Vince Mendoza, London Symphony Orchestra – Epiphany

Styles: Post Bop
Year: 2002
Time: 62:18
File: MP3 @ 320K/s
Size: 142,6 MB
Art: Front

( 7:16) 1. Impromptu
(10:20) 2. Wheaten Sky
( 8:12) 3. Esperanza
( 6:03) 4. Ambivalence
( 9:06) 5. Sanctus
( 8:56) 6. Epiphany
( 7:44) 7. Barcelona
( 4:39) 8. Deep Song

In and out of print since its initial release in '99, composer/arranger Vince Mendoza's Epiphany represents one of the finest examples of orchestration in a jazz setting. While there have been other fine examples of large-scale blending, they have often simply retrofitted existing material, as was the case with last year's Promises Kept, where pianist Steve Kuhn's compositions were lushly interpreted by arranger Carlos Franzetti.

Mendoza is a composer in his own right who may not be known to a broader audience, but has been a favourite source for artists including Gary Burton, John Abercrombie and Charlie Haden since he emerged on the scene in the mid-'80s. He's also a well-respected arranger, having worn that mantle for artists as diverse as Joe Zawinul, Joni Mitchell and Bjork. So it's a good thing that Michael Watts Productions has seen fit to reissue this significant disc so that it can be revisited by a fresh audience.

Unlike some jazz ensemble-with-orchestra collaborations where clumsy transitions between the two do nothing more than highlight their stylistic disparities, this effort reflects Mendoza's views that all the instruments available to him are part of a larger palette. Consequently the entire affair feels completely organic and unforced. There are times when the focus is on the orchestra, other times where the ensemble is in the forefront, and still other occasions where the two meet on common ground. The integration is so seamless that one is often unaware of the remarkable way in which Mendoza shifts the emphasis.

Mendoza has used sequencers as part of the writing process in the past, something that remains evident even on his more recent compositions, where repetition of complex passages act as a backdrop for themes that are occasionally convoluted yet always memorable. But with the broader textures available from the orchestra, he is able to construct subtle rubato passages. On the title track, where the strings gently introduce the piece, drummer Peter Erskine finally and delicately establishes time as the ensemble gradually inserts itself and pianist John Taylor takes a well-constructed solo that seems to intuitively ebb and flow with the support of the orchestra.

And yet as complex as Mendoza's charts can clearly be, even when the meter is irregular, they feature nothing jarring or angular. The overall ambience is lush without being saccharine, tender without being overly sentimental, easy on the ears without losing the challenge that bears new experiences on repeated listens. A broader dramatic arc imbues the entire cycle; one might listen to individual tracks, but taken as a whole Epiphany yields an altogether richer experience. With only six albums to his name, Epiphany is an all-too-rare opportunity to hear Mendoza in his own element, focusing on his own compositions with the broadest possible range of available textures and an all-star cast of improvisers. A classic. By John Kelman
https://www.allaboutjazz.com/epiphany-vince-mendoza-michael-watts-production-review-by-john-kelman

Personnel: Vince Mendoza (composer, arranger, conductor), London Symphony Orchestra, John Abercrombie (guitar), Michael Brecker (tenor saxophone), Peter Erskine (drums), Marc Johnson (bass), Joe Lovano (tenor saxophone), John Taylor (piano), Kenny Wheeler (trumpet, flugelhorn)

Epiphany

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Andy LaVerne - Plays The Music Of Chick Corea

Styles: Piano Jazz, Post Bop
Year: 1988
Time: 59:35
File: MP3 @ 320K/s
Size: 136,9 MB
Art: Front

(4:50) 1. Chick Corea
(3:18) 2. Bill Evans
(4:59) 3. Cornucopia
(5:50) 4. Turnaround
(6:51) 5. Folk Song
(3:44) 6. Psalm
(4:49) 7. Ghost Of Triengen
(3:27) 8. Softly As You Go
(4:17) 9. Like This
(3:01) 10. Romance
(5:55) 11. Heart To Heart
(4:59) 12. You´re Everything
(3:30) 13. Blues For Liebestraum

Jazz pianist, composer, and arranger Andy LaVerne studied at Juilliard, Berklee, and the New England Conservatory, and took private lessons from legendary jazz pianist Bill Evans. The list of musicians with whom LaVerne has worked reads like a Who's Who in jazz: Frank Sinatra, Stan Getz, Woody Herman, Dizzy Gillespie, Chick Corea, Lionel Hampton, Michael Brecker, Elvin Jones, and numerous others.

A prolific recording artist, his projects as a leader number over 50, the most recent are: Intuition, a duo with saxophonist Jerry Bergonzi (SteepleChase), and Epiphany, a collection of Andy’s newest compositions (ClaveBop).

LaVerne is also a prominent jazz educator, having released a series of instructional videos, Guide to Modern Jazz Piano, Vols. 1 &, 2, and Jazz Piano Standards (Homespun Tapes), featuring the Yamaha Disklavier, as well as the video, In Concert (Homespun Tapes), with guitarist John Abercrombie. He is the author of Handbook of Chord Substitutions, Tons of Runs (Ekay), Bill Evans Compositions 19 Solo Piano Arrangements, and is the pianist on The Chick Corea Play-Along Collection (Hal Leonard). The Music Of Andy LaVerne (SteepleChase Publications) has recently been published. Forthcoming are Keyboard’s Jazz Piano Compendium (BackBeat Books), and Jazz Bach, and Jazz Chopin (Mel Bay). Countdown To Giant Steps (Aebersold Jazz) is a two CD play-a-long with companion book, of which LaVerne served as player/producer/writer, and Tunes You Thought You Knew (Aebersold Jazz) is a LaVerne play-a-long CD/book set. Secret of the Andes, a collection of LaVerne originals, is Andy’s newest offering from Aebersold Jazz.

Andy is a frequent contributor (since 1986) to Keyboard Magazine, and Piano Today Magazine. His articles have also appeared in Down Beat, Jazz Improv, Piano Quarterly, Jazz and Keyboard Workshop, and JazzOne.

