Customer Reviews

Getting There

5 star:		(5)
4 star:		(1)
3 star:		(0)
2 star:		(0)
1 star:		(0)

 

 

Browsing through the amazom.com titles & reviews, I came across this recording that so far went unreviewed (by customers at least) and not cross-referenced at all. This is one of the rare Abercrombie recordings that truely amazes me and stands as a testemant why the johnson-erskine-abercrombie combination worked so well. this cd also features michael brecker at tenor. what is really surprising is abercrombie has captured the ECM sound like few artist has; and a non-Kongshaug engineer has devised a formula that is truly difficult to match. The listener really gets there!

I have loved this album for years. It is a superb piece of modern jazz; and a personal favourite of mine. There's so much contrast and colour in this music. There's some far-out blowing, a lovely ballad, and some swinging trio - all rich in atmosphere and moods that twist and turn. Yet it never seems forced or overly clever; the music flows effortlessly from beginning to end. Need I say it?, but of course it's all played with great sensitivity and utter conviction by the remarkable trio of John Abercrombie, Marc Johnson and Peter Erskine.

The compositions are all fascinating. Most are by John Abercrombie, but they're all outstanding. ('Remember Hymn' is gorgeous. This one was included in the Real Book - can't recall if it's in vol.2 or 3.) The Vince Mendoza tune is great and Marc Johnson's 'Furs on Ice' is wonderful here; much preferred to the later live version on the 'Abercrombie/Johnson/Erskine' album.

This album has, I think, some of John Abercrombie's tastiest playing. Strong clean tones, with lines that are so articulate. His playing seems filled with purpose, and has, to my mind, more substance, and (importantly) more emotion than in later albums. The acoustic guitar tones are rich and detailed - lovely stuff; thankfully no horror plugged-in sounds here! He also uses the guitar synthesizer to great effect, and always with taste. In fact I think it's his best work on the instrument.

And Mike Brecker! Oh my... he's in absolutely killing form on the tracks he appears on. Talk about power! Talk about taste; and that big, big tone. He is definitely inspired here; no doubt by the great music and exceptional musicians he was working with.

This album deserves much greater recognition. Though the prevailing mood might be a little dark or sombre, it is nonetheless an absolutely delightful album.

NOTE: This recording is NOT "discontinued by the manufacturer" as stated, but is sadly the victim of someone somewhere who can't be bothered to make it available. It IS available in other parts of the world, and it's a shame that you can't buy it here at Amazon.com at a reasonable price.

Just get it. Besides being a well executed session by 4 undisputed masters and featuring some wonderful moments showcasing individual talent and subtlety for example mark Johnson's solo on Upon A Time, it has been a favorite of mine because of track 4 Remembering Hyme. I have always been ambivalent about Brecker. True his playing is rich and replete with original musical conceptions and his technique is a god sent there is always a disturbing flashiness or pop quality even in his most successful solos yet on this particular track he shines in a way that would have made Coltrane proud. It is a deeply felt elegy of sorts wherein breaker's tone and phrasing are nothing short of astounding. I will not try to describe it in the same I would not try to describe the second movement of Mozart's Jupiter symphony- or of the G minor for that matter- as I said just get it.

Outstanding and underrated album. One of the most important for modern/urban jazz sound, Abercrombie and Becker works perfectly togheter. If you like Pat Metheny stuff, higly recomended!

Right from the start, you can feel another fine moment in music unfolding before your eyes and ears with this entry. The opening number, "Sidekicks," has a cheerful, larger-than-life fusion jazz flavor and is sort of festive in character. I like the multidimensional quality of this music and the vibrant colors of its textures. John Abercrombie plays a magnificent solo that paves the way for the astounding saxophone soli of Michael Brecker. The pondering "Upon a time" engulfs the listener with a refreshing breeze after the swell of steady rhythms poured in the previous track. I think of it as having some sorts of Methenyesque inflections in its main line (perhaps i should use the term "Abercrombiesque" - - - yes, that word already exists!). And what about that floating guitar sound which reminds me quite a bit of JA's older material from his own quartet (with Richie Beirach, George Mraz and Peter Donald)!

"Getting There" vaguely recalls his venturous album `Night' recorded three years previously. But any comparison would be vain as the two albums are considerably different on many facets. With energy and eerie temper, the music flies and at times seems like suspended between space and time. The recording is ample and clear. It should be noted though that this isn't a Manfred Eicher's production (at least directly) whereas `Night' is. The sound is fine, very fine, and seems to comply with Eicher's regular ECM output. The tranquil "Remember Hymn" is smooth jazz, but it is also somewhat broody, reflective music---the urban anthem perfect to listen to on a lonely evening---withdrawn from the street crowd. Listening to this, you'll know why wisely-used guitar synthesizers can add nice effects of their own through soft layers of textures (in an unobtrusive fashion, that is).

Another superb number, "Thalia," starts strangely; then a cool, if not ethereal, half-triggered buildup follows elusively. The piece is atmospheric and dreamy, yet it retains a subtle melodic outline along its pathway. The latter was written by Vince Mendoza and belongs to a `style' close to what JA will further explore in his 1990 ECM album `Animato'. The studio version of "Furs on Ice" lasts about a minute longer than that on the live trio recording of 1988. The live version adds a little extra more panache---though this excellent studio session has just what it takes : It is a full-throated ride, bursting with ecstasy and momentum. "Open-air music on a big city night," i'd say. Brecker is particularly memorable here and Abercrombie's inventive and constructive f-x make for uncompromising musicianship. Again, we are en plein urban/fusion jazz domain.

The five minute long "Chance," rather dreamy and foggy, smooths things out a little bit. To me, it sounds like `a rainy day song without words'. The attached acoustic guitar parts are great. The closing track, "Labour Day," ends up the set through warm, smooth jazz, with the loosen atmosphere of a bar late at night. Its somewhat soothed acoustic support and sympathetic climate are typical of Abercrombie. In all, a fine, well-played and well-recorded disc which i recommend unequivocally. I still give it four stars because, as good as it is, it does not equate JA's finest (five star) moments : Unarguably, his albums `Timeless', `Characters' and `Gateway', and also his Quartet (with Beirach, etc.) and his inimitable duos with the distinguished Ralph Towner.

My absolute favorite records of John's tend to be those with Marc Johnson and Peter Erskine . Michael is icing on a wonderful cake . The only reason i don't have CURRENT EVENTS and NOVEMBER is because i made a bone headed choice when i got my first I-pod (i sold off my jazz collection after importing it) . It was a huge mistake . NIGHT came today with "Jack In" for Peter and sans Marc . ABERCROMBIE/JOHNSON/ERSKINE is in the mail . I just ordered this baby (GETTING THERE) . God , i miss Michael . But we've still got these three gentlemen . The world is a beter place for that fact . This is a remarkable recording . Get it while it is relatively reasonable and affordable . Can't get Kenny Wheeler's WIDOW IN THE WINDOW either . Don't make a mistake similar to mine . There are so many esoteric recordings i cannot afford to replace .