JOHN ABERCROMBIE - Cat 'n' Mouse (2000) APE (image+.cue), lossless

Aided by an all-star band, John Abercombie makes it clear on CAT 'N' MOUSE exactly why he continues to be regarded as one of jazz's most creative and progressive guitarists. He's possessed not only of fearsome chops, but a finely honed textural sensibility that enables him to move from the slinky lines and feathery tones of the opening cut "A Nice Idea" to the forward-looking experimentalism of "Convolution" and post-bop firestorm of "Stop and Go" without missing a beat. Yoemanlike work is done as well by violinist Mark Feldman, whose purity of tone is matched only by his ceaseless originality and succinct phrasing. On the album's numerous contemplative tunes, it's a pleasure to hear Abercombie and Feldman's lines cris-crossing, creating spontaneous tone poems that bear beauty and invention in equal measure. AllMusic
Tracklist :
1     A Nice Idea 10:55
John Abercrombie
2     Convolution 5:31
John Abercrombie
3     String Thing 3:59
John Abercrombie
4     Soundtrack 8:04
John Abercrombie
5     Third Stream Samba 8:41
John Abercrombie / Joey Baron / Mark Feldman / Marc Johnson
6     On the Loose 5:59
John Abercrombie
7     Stop and Go 6:59
John Abercrombie
8     Show of Hands 9:18
John Abercrombie / Joey Baron / Mark Feldman / Marc Johnson
Credits :
Double Bass – Marc Johnson
Drums – Joey Baron
Guitar – John Abercrombie
Producer – Manfred Eicher
Violin – Mark Feldman

JOHN ABERCROMBIE - Class Trip (2003) APE (image+.cue), lossless

The John Abercrombie Quartet's Cat 'n' Mouse, issued in 2002, showcased a band that was on the verge of something that approached greatness. Abercrombie, violinist Mark Feldman, drummer Joey Baron, and bassist Marc Johnson gelled together inside the framework of the guitarist's increasingly open-ended compositions and became a unit that could articulate the most subtle of sonorities and intricate harmonic architectures. But they also revealed that they were entering the zone where they could actually stretch time and space. On Class Trip, the bandmembers come together fully and build on that concept with such beauty and grace that they sound as if they've been playing together all their lives. The sheer subtle intuition that guides these proceedings is breathtaking, whether they are weaving through one another on "Cat Walk," which is alternately full of shimmering yet knotty harmonics with Abercrombie's chord voicings offering a dimensional extension of Feldman's lines in counterpoint, finding a common singing voice where time signatures seemingly disappear, as on "Risky Business," or messing about with Bartók's "Soldier's Song" and turning its melodic line back on itself in an inverse scalar schemata. This band is concerned only with the articulation and expression of a musicality that lies not in the obviousness of its contributors' considerable musical gifts as jazz improvisers, but in the sheer nuanced elegance of an ensemble whose blurring of traditions under the rubric of improvisation makes the group not only compelling but brilliant. Abercrombie's compositions for this band are the most adventurous and graceful of his long career; as a unit, the quartet is a band without peers that plays a music whose challenge is only eclipsed by its accessibility and singular language. by Thom Jurek
Tracklist :
1     Dansir 9:32
John Abercrombie
2     Risky Business 7:40
John Abercrombie
3     Descending Grace 8:56
John Abercrombie
4     Illinoise 5:36
John Abercrombie / Joey Baron / Mark Feldman / Marc Johnson
5     Cat Walk 7:56
John Abercrombie
6     Excuse My Shoes 8:29
John Abercrombie
7     Swirls 6:07
John Abercrombie
8     Jack and Betty 3:41
John Abercrombie
9     Class Trip 7:29
John Abercrombie
10     Bartók: Soldier's Song 3:03
Béla Bartók
11     Epilogue 3:04
John Abercrombie / Joey Baron / Mark Feldman / Marc Johnson
Credits :
Double Bass – Marc Johnson
Drums – Joey Baron
Guitar – John Abercrombie
Producer – Manfred Eicher
Violin – Mark Feldman