Andy is the recipient of five Jazz Fellowships from the National Endowment for the Arts, and winner of the 2000 John Lennon Songwriting contest for his tune Shania. He has appeared at concerts, festivals, and clubs throughout the world, and has also given clinics and Master classes at universities, colleges, and conservatories worldwide. Recently he has toured and recorded with legendary singer/songwriter Neil Sedaka. LaVerne is Professor of Jazz Piano at The Hartt School (University of Hartford), and on the faculty of the Aebersold Summer Jazz Workshops.https://www.allaboutjazz.com/musicians/andy-laverne/

Personnel: Andy LaVerne - Organ, Piano; John Abercrombie - Guitar; Mark Egan - Bass; Marc Johnson - Bass; Danny Gottlieb - Percussion, Drums

Plays The Music Of Chick Corea

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John Abercrombie, Dave Creamer - Creatrix

Styles: Guitar Jazz
File: MP3@320K/s
Time: 74:10
Size: 170,2 MB
Art: Front

(10:27) 1. Your Eyes
( 9:38) 2. Creatrix
( 9:15) 3. Burrito Supreme
(10:29) 4. Sunny Muslin
( 8:05) 5. Blue Clouds Roll
(16:35) 6. Is Wayne Shorter Than Me
( 9:39) 7. Timeless

John Abercrombie's tying together of jazz's many threads made him one of the most influential acoustic and electric guitarists of the 1970s and early '80s; his recordings for ECM helped define that label's progressive chamber jazz reputation. Abercrombie's style drew upon all manner of contemporary improvised music; his style was essentially jazz-based, but also displayed a more than passing familiarity with forms that ranged from folk and rock to Eastern and Western art musics.

Abercrombie attended Boston's Berklee College of Music from 1962 to 1966. While at Berklee, the guitarist toured with bluesman Johnny Hammond. After relocating to New York in 1969, Abercrombie spent time in groups led by drummers Chico Hamilton and Billy Cobham. It was with the latter's Spectrum group that Abercrombie first received widespread attention. Abercrombie's first album as leader was Timeless, a trio album with drummer Jack DeJohnette and keyboardist Jan Hammer. That was followed by Gateway, another trio with DeJohnette, and bassist Dave Holland replacing Hammer.

Abercrombie continued to be active as the 21st century opened, releasing Cat 'n' Mouse in 2002, Class Trip in 2004, A Nice Idea (with pianist Andy LaVerne) in 2005, Structures (recorded with a single microphone) in 2006, and Third Quartet in 2007. Wait Till You See Her appeared in 2009. In 2011, the guitarist issued Speak to Me, a duet recording with pianist Marc Copland on the German Pirouet label. He followed it with the quartet recording Within a Song for ECM. His band on the date included drummer Joey Baron, saxophonist Joe Lovano, and bassist Drew Gress. Another quartet session appeared on the label in October of 2013.

Entitled 39 Steps, its lineup contained only one change, as Copland replaced Lovano. Uncharacteristically, he released Inspired, a collaborative setting with fellow guitarists Rale Micic, Peter Bernstein, and Lage Lund, for Artistshare in 2016, before returning to ECM with his regular quartet for Up and Coming early the following year; it would be his final recording. After years of health problems, including a stroke suffered in early 2017, Abercrombie succumbed to heart failure at home on August 22. He was 72. By Chris Kelsey https://www.allmusic.com/artist/john-abercrombie-mn0000214546/biography

Creatrix

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John Abercrombie & Ralph Towner - Sargasso Sea

Styles: Guitar Jazz
Year: 1976
File: MP3@320K/s
Time: 41:09
Size: 98,9 MB
Art: Front

(8:41) 1. Fable
(5:19) 2. Avenue
(4:00) 3. Sargasso Sea
(2:51) 4. Over and Gone
(5:11) 5. Elbow Room
(6:24) 6. Staircase
(3:17) 7. Romantic Descension
(5:24) 8. Parasol

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.~ Michael G. Nastoshttps://www.allmusic.com/album/sargasso-sea-mw0000198776

Personnel: John Abercrombie – electric guitar, acoustic guitar; Ralph Towner – twelve-string guitar, classical guitar, piano

Sargasso Sea

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Jeff Palmer, John Abercrombie, David Liebman, Adam Nussbaum - Abracadabra

Styles: Jazz, Hard Bop
Year: 1990
File: MP3@320K/s
Time: 60:04
Size: 137,9 MB
Art: Front

( 7:59)  1. Hip Slick
( 3:05)  2. Mr. Adam
( 8:05)  3. Tango Dream
( 4:44)  4. Mr. John
( 5:13)  5. Abracadabra
( 6:36)  6. The Unkown Known
( 2:49)  7. Mr. Dave
( 8:44)  8. Girl Swirl
(12:47)  9. On Fire

Sound explorations are emphasized throughout this release with Jeff Palmer's atmospheric organ, the varied tones of John Abercrombie's guitar synthesizer, David Liebman's very passionate soprano and Adam Nussbaum's drums interacting over a variety of patterns. All of the compositions are group originals with five by Palmer and one apiece from the other three musicians. 

Whether it be the funky beat of "Hip Slick," the free jamming of "Mr. Adam," the spacey title cut or the almost New Age feel of "Mr. John," the themes are less important than the setting of moods and the advanced improvising. ~ Scott Yanow http://www.allmusic.com/album/abracadabra-mw0000272005

Personnel: David Liebman (soprano saxophone); Jeff Palmer (organ); John Abercrombie (guitar synthesizer); Adam Nussbaum (drums).

