ellington / Don George
9     Hafez, Shattered Heart 4'43
Charles Lloyd
Tracklist 2 :
1     Rabo de Nube 7'05
Silvio Rodríguez
2     Blood Count 5'06
Billy Strayhorn
3     Go Down Moses 10'37
Charles Lloyd / Traditional
4     Beyond Darkness 7'51
Charles Lloyd
5     Nocturne 6'12
Charles Lloyd
6     Wayfaring Stranger 8'35
Charles Lloyd / Traditional
7     Deep River 6'25
Charles Lloyd / Traditional
8     Lift Every Voice And Sing 3'08
James Weldon Johnson / John Johnson / Charles Lloyd / Traditional
9     Prayer, The Crossing 14'03
Charles Lloyd
Credits :
Double Bass – Larry Grenadier (pistas: 1-2, 1-8, 2-2, 2-4 to 2-8), Marc Johnson (pistas: 1-1, 1-3 to 1-7, 2-1, 2-3, 2-5, 2-9)
Drums – Billy Hart
Executive-Producer – Manfred Eicher
Guitar – John Abercrombie
Photography By, Design, Producer – Dorothy Darr
Piano – Geri Allen
Tenor Saxophone, Flute, Tárogató [Taragato], Producer – Charles Lloyd

JOHN ABERCROMBIE / RALPH TOWNER - Sargasso Sea (1976-2008) FLAC (image+.cue), lossless

John Abercrombie and Ralph Towner have forever been tied to the ECM roster as leaders and individualists, and initially it was hard to imagine their styles being compatible. As an amplified electric guitarist, Abercrombie's steely, sometime unearthly sound was an uneven puzzle piece alongside the graphic, stoic, classically oriented style of Towner. Yet on Sargasso Sea, there are several instances where they merge together as one, feeling their way through pure improvisations, angular and colorful motifs, or thematic nuances and a certain strata of consciousness that makes a world of common sense. There are selections where they both play acoustic guitars, but it is mostly Abercrombie's hopped up sound through an amp over Towner's bold and beautiful unplugged instrument, tossing in a piano overdubbed on two tracks. Where selections such as "Fable" are folksy and far from overwrought, "Avenue" lopes gracefully and the exceptional "Parasol" is semi-lyrical. Abercrombie's guitar stands in stark contrast on the near macabre title track, and more so during "Elbow Room" with heavier moans, cries, vibrato, echoplex slide incursions, and Towner as an afterthought. The best track "Staircase," with twin acoustic guitars, sports tricky intricate lines and changes only virtuosi can achieve. In laid-back surrender for "Romantic Descension," and in passive voicings on "Over & Gone," Towner need not strain to make his brilliant voice heard clearly. An uneven recording for many listeners and critics, Sargasso Sea deserves a second chance, not as an absolutely flawed, imperfect, or unbalanced effort. Like a tale of two cities, it stands as a unique project, perhaps deserving a more refined approach. Though there was a follow-up album released, a third-time's-the-charm contemporary revisit from these masterful guitar geniuses would be welcome. by Michael G. Nastos  
Tracklist :
1     Fable 8:41
John Abercrombie
2     Avenue 5:19
John Abercrombie
3     Sargasso Sea 4:01
John Abercrombie / Ralph Towner
4     Over and Gone 2:51
John Abercrombie
5     Elbow Room 5:11
John Abercrombie / John Towner / Ralph Towner
6     Staircase 6:25
Ralph Towner
7     Romantic Descension 3:17
John Abercrombie
8     Parasol 5:24
Ralph Towner
Credits :
Electric Guitar, Acoustic Guitar – John Abercrombie
Producer [Produced By] – Manfred Eicher
Twelve-String Guitar [12-String], Classical Guitar, Piano – Ralph Towner

JOHN SCOFIELD / JOHN ABERCROMBIE - Solar (1984-1996) APE (image+.cue), lossless

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. by Ken Dryden
Tracklist  
1 Solar 4:03
Written By – Miles Davis
2 Even Steven 6:52
Written By – John Abercrombie
3 Four On Six 6:22
Written By – Wes Montgomery
4 Sing Song 6:19
Written By – John Abercrombie
5 Small Wonder 6:23
Written By – John Scofield
6 I Should Care 6:37
Written By – Axel Stordahl, Paul Weston, Sammy Cahn
7 If You Could See Me Now 5:59
Written By – Tadd Dameron
Credits
Bass – George Mraz
Drums – Peter Donald
Guitar – John Abercrombie, John Scofield
Mandolin [Electric] – John Abercrombie

JOHN ABERCROMBIE QUARTET - Arcade (1979-2001) APE (image+.cue), lossless

Tracklist :
1 Arcade  9:37
Composed By – John Abercrombie
2 Nightlake  5:30
Composed By – Richie Beirach 
3 Paramour  5:05
Composed By – John Abercrombie
4 Neptune  7:28
Composed By – Richie Beirach 
5 Alchemy  11:30
Composed By – Richie Beirach
Credits :
Bass – George Mraz
Drums – Peter Donald
Guitar, Mandolin [Electric Mandolin] – John Abercrombie
Piano – Richie Beirach
Producer – Manfred Eicher