JOHN ABERCROMBIE - The Third Quartet (2006) FLAC (image+.cue), lossless

Third Quartet is the third album by this rather astonishing group of musicians under guitarist and composer John Abercrombie's leadership. His collaborators: drummer Joey Baron, violinist Mark Feldman, and bassist Marc Johnson are all accomplished leaders in their own rights, but as they team with Abercrombie, something unusual, unwieldy, and utterly transformative takes place. Feldman is such a worthy foil for the guitarist. The call is the response in tunes like "Banshee" and "Wishing Bell," the counterpoint in "Tres," and the gorgeously simple harmonic extrapolations in "Number Nine," with its spacious and slippery melody, accent each man's greatest strength. For Feldman it's in the ear. He doesn't simply follow Abercrombie, he underscores him, he journeys from him and illumines his violin's particularly colorful tonalities in contrast to Abercrombie's warm and buttery tone. The ensemble symbiosis is at its height on tunes like Ornette Coleman's "Round Trip," which is begun by Baron and followed by Johnson, followed by Abercrombie and then Feldman. That said, the ensemble interplay near the end of tune, stretching Coleman's lyric line to the breaking point, is almost breathtaking. The other cover here, following immediately after, is Bill Evans' "Epilogue." Here, the sheer tenderness and emotion of Evans' composition are evident from the moment Abercrombie and Feldman begin playing together. Feldman's nearly modal approach to the actual head is startling at first, but the pacing, and Abercrombie's trademark sparse phrasing, are where the genius that is Evans' displays itself. Abercrombie and Feldman re-read the tune through its mode, and Johnson's skeletal playing of the changes keeps its from being entirely spectral. Baron's cymbal washes here are especially poignant. It feels more like an elegy, but there is no doubt that is its intention. This is a most welcome and beautiful addition to this particular group's musical language as well as their catalog. by Thom Jurek  
Tracklist :
1    Banshee    5:49
John Abercrombie
2    Number 9    5:26
John Abercrombie
3    Vingt Six    4:20
John Abercrombie
4    Wishing Bell    8:17
John Abercrombie
5    Bred    7:05
John Abercrombie
6    Tres    6:11
John Abercrombie
7    Round Trip    4:59
Ornette Coleman
8    Epilogue    5:14
Bill Evans
9    Elvin    8:23
John Abercrombie
10    Fine    3:23
John Abercrombie
Credits :
Double Bass – Marc Johnson
Drums – Joey Baron
Electric Guitar, Acoustic Guitar – John Abercrombie
Producer – Manfred Eicher
Violin – Mark Feldman

JOHN ABERCROMBIE QUARTET - Wait Till You See Her (2009) FLAC (image+.cue), lossless

John Abercrombie's longstanding partnership with Mark Feldman has yielded several albums of exquisite music, and Wait Till You See Her is no different. The mood is naturally restrained, contemplative, and introspective as you would expect, while there's a common thread of healthy respect that keeps the quartet in the softer mezzo piano range. With acoustic bassist Thomas Morgan and the irrepressible drummer Joey Baron, the electric guitarist and violinist weave their way through one standard and seven originals from Abercrombie that comes straight from the heart. It's not all sedate music -- check out "Line-Up," a fun listen as sneaky melody lines and frisky interplay is infused in a neo-bop context. A sprightly two-step beat, walking along with a brief, folksy musical snippet makes "Out of Towner" a tongue-in-cheek tribute to Ralph Towner. Then there's another cutely titled parody, "Chic of Araby," a bass-led tango with Abercrombie's secretive, snake-like guitar in the lower key dynamic the band prefers. A bluesy and reverent piece, "Anniversary Waltz" is in the midtempo pace that sports a more universal appeal, and it's draped in a pretty, elegant dress. The extremely slow "Sad Song" paraphrases the melody of "Speak Low" as Feldman's violin speaks to the emotions of the fallen, the title selection, a Richard Rodgers/Lorenz Hart evergreen, is reduced to a wisp of an anticipatory theme, and "I've Overlooked Before" has the seascape-at-midnight audio quality evocative of the best film noir soundtrack, ultimately dusky and sighing. One track sans Feldman -- "Trio" -- is a pretty good jazz swinger as you hear the sparse signature sound Abercrombie has held close to his soul for four decades. Feldman always holds sway with his beautiful and piquant voicings. Alongside Abercrombie, you always know there's a compatible, agreeable sound forged between these high-level contemporary jazz string players. It's not a commanding performance, but the subtle nuances outweigh any kind of loud pronouncements that distract from musicality. At the bottom line, it's another consistent and at times excellent effort from these tried and true modern musicians. by Michael G. Nastos  
Tracklist :
1    Sad Song    7:13
John Abercrombie
2    Line-Up    7:16
John Abercrombie
3    Wait Till You See Her 5:40
Music By – Richard Rogers/Lorenz Hart
4    Trio    5:10
John Abercrombie
5    I've Overlooked Before    7:28
John Abercrombie
6    Anniversary Waltz    9:25
John Abercrombie
7    Out Of Towner    6:11
John Abercrombie
8    Chic Of Araby    8:22
John Abercrombie
Credits :
Double Bass – Thomas Morgan
Drums – Joey Baron
Guitar – John Abercrombie
Producer – Manfred Eicher
Violin – Mark Feldman