Abracadabra

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John Abercrombie & Don Thompson - Witchcraft

Styles: Guitar, Post Bop
Year: 1991
File: MP3@320K/s
Time: 60:04
Size: 138,9 MB
Art: Front

(5:59) 1. Everything I Love
(5:33) 2. Sometime Ago
(6:04) 3. Witchcraft
(8:50) 4. My Foolish Heart
(6:12) 5. Fall Colours
(5:56) 6. I'm Getting Sentimental Over You
(5:41) 7. Peace
(7:01) 8. You'd Be So Nice To Come Home To
(8:43) 9. You Don't Know What Love Is

For followers who bemoan guitarist John Abercrombie's tendency to record rather adventurous albums with an often electronically treated tone, Witchcraft will be a delight. On this duo recording with bassist Don Thompson (who also plays piano on three tracks), the guitarists' sound is untreated, and the repertoire is standards. The two play well together, and there are some lovely moments on the record. The title track finds Abercrombie using the differing tonal qualities of his guitar's open strings to give the melody a unique interpretation. The sole original on the record, "Fall Colours" (credited to both writers, although the Canadian spelling may reveal the true author), is based on the standard "Autumn Leaves." Abercrombie sounds fine here, if at times pretty rather than substantial. He prefers to play in long single-note lines, rather than taking the more chordal approach many guitarists attempt in such a stripped-down setting. Thompson is a highly interactive bass player with enviable technique, allowing him to play melodic, fluid solos throughout. There seem to be several sound problems on Witchcraft; the recording level is very low, and a rattling sound often accompanies the musicians' louder notes, which grows to be quite distracting on repeated listenings.~ Dan Cross https://www.allmusic.com/album/release/witchcraft-mr0000352205

Personnel: John Abercrombie - guitar; Don Thompson; double bass, piano

Witchcraft

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Jan Garbarek - Eventyr

Styles: Saxophone Jazz
Year: 1980
File: MP3@320K/s
Time: 56:19
Size: 129,5 MB
Art: Front

(11:36)  1. Soria Maria
( 5:01)  2. Lillekort
( 9:19)  3. Eventyr
( 2:21)  4. Weaving A Garland
( 9:05)  5. Once Upon A Time
( 5:51)  6. The Companion
( 4:32)  7. Snipp, Snapp, Snute
( 8:30)  8. East Of The Sun And West Of The Moon

Eventyr means “adventure.” Classical listeners may also recognize it as the name of Frederick Delius’s lovely 1917 tone poem, which is often translated as “Once Upon A Time” to underscore its origins in the folk tale collections of Norwegian scholar Peter Christen Asbjørnsen. Here, the name adorns one of Jan Garbarek’s most recondite efforts to date and, like its own “Once Upon A Time,” houses a world of lessons and signs for those willing enough to interpret them. Joined by John Abercrombie and Nana Vasconcelos, he spins a string of seven improvisations, rounded out by a standard, “East Of The Sun And West Of The Moon” (Brooks Bowman), that doesn’t so much end the album as open us to its nebulous center. In that center we encounter swirls of majesty as only he can draw. With almost liquid fire and ever-insightful phrasing, Garbarek brings his deepest considerations to the nearly 12-minute “Sora Maria” that is its primordial soup. His interplay with Abercrombie resolves into a vague continent, where only the playful refractions of “Lillekort” resolve themselves into separate entities. Vasconcelos’s pliancy is the animating skeleton of the title track, in which his gravelly voice and ritualism exudes from every gamelan hit. In “Weaving A Garland,” tenor sax and guitar paint a rolling horizon of vegetation. Such shorter tracks as this and “The Companion” comprise the more potent incantations amid the long-form spells that otherwise dictate the album’s vocabulary. Transcendence comes in the form of “Snipp, Snapp, Snute,” a sparkling menagerie of triangles and wooden flute that works its light into a crepuscular sky. Through it we see in fine detail the inner life of three musicians whose nets run far into the cosmic ocean, where only transformation awaits in the catch. https://ecmreviews.com/2011/10/22/eventyr/

Personnel: Jan Garbarek Tenor Saxophone, Soprano Saxophone, Flutes; Nana Vasconcelos Berimbau, Talking Drum, Percussion, Voice; John Abercrombie   Electric 6 And 12 String Guitars, Mandolin Guitar

Eventyr

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Bob Mintzer - Hymn

Styles: Saxophone And Clarinet Jazz
Year: 1991
File: MP3@320K/s
Time: 53:00
Size: 123,3 MB
Art: Front

(2:51)  1. Duo
(8:24)  2. Hymn
(5:46)  3. Re-Re
(4:34)  4. Modern Day Tuba
(6:19)  5. Children's Song
(4:47)  6. Little Motif
(5:32)  7. Weird Blues
(7:28)  8. Improvisation
(7:15)  9. The Dark Side

Better known as a big band and session player, tenor saxophonist and bass clarinetist Bob Mintzer expanded his playing and his repertoire on this '92 quartet date. Working with guitarist John Abercrombie, bassist Marc Johnson, and drummer Peter Erskine, Mintzer moved into more probing, unpredictable, and challenging areas and played with more fire and conviction. Abercrombie, Johnson, and Erskine each fulfilled their reputations; the results were both enlightening and surprising. ~ Ron Wynn https://www.allmusic.com/album/hymn-mw0000081207

Personnel: Bob Mintzer - tenor saxophone, bass clarinet, composer, liner notes; John Abercrombie - guitar; Marc Johnson - bass; Peter Erskine - drums

Hymn

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Charles Lloyd - Voice In The Night

Styles: Saxophone Jazz
Year: 1999
File: MP3@320K/s
Time: 68:15
Size: 157,0 MB
Art: Front

( 6:30)  1. Voice In The Night
( 4:42)  2. God Give Me Strength
( 7:45)  3. Dorotea's Studio
( 5:57)  4. Requiem
(11:41)  5. Pocket Full of Blues
( 9:26)   6. Homage
(15:22)  7. Forest Flower: Sunrise / Sunset
( 6:49)   8. A Flower Is A Lovesome Thing