JOHN ABERCROMBIE - Animato (1990) FLAC (tracks+.cue), lossless

Animato is not so much John Abercrombie's date simply because his name is listed first alphabetically. It is much more the music of Vince Mendoza, who composed six of the eight selections, and whose work on synthesizer is the dominant voice on this set of ethereal progressive instrumental music. Drummer Jon Christensen takes no backseat in urging the music forward with a subtle presence that represents a distinct primal and tribal jazz element. What electric guitarist Abercrombie does is link with Mendoza, merging his own synthesized blends of earth, sky and space to create beautiful textures and soundscapes in tandem with Mendoza's conceptual arrangements and expanded color palates. In "First Light" and "Last Light," the trio has touched on a theoretical circadian cycle, beginning in darkness, peace, serenity, and quietude, merging to darting guitar lines, bright steel drum samples, complex and dense activity, with Christensen's drum work a steadying and balanced influence. There's a hymnal quality in the airy "Single Moon" and the thin, dim "For Hope of Hope" with Mendoza's organ assimilations. "Right Now" is a space spiritual sped into animated bop mode with just Abercrombie's spare guitar and Christensen's fleet Euro swing, while "Ollie Mention" is a little waltz with tiny notes, the most tuneful of these pieces, with Mendoza's keyboards traipsing in dark, sacred, enchanted woodlands. Whooshing, vortex sounds akin to the Fairlight synthesizer identify the core of Abercrombie's lone composition in a somewhat playful fashion, while "Agitato" is clearly nestled in the new age style, a minimalist piece with hard drum accents buoying Abercrombie's individualist hypothesis. An unusual but beautiful item in John Abercrombie's discography, and a coming out for Mendoza, Animato signals a different direction for the ECM label, enabling electronic sounds in a way they had never fully embraced prior. by Michael G. Nastos  
Tracklist :
1     Right Now 7:32
John Abercrombie / Jon Christensen
2     Single Moon 4:20
Vince Mendoza
3     Agitato 5:06
Vince Mendoza
4     First Light 1:35
Vince Mendoza
5     Last Light 4:06
Vince Mendoza
6     For Hope of Hope 8:52
Vince Mendoza
7     Bright Reign 5:11
John Abercrombie
8     Ollie Mention 7:34
Vince Mendoza
Credits :
Synthesizer [Synthesizers] – Vince Mendoza
Drums, Percussion – Jon Christensen
Guitar, Guitar Synthesizer – John Abercrombie
Producer – Manfred Eicher
Programmed By [Synthesizer Programming], Electronic Valve Instrument [EVI] – Judd Miller

JOHN ABERCROMBIE TRIO - Speak of the Devil (1993) FLAC (image+.cue), lossless

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. by Michael G. Nastos  
Tracklist :
1     Angel Food 7:52
Dan Wall
2     Now And Again 6:13
John Abercrombie / Adam Nussbaum / Dan Wall
3     Mahat 8:24
John Abercrombie / Adam Nussbaum / Dan Wall
4     Chorale 8:19
John Abercrombie
5     Farewell 6:15
John Abercrombie
6     BT-U 6:20
Adam Nussbaum
7     Early To Bed 8:17
John Abercrombie
8     Dreamland 9:08
Dan Wall
9     Hell's Gate 7:07
Dan Wall
Credits :
Design [Cover Design] – Barbara Wojirsch
Drums – Adam Nussbaum
Guitar [Guitars] – John Abercrombie
Organ [Hammond B3 Organ] – Dan Wall
Producer – Manfred Eicher

GATEWAY - Homecoming (1994) APE (image+.cue), lossless

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. by Greg Turner
Tracklist :
1     Homecoming 12:41
Dave Holland
2     Waltz New  8:32
John Abercrombie
3     Modern Times 7:30
Dave Holland
4     Calypso Falto 7:47
John Abercrombie
5     Short Cut 6:13
John Abercrombie
6     How's Never 7:34
Dave Holland
7     In Your Arms 5:48
Dave Holland
8     7th D 9:29
Jack DeJohnette
9     Oneness 7:53
Jack DeJohnette (piano)
Credits :
Cover, Design [Cover Design] – Barbara Wojirsch
Double Bass – Dave Holland
Drums – Jack DeJohnette
Guitar – John Abercrombie
Producer – Manfred Eicher

GATEWAY - In the Moment (1997) APE (image+.cue), lossless

The group Gateway (a trio comprised of guitarist John Abercrombie, bassist Dave Holland and drummer Jack DeJohnette, who also plays the Korg wave-drum, a Turkish frame drum and piano) certainly covers a lot of ground. The interplay between the musicians is the main reason to acquire this set. The five group originals sound freely improvised, and they include the Indian-flavored "In the Moment," a full-scale Abercrombie guitar freakout on "Shrubberies" and some quieter moments. Intriguing and atmospheric music. by Scott Yanow
Tracklist :
1    In The Moment    8:36
2    The Enhanced Forest    9:20
3    Cinuçen    6:42
4    Shrubberies    14:01
5    Soft    7:13
Credits :
Design [Cover Design] – Barbara Wojirsch
Double Bass – Dave Holland
Drums, Electronic Drums [Korg Wave-Drum], Frame Drum [Turkish Frame Drum], Piano – Jack DeJohnette
Guitar – John Abercrombie
Producer – Manfred Eicher