JOHN ABERCROMBIE QUARTET - Within a Song (2012) 24bits-88hz / FLAC (tracks), lossless

Tracklist :
1    Where Are You 5:49
Composed By – Harold Adamson, Jimmy McHugh
2    Easy Reader 6:34
Composed By – John Abercrombie
Within A Song / Without A Song    (7:55)
3a    Within A Song
Composed By – John Abercrombie
3b    Without A Song
Composed By – Billy Rose, Vincent Youmans
4    Flamenco Sketches 6:33
Composed By – Miles Davis
5    Nick Of Time 5:54
Composed By – John Abercrombie
6    Blues Connotation 6:10
Composed By – Ornette Coleman
7    Wise One 9:10
Composed By – John Coltrane
8    Interplay 6:24
Composed By – Bill Evans
9    Sometime Ago 6:25
Composed By – Sergio Mihanovich
Credits :
Double Bass – Drew Gress
Drums – Joey Baron
Guitar – John Abercrombie
Producer – Manfred Eicher
Tenor Saxophone – Joe Lovano

JOHN ABERCROMBIE QUARTET - 39 Steps (2013) FLAC (image+.cue), lossless

There is an easy familiarity among the participants on the John Abercrombie Quartet's 39 Steps. Each of its members -- guitarist, pianist Marc Copland, bassist Drew Gress, and drummer Joey Baron -- have played together in various situations for decades. In the case of Abercrombie and Copland, their association goes back some 40 years to Chico Hamilton's touring group and the fusion band Dreams. Both Baron and Gress have played with the guitarist and pianist on and off since the '90s. The predominate mood here is linear post-bop and lyric balladry, though there is an overarching group meditation on the pieces titled for Alfred Hitchock's films: Abercrombie composed six pieces here (including "Vertigo" and the title track); Copland two (including "Spellbound"), and there's a group improvisation called "Shadow of a Doubt." The pianist's "LST" is a midtempo number with an elaborate melody and a gorgeous solo by the composer showcasing motivic invention in the upper register accompanied by gorgeous chord voicings from Abercrombie. The lush, melodic invention in the guitarist's "Bacharach" offers the pianist a platform to build a multi-hued timbral spectrum, while Abercrombie slips along its underside in an understated yet intricate solo, Gress punctuates his lines with rich wooden tones and Baron whispers along on snare and cymbals. Copland's "Spellbound" is as mysterious as its title implies. Abercrombie's dual string intro is followed by Gress's, which is darkly illumined by the pianist's middle-register chordal inventions and Baron's slippery shuffle. The guitarist's solo follows a scalar line, purposely syncopating his movements and creating a gentle swing. The title track is one of the loveliest ballads Abercrombie has composed. It makes full use of both the piano's and guitar's possibilities as chord instruments, but its solos all move fluidly along subtle yet intensely lyrical lines. The set closes on the most unusual version of "Melancholy Baby" ever committed to tape, though even in its angular rhythmic thrust and contrapuntal individual statements, exhibits a keen sense of listening and melodic counterpoint. Abercrombie's 39 Steps offers the sound of a veteran quartet playing at the height of its individual members' intuitive and collective abilities. by Thom Jurek  
Tracklist :
1 Vertigo 6:23
Composed By – John Abercrombie
2 LST 6:51
Composed By – Marc Copland
3 Bacharach 7:21
Composed By – John Abercrombie
4 Greenstreet 6:15
Composed By – John Abercrombie
5 As It Stands 4:08
Composed By – John Abercrombie
6 Spellbound 6:53
Composed By – Marc Copland
7 Another Ralph's 5:22
Composed By – John Abercrombie
8 Shadow Of A Doubt 3:12
Composed By – Drew Gress, Joey Baron, John Abercrombie, Marc Copland
9 39 Steps 8:36
Composed By – John Abercrombie
10 Melancholy Baby 4:37
Composed By – Ernie Burnett, George A. Norton
Credits :
Double Bass – Drew Gress
Drums – Joey Baron
Guitar – John Abercrombie
Piano – Marc Copland
Producer – Manfred Eicher