Voice in the Night is a welcome homecoming for reedman Charles Lloyd. He hasn't recorded in a guitar-based group since his two tremendously underrated (and rockish) albums for A&M in 1972-73. Here, he also pleasingly revisits a good deal of his earlier (and still his most personable) material: "Forest Flower," from the famed quartet days of the late 60s, "Voice in the Night" and in the "Pocket Full of Blues" medley, "Island Blues" and "Little Sister's Dance." With the advantage of hindsight, Lloyd seems to sound warmer, somewhat romantic and a touch more inspired than usual with a guitar. Pianists seem to bring out Lloyd's more aggressive Coltrane-ish side and often permit him to easily dabble in longer, spacier themes with exotic instrumentation. Even though he sticks to tenor throughout here (his exceptional flute playing is sorely missed coupled with John Abercrombie's sensistive accompaniment), Lloyd sounds just right here: swinging and having fun too. This all-star aggregate, featuring Abercrombie on guitar, Dave Holland on bass and Billy Higgins on drums, recalls the other supergroup Lloyd captured on 1965's superb Of Course, Of Course (Columbia, not on CD). The earlier date featured iconoclastic guitarist Gabor Szabo, an excellent foil for any of Lloyd's moods (Szabo came to the Chico Hamilton group Lloyd directed at Lloyd's insistence in the early 1960s), with bassist Ron Carter and drummer Tony Williams. Lloyd, Abercrombie and Holland bring a far different, mellowed perspective to this music.

Voice in the Night suffers none of the austerity that rules much of ECM's recordings and a few of Lloyd's previous five ECM releases. Aside from toe-tapping interplay on the familiar songs, Lloyd and company offer lovely covers of Strayhorn's "A Flower is a Lovesome Thing" and, surprisingly, last year's Burt Bachrach/Elvis Costello hit, "God Give Me Strength." Quite often, though, the most interesting moments come on Lloyd's newest material: the off-kilter calypso of "Dorotea's Studio," "Homage" (a sterling Abercrombie showpiece) and "Requiem." However, anyone familiar with Lloyd's magisterial "Forest Flower" from the Chico Hamilton days, or, more likely from the famed quartet days, will certainly want to hear the beautiful version Lloyd, Abercrombie, Holland and Higgins offer here. It's worth the price of admission. Here's hoping the somewhat reclusive Lloyd is planning a sequel to Voice in the Night. This is a quartet that offers much to explore. ~ Douglas Payne https://www.allaboutjazz.com/voice-in-the-night-charles-lloyd-ecm-records-review-by-douglas-payne.php?width=1920

Players:  Charles Lloyd: tenor sax; John Abercrombie: guitar; Dave Holland: double bass; Billy Higgins: drums, percussion.

Voice In The Night

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Peter Erskine - Motion Poet

Styles: Jazz, Post Bop
Year: 1988
File: MP3@320K/s
Time: 53:31
Size: 124,1 MB
Art: Front

(6:26)  1. Erskoman
(6:43)  2. Not a Word
(6:25)  3. Hero with a Thousand Faces
(7:23)  4. Dream Clock
(6:01)  5. Exit up Right
(4:07)  6. A New Regalia
(3:25)  7. Boulez
(7:44)  8. The Mystery Man
(5:13)  9. In Walked Maya

A highly skilled, versatile drummer, Peter Erskine has anchored big bands and jazz-rock fusion groups. He's known for sophisticated rhythms, distinctive accompaniment, and powerful, rippling solos. Erskine began drumming at three, and participated in Stan Kenton's National Stage Band Camps from the age of six. He studied with Alan Dawson and Ed Soph, attending the Interlochen Arts Academy in Michigan and Indiana University. He played with Kenton from 1972 to 1975, then from 1976 to 1978 with Maynard Ferguson. Erskine joined Weather Report in 1978, and was their drummer and percussionist until 1982. He also did several West Coast sessions in the late '70s, and was a member of Steps and Steps Ahead. During the '80s he worked with John Abercrombie's groups and the quartet Bass Desires. He's also worked with Joe Farrell, Marc Johnson, Mike Brecker, Randy Brecker, John Scofield, Bob Mintzer, Lew Soloff, Kenny Kirkland, Mike Mandel, and Kenny Werner, among others. As a leader, he debuted with Peter Erskine in 1982 on Contemporary, followed by several well-received efforts for Denon. During the '90s, he developed a good relationship with ECM, releasing such albums as 1992's You Never Know, 1995's As It Is, and 1998's Juni. Also during the '90s, Erskine founded his own Fuzzy Music label, delivering such albums as 1995's From Kenton to Now with tenor saxophonist Richard Torres and 1998's Lava Jazz. In the 2000s, Erskine continued to release albums via Fuzzy Music with 2002's Badlands, 2005's The Lounge Art Ensemble: Music for Moderns, and 2016's Dr. Um, which introduced his Dr. Um Band featuring keyboardist John Beasley. In 2017, Erskine reunited Beasley and the Dr. Um Band for Second Opinion. ~ Ron Wynn https://www.allmusic.com/artist/peter-erskine-mn0000842492/biography

Personnel: Drums, Percussion – Peter Erskine; Arranged By – Bob Mintzer (tracks: 8), Randy Brecker (tracks: 5), Vince Mendoza (tracks: 1 to 4, 6, 7, 9); Baritone Saxophone – Roger Rosenberg (tracks: 1, 3, 4, 6); Bass – Marc Johnson (2) (tracks: 2 to 4, 8, 9); Bass Trombone – Matt Finders (tracks: 2 to 4, 6); Electric Bass – Will Lee (tracks: 1, 5, 6); French Horn – Jerry Peel (tracks: 2 to 4), John Clark (2) (tracks: 2 to 4), Peter Gordon (8) (tracks: 2 to 4); Guitar – Jeff Mironov (tracks: 1, 5, 6); Guitar, Guitar Synthesizer – John Abercrombie (tracks: 2 to 4, 8, 9); Keyboards – Jim Beard (tracks: 1 to 8); Piano – Eliane Elias (tracks: 2, 5); Soprano Saxophone, Alto Saxophone, Flute – Lawrence Feldman (tracks: 1, 3 to 6); Tenor Saxophone – Bob Mintzer (tracks: 4, 6, 8), Michael Brecker (tracks: 3); Tenor Saxophone, Flute – Bob Mintzer (tracks: 1, 3 to 6); Trombone, Tuba – Dave Bargeron (tracks: 1, 2 to 4, 6); Trumpet – Joe Mosello (tracks: 1, 3 to 6), Randy Brecker (tracks: 4, 8); Trumpet, Flugelhorn – Lew Soloff (tracks: 1 to 4, 6)

Motion Poet

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Charles Lloyd - Lift Every Voice Disc 1 And Disc 2

Album: Lift Every Voice Disc 1

Styles: Saxophone And Flute Jazz
Year: 2002
File: MP3@320K/s
Time: 61:19
Size: 141,8 MB
Art: Front

(15:00)  1. Hymn To The Mother
( 4:05)  2. You Are So Beautiful
( 4:42)  3. Amazing Grace
( 9:40)  4. East Virginia, West Memphis
( 5:07)  5. What's Going On
( 3:33)  6. Angel Oak
( 6:47)  7. Te Amaré
( 7:38)  8. I'm Afraid
( 4:43)  9. Hafez, Shattered Heart

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Album: Lift Every Voice Disc 2

Time: 69:07

Size: 159,6 MB

( 7:05)  1. Rabo De Nube

( 5:06)  2. Blood Count

(10:37)  3. Go Down Moses

( 7:51)  4. Beyond Darkness

( 6:12)  5. Nocturne

( 8:35)  6. Wayfaring Stranger

( 6:25)  7. Deep River

( 3:08)  8. Lift Every Voice And Sing

(14:03)  9. Prayer, The Crossing

The initial response of most Americans to the tragedy of September 11th was shock, quickly followed by anger. While many maintain that anger, others have moved on to mourning, contemplation, and hope. Such is the mood for Charles Lloyd’s recording, over two hours of introspection and spiritual resurrection. This recording of two sessions from the winter of 2002 follows two of the most beautiful records Lloyd has ever made. Both The Water Is Wide (2000) and Hyperion With Higgins (2001) showcase Lloyd’s spiritual side and, as these were some of the last recordings made by drummer Billy Higgins, they have an supernatural deliberation about them. In the wake of the events of 9-11, Lloyd reassembled Larry Grenadier and John Abercrombie from the Higgins’ dates and added Geri Allen, and long time companions Billy Hart and Marc Johnson. Lloyd worked these sessions as a quartet with Allen, Grenadier and Hart, then a quintet adding Abercrombie and switching bassists to Johnson. Perusing the titles Lloyd’s purpose becomes apparent. His response to the tragedy is one of lament, longing, and faith. His creed is interdenominational, and multi-racial. He covers music of spirituals, “Deep River,” “Go Down Moses,” and “Amazing Grace,” alongside of the Negro National Anthem as the albums title piece and Islamic poet’s “Hafez, Shattered Heart.” Lloyd’s “Moses” has a certain sense of anger before settling into a comforting blues. His solo taragato on “Hafez” applies a patient yet unresolved inquiry into the Eastern experience of world events. Along with traditional music he plies his own craft, that is jazz, to these statements. Recalling a peaceful response he takes up Marvin Gaye’s “What’s Going On” and Billy Preston’s “You Are So Beautiful.” No grandstanding is allowed here or on any of these tracks. The melodies are touched on with a minimum of soloing as if to focus on the message and not the musician. It’s not that these talented musicians are held back. This disc reminds one of John Coltrane’s ballads recording where less was more. Bringing forth Allen and Abercrombie’s spiritual/folk side is a valued gift. Lloyd’s largess here is his sincerity. The distinctness of this music is a break from the artificiality of many responses to 9-11. Lloyd’s belief in humanity and reliance on the healing and redemptive qualities of music propels this compassionate recording. ~ Mark Corroto https://www.allaboutjazz.com/lift-every-voice-charles-lloyd-ecm-records-review-by-mark-corroto.php

Personnel:  Charles Lloyd - tenor saxophone, flute, tarogato; Geri Allen - piano; John Abercrombie - guitar; Marc Johnson - double bass; Larry Grenadier - double bass; Billy Hart - drums

Lift Every Voice Disc 1 And Disc 2

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John Abercrombie - Timeless

Styles: Guitar Jazz 
Year: 1975
File: MP3@320K/s
Time: 43:39
Size: 100,8 MB
Art: Front

(12:11)  1. Lungs
( 4:36)  2. Love Song
( 4:56)  3. Ralph's Piano Waltz
( 5:24)  4. Red And Orange
( 4:33)  5. Remembering
(11:58)  6. 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. ~ Scott Yanow https://www.allmusic.com/album/timeless-mw0000187635

Personnel:  John Abercrombie – guitar; Jan Hammer – organ, piano, synthesizer; Jack DeJohnette – drums

Timeless

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Bob Brookmeyer - Electricity

Styles: Trombone Jazz
Year: 1991
File: MP3@320K/s
Time: 69:47
Size: 160,4 MB
Art: Front

(16:47)  1. Farewell, New York
(10:33)  2. Ugly Music
(11:40)  3. Wihite Blues
( 7:15)  4. Say Ah
(13:14)  5. No Song
(10:15)  6. The Crystal Palace

Electricity is another one of an infrequent series of recordings by Bob Brookmeyer, who used to pop up all over the place throughout the 1950s and 1960s. While he's always been rooted firmly in the mainstream (Gerry Mulligan, the Concert Jazz Band, the Thad Jones / Mel Lewis Orchestra and his own records on Verve), Brookmeyer has also consistently approached creative music in unorthodox ways (his two-piano quartet with Bill Evans, and his trombone jazz samba records). His greatest gifts, though, are his contributions to orchestral jazz. His tonal palette has many more shades than one expects. As a result, his compositions and arrangements often require more than one listen. There's much to appreciate in his music's richness and depth. Even though in his notes to Electricity , Brookmeyer writes, "I think that I'm looking more for meaning and worrying less about coloring the orchestra," he manages to achieve both here. But Electricity , as its title may suggest, is by no means a look backwards. Many of Brookmeyer's six long tunes (ranging from seven to sixteen minutes each) are framed by John Abercrombie's thrashing electric guitar or cushioned by his tasteful guitar synth or other electronic keyboards. This March 1991 recording finds Brookmeyer fronting the excellent WDR Big Band (which also supports Mike Gibbs, Bernard Purdie and Eddie Harris on other recent Act Jazz releases). The German WDR Big Band, like the Dutch Metropole Orchestra, are all that remain of the great jazz orchestras many of which Brookmeyer has successfully contributed to since the early 1950s! 

All of these pieces have a progressive, story-like pattern to them, utilizing Abercrombie as the principal storyteller. "Farewell New York" is a 16-minute dirge that begins with Abercrombie's dissonant guitar-synth wail then progresses into march-like cadenzas to eventually find the guitarist in a more contemplative mood. Its intensity oddly recalls Elton John's "Funeral for A Friend." The album's strongest tracks, "Ugly Music" and "Say Ah" bring to mind those cool, jazzy soundtracks of Italian mystery films from the 1970s (i.e.: Deep Red ). Abercrombie is simply amazing throughout. He can mine the wealth of innovations from Hendrix and Montgomery to Farlow and Frisell and yet never lose his own multiply talented identities. One senses that Electricity more successfully achieves much of what Gil Evans was trying to accomplish in the late 1970s and 1980s with his own big bands. Aside from the lovely, almost simplistic harmonies and rhythmic patterns, Brookmeyer's choice of a main soloist with multiple talents (in this case, Abercrombie) is perfect. Some listeners may be discouraged that Brookmeyer didn't showcase his own beautiful and distinctive valve trombone (his only real features are brief ones in "No Song" and "The Crystal Place"). But that's a small gripe. Brookmeyer always reveals so much more as a musician in his orchestrations. For the small group fans, however, Challenge Records recently issued Brookmeyer's Paris Suite , a 1993-94 session which finds the valve trombonist leading a Dutch quartet. Electricity is highly recommended to those who appreciate the lost art of orchestral jazz in a contemporary setting and, most especially, to fans of John Abercrombie who is nothing short of brilliant in his varied roles here. ~ Douglas Payne https://www.allaboutjazz.com/electricity-bob-brookmeyer-act-music-review-by-douglas-payne.php

Personnel:  Valve Trombone, Composed By, Liner Notes, Mixed By [Remixed] – Bob Brookmeyer;  Bass – Dieter Ilg;  Drums – Danny Gottlieb;  Guitar – John Abercrombie;  Keyboards – Frank Chastenier, Rainer Brüninghaus;  Orchestra – WDR Big Band Köln;  Saxophone – Heiner Wiberny, Olivier Peters, Paul Peucker, Rolf Römer;  Trombone – Bernt Laukamp, Dave Horler , Roy Deuvall;  Trumpet – Andy Haderer, Klaus Osterloh, Rick Kiefer

Electricity

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John Basile, John Abercrombie - Animations

Styles: Guitar Jazz
Year: 2003
File: MP3@320K/s
Time: 52:12
Size: 120,0 MB
Art: Front

(6:58)  1. Sweet and Lovely
(1:44)  2. Paws
(6:37)  3. Nobody Else But Me
(7:12)  4. Under The Influence
(6:03)  5. Animations
(5:30)  6. Angel Falls
(4:59)  7. Peace
(3:40)  8. Short Cut
(4:34)  9. The Lilter
(2:24) 10. Desert Storm
(2:28) 11. Dreamsville

When done properly, it’s astounding how much music a duet can generate. It is always especially notable when that duet consists of artists performing on the same instrument. In such a setting, the challenge of blending voices while simultaneously creating distinct, personal lines becomes that much more challenging. Guitarists John Basile and John Abercrombie recently recorded just such a duet, rising masterfully to the occasion.  Comprised of eleven tracks including both original compositions and covers, Animations will without doubt appeal to jazz guitar fans, but it offers something as well to those looking for a subtle, intelligent, and gracefully balanced musical outing. Both instrumentalists are quite capable as individuals, and here they show not only a common bond, but also an uncommon ability to converse together fluidly. Well matched, Basile and Abercrombie integrate their ideas masterfully, gently shifting one another into new territory as they explore each tune. Marked by a certain conservatism, neither player plunges too far toward any one stylistic extreme, relying on shading and delicacy to create a steadfastly reserved, mellow tone throughout the album. This approach works particularly well on such pieces as Horace Silver’s “Peace” and the melancholic “Desert Storm.” This quiet, focused tune stands out as an album highlight, revealing well each musicians capacities. A very sedate album, Animations covers a subtly executed and decidedly dignified musical terrain.~ Franz A.Matzner https://www.allaboutjazz.com/animations-john-basile-underhill-jazz-review-by-franz-a-matzner.php

Personnel: John Basile: Guitar;  John Abercrombie: Guitar

Animations

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Dr.Lonnie Smith Trio - Purple Haze

Styles: Piano, Post Bop
Year: 1994
File: MP3@320K/s
Time: 56:21
Size: 129,8 MB
Art: Front

(12:23)  1. Voodoo Chile
( 9:49)  2. Up From The Skies
(16:57)  3. Gypsy Eyes
(17:10)  4. Purple Haze - Star Spangled Banner

In the early '70s, Lonnie Smith's recordings frequently exhibited a debt to Jimi Hendrix's groundbreaking fusions, but he waited until 1995 to release Foxy Lady, a full-fledged tribute to the innovative guitarist. Foxy Lady was so successful that Smith decided to make another Hendrix album, again with John Abercrombie and Marvin "Smitty" Smith. Purple Haze is as entertaining as Foxy Lady it's truly remarkable to hear how these blues-rockers can open up into soul-jazz numbers tinged with free jazz influences and confirms not only Hendrix's composing talents, but also Smith's vision. ~ Leo Stanley https://www.allmusic.com/album/purple-haze-a-tribute-to-jimi-hendrix-mw0000180872

Personnel: Lonnie Smith (organ); John Abercrombie (guitar); Marvin "Smitty" Smith (drums)

Purple Haze

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Marc Copland, John Abercrombie - Speak To Me

Bitrate: MP3@320K/s
Time: 58:26
Size: 133.8 MB
Styles: Piano-Guitar jazz
Year: 2011
Art: Front

[6:06] 1. Left Behind
[6:25] 2. Speak To Me
[4:17] 3. Seven
[8:02] 4. If I Should Lose You
[2:45] 5. Blues Connotation
[6:25] 6. So Long
[9:53] 7. Falling Again
[4:59] 8. Talking Blues
[9:31] 9. Witchcraft

Plenty of artists explore that most naked of musical couplings, the duo, but few have mined its intimate potential the way pianist Marc Copland has. Since 2003, the light-of-touch, impressionistically lithe pianist has put out no less than six duo records amongst the more than 15 albums he's released on half a dozen labels—though since 2007, with the exception of a couple reissues, he's remained steadfastly aligned with Germany's increasingly prestigious Pirouet label.

Speak to Me isn't Marc Copland's first recording with guitarist John Abercrombie; that dates back to Second Look (Savoy, 1996). Copland regrouped that quartet and, after 2008's Another Place, became Contact with the addition of saxophonist Dave Liebman, also documented on 2010's Five on One. But Speak to Me is their first recording alone together, and joins other fine Copland-guitar duo outings, including Double Play (Steeplechase, 2001), with the criminally overlooked Vic Juris, and the out-of-print Songs Without End (Jazz City Spirit, 1994), teamed with Ralph Towner.

Abercrombie is, perhaps, Copland's ideal foil. Like the pianist, Abercrombie's distinctive voice has less to do with signature lines or textures, and more to do with touch, an overall approach to harmony, and an ability to thread unmistakable lyricism, regardless of context. More intrinsically amorphous, it's Abercrombie's ability to approach every song—every take—with a fresh perspective that makes him such an ideal partner. "Talking Blues" is one of three Copland originals here, and continues the pianist's exploration of the blues form, but with ambiguous harmonies that make its allegiance to a jazz cornerstone less direct. Abercrombie's overdriven tone could overwhelm in others' hands, but never consumes the song's ethereal ambience, even during his own solo, while subtly driving Copland's into more energetic territory. Still, Abercrombie's near-power chord support never tightens the loose weave he's fashioning with Copland—one so delicate that it seems as though it could fall apart at any moment—but, of course, it never does.

As delicately left-of-center as Speak to Me is, there's never any dilution of the underlying tradition. During a lengthy closing look at Cy Coleman's "Witchcraft"—a song Abercrombie first explored with bassist Don Thompson on the 1995 Justin Time album of the same name—the duo starts by orbiting around each other, freely exploring the song's centrist form before finally settling into it. Transcending mere adherence, Abercrombie demonstrates his own allegiance to the tradition by quoting Howard Arlen and E.Y. Harburg's "If I Only Had a Brain," from The Wizard of Oz (1939), accompanying Copland with a perfect combination of swing and off-kilter voicings. Copland's firm sense of swing is equally definitive though, like Abercrombie, the real magic is his ability to twist things ever-so-slightly on their side.

Equitably split between three Copland, three Abercrombie originals, and three standards—including a quirky miniature look at Ornette Coleman's "Blues Connotation"—Copland and Abercrombie prove, once again, the importance of putting the music first. Perhaps referring to each other, their hour-long musical dialog, it's just as likely Speak to Me refers to these nine songs, calling out to Copland and Abercrombie, and providing them a perfect context for this sublime, subtle and soft-spoken recording. ~John Kelman

Speak To Me mc
Speak To Me zippy

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John Abercrombie & Andy Laverne Quartet - Now It Can Be Played

Styles: Guitar And Piano Jazz
Year: 1992
File: MP3@320K/s
Time: 66:47
Size: 153,3 MB
Art: Front

(7:46)  1. Now It Can Be Played
(8:29)  2. I Wish I Knew
(8:33)  3. Shadow and Fog
(7:32)  4. John's Waltz
(9:09)  5. Cat Nap
(8:08)  6. Yesterdays
(7:57)  7. Labour Day
(9:08)  8. Waltz King

John Abercrombie and Andy LaVerne had worked together on a number of occasions with each other, and with bassist Steve LaSpina and drummer Jeff Hirschfield, though Now It Can Be Played marked the first occasion for all four musicians to work together on a recording session. The standard "I Wish I Knew" is a sparkling example of their listening to one another, while the influence of the late Bill Evans is obvious in LaVerne's solo. Their setting of "Yesterdays" is a bit unconventional, taking an angular post-pop approach that opens up new possibilities within this decades-old standard. LaVerne contributed several originals, including the intricate "Shadows and Fog" and the exotic "Waltz King." Abercrombie penned the mid-tempo cooker "Labour Day" and "John's Waltz," the latter previously recorded by the composer with LaVerne for their duo CD Natural Living. This is a fine date that is filled with many interesting twists. ~ Ken Dryden https://www.allmusic.com/album/now-it-can-be-played-mw0000916762

Personnel: John Abercrombie (guitar); Andy LaVerne (piano); Jeff Hirshfield (drums).

Now It Can Be Played

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Jacek Kochan, John Abercrombie, Pat LaBarbera, Jim Vivian - Standard Transmission

Bitrate: MP3@320K/s
Time: 54:43
Size: 125.3 MB
Styles: Contemporary jazz
Year: 2013
Art: Front

[8:54] 1. Nardis
[6:03] 2. Gonz's Mood
[6:53] 3. Lullaby
[9:37] 4. I Love You
[7:51] 5. You Don't Know What Love Is
[7:48] 6. I Wished On The Moon
[7:33] 7. Blue Forest

Jacek Kochan, composer, arranger, producer and drummer begun his adventure with music in seventies. In early 80-ties he moved to New York. There he have played and recorded with jazz, funk and r&b bands and studied among the others.with Jaco Pastorius, Mike Clark, Robbie Gonzales.

By the mid 80's, Jacek moved to Montreal, where he further expanded his musical lexicon to include writing for choirs and orchestra (Tudor Singers, Repercussion) as well as playing and recording ethnic music (latin , african , balkan). There he worked with Michel Donato, Karen Young, Andrew Leroux, Yannick Rieu, Oliver Jones, Jean-Pierrre Zanella, Michel Cusson, Katleen Dyson, Helmut Lipsky, Lazaro Saucedo, Geoff Lapp, Johnny Scott and many others, perfoming at the clubs and jazz festivals.

In 1990, after moving to Toronto, he started to work as a leader and sideman in countless live and recording projects with artists like John Abercrombie, Jerry Bergonzi, Pat Labarbera, Kenny Wheeler, Don Thompson, Mike Murley, Neil Swainson, Reggie Schwager, Lorne Lofsky, Bernie Senensky, John MacLeod, Dave Restivo and Brian Dickinson.

In 1995 he returned to Europe where he continues to compose, play, tour and record music with artists like Dave Liebman, Gary Thomas, Joey Calderazzo, Palle Mikkelborg, Eddie Henderson, Dave Tronzo, Briggan Krauss, Cuong Vu, Eric Vloeimans, Lars Danielsson, Eddie Schuller, Skerik, Tomas Stanko, Zbigniew Namyslowski, Adam Pieronczyk, Piotr Wojtasik, Assif Tsahar, Tomasz Szukalski, Maciej Sikala and Piotr Baron

Standard Transmission mc
Standard Transmission zippy

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Barre Phillips - Mountainscapes

Styles: Contemporary Jazz
Year: 1976
File: MP3@320K/s
Time: 37:43
Size: 93,1 MB
Art: Front

(5:54)  1. Mountainscapes I
(2:48)  2. Mountainscapes II
(4:23)  3. Mountainscapes III
(4:29)  4. Mountainscapes IV
(4:53)  5. Mountainscapes V
(4:36)  6. Mountainscapes VI
(3:24)  7. Mountainscapes VII
(7:12)  8. Mountainscapes VIII

In his classic case study of Melanesian cargo cults, Mambu, anthropologist Kenelm Burridge introduced the concept of the myth-dream, which he reduces to “a series of themes, propositions, and problems which are to be found in myths, in dreams, in the half-lights of conversation, and in the emotional responses to a variety of actions, and questions asked.” According to Burridge, what makes any such cult successful is the immediacy with which its figurehead is able to articulate the myth-dream, unleashing a barely conscious longing to know and resolve that which lurks in our mental shadows. The resulting destabilization is a shared process of salvation. I dare to claim the music of Barre Phillips as providing that same function. It embodies a psychological imperative to bring into focus that which inhabits the half-light of our awareness, and fulfills that need through sound. The only difference is that, here, there is neither the promise of salvation nor of migration, but rather the simple need to soak in the immediate essence of wherever one may stand.

Mountainscapes is divided into eight parts of spirit-tugging magnificence, products of a mind that, though only cursorily represented on ECM, has done us a great service in recording his sounds for posterity. Mountainscape I hovers at the margins before unleashing a crackling free groove. The beautifully synthesized sounds and enthralling bass playing, not to mention an absolutely captivating soprano solo from reedman extraordinaire John Surman, give us a rich taste of resolution. It is an unexpected transition, one that jolts the heart into awareness every time. II is a quieter follow-up, enigmatic, peripheral. Like the myth-dream, it lingers just beyond our reach, baiting our desire to know it in full. III is an exquisite piece enhanced by organ and electronics. In IV, the bass becomes a huge rope hefted and swung like a mast cord in a seasoned shipmate’s hands before a saxophonic wind illuminates its sails. The drums never quite stand upright, crossing their feet instead in a continual swagger. V fades in with a synthesized arpeggio. Some sinuous bass notes and a stellar saxophone peek out from the woodwork here. The bass thrums like a groaning in the earth. Meanwhile, a synthesizer bubbles to the surface before fading into transfiguration. VI begins with a lavish wash of electronics embroidered by Phillips’s harmonic threads. It’s a short track, but for me the most effective on the album. VII begins with more pulchritudinous arpeggiation. The sax trails along, trying to place its footsteps in the same imprints as the bass trails not to far behind: the trio as mise-en-abyme. An electric guitar surprises us in the final part, wound by an enthralling sax to feverish heights and playing us out in a gentle finale. In the end, this is music to be experienced rather than described. And so, I will stop trying. https://ecmreviews.com/2010/12/17/mountainscapes/?

Personnel:  Barre Phillips bass;  John Surman soprano and baritone saxophones, bass clarinet, synthesizer;  Dieter Feichtner synthesizer;  Stu Martin drums, synthesizer;  John Abercrombie guitar

Mountainscapes

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Michal Urbaniak - Fusion III

Styles: Violin Jazz
Year: 1975
File: MP3@320K/s
Time: 49:54
Size: 114,6 MB
Art: Front

(5:29)  1. Chinatown (Part I)
(6:15)  2. Kuyaviak Goes Funky
(5:48)  3. Roksana
(2:41)  4. Crazy Kid
(5:21)  5. Prehistoric Bird
(4:22)  6. Bloody Kishka
(4:44)  7. Cameo
(6:22)  8. Stretch
(4:46)  9. Metroliner
(4:00) 10. Chinatown (Part II)

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. ~ Jim Newson https://www.allmusic.com/album/fusion-iii-mw0000917962

Personnel: Michal Urbaniak (violin); Urszula Dudziak (vocals, synthesizer, percussion, electronic percussion); John Abercrombie (guitar); Wlodek Gulgowski (electric piano, electric organ, Moog synthesizer); Anthony Jackson (bass guitar); Steve Gadd (drums).              

Fusion III

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