JOHN ABERCROMBIE QUARTET - Up and Coming (2017) FLAC (tracks+.cue), lossless

When pianist Marc Copland formally joined the John Abercrombie Quartet for 2013's wonderful 39 Steps, he brought with him the fruit of the musical relationship between himself and the guitarist that had been established some four decades earlier with Chico Hamilton, and in the fusion band Dreams. Their evolution continued the guitarist's participation on several of the pianist's albums, and as sidemen playing in the same bands with Kenny Wheeler and David Liebman. Bassist Drew Gress, who has worked with both men separately over the years, is a further link in the chain, while drummer Joey Baron has played with the guitarist often enough to be intimately familiar with his compositional and improvisational processes.
Abercrombie wrote five of these eight tunes, Copland contributed a pair, and the group offers a startling read of Miles Davis' nugget "Nardis." It's in the reinvention of the latter number where this band showcases its greatest strengths. While they remain faithful to the song's harmony and spirit, they open up its inner space a moment at a time, almost imperceptibly at first. Abercrombie parses his phrases, albeit fluidly, to reveal the hidden magic in Davis' nuances, as Copland follows through and around them to crystallize its striking chorus. There's a great deal of magic in the originals as well. Opener "Joy" commences with a poignant minor-lyric statement, picked up by Copland before the pair stagger the melody and begin a gradual yet emotive and inquisitive interplay. Gress accents the changes while Baron adds dimension and texture with his whispering cymbal work. The pianist's solo highlights each melodic fragment with canny lyricism. The guitarist's "Flipside" is brief, but its swinging tempo and tight changes spotlight the band breezing through post-bop with zest, humor, and chops to spare. A more complex side of that nature is expounded upon in Copland's "Silver Circle," providing an opportunity for Abercrombie to underscore the edges in a rounded yet knotty solo. The pianist's "Tears," with its processional yet lithe chord voicings, hushed cymbals, and muted tom-toms, is initially so gentle and tender, it momentarily distracts from the darkness within. Abercrombie's break caresses the melody's haunting frame; Gress picks apart its elements and exposes its spine reinforced subtly by Baron, and Copland opens the seam to expose drama, vulnerability, and loss. The set concludes with the guitarist's "Jumbles," a jocular, midtempo workout that juxtaposes angles and breezy harmony with a varying rhythmic palette. Up and Coming clocks in at under 50 minutes. Its compositional and improvisational economy is countered by the quartet's disciplined ability to colorfully and authoritatively illustrate an abundance of creative ideas without hinting at compromise.  by Thom Jurek
Tracklist :
1     Joy 4:12
John Abercrombie
2     Flipside 2:53
John Abercrombie
3     Sunday School 7:18
John Abercrombie
4     Up and Coming 5:50
John Abercrombie
5     Tears 7:34
Marc Copland
6     Silver Circle 7:06
Marc Copland
7     Nardis 6:21
Miles Davis
8     Jumbles 5:57
John Abercrombie
Credits :
Double Bass – Drew Gress
Drums – Joey Baron
Guitar – John Abercrombie
Piano – Marc Copland

JIM HALL TRIO ft. TOM HARRELL - These Roos (1988) FLAC (tracks+.cue), lossless

This 1988 studio date is one of the overlooked treasures in the considerable discography of Jim Hall, possibly due to the label's low-key promotion and less than eye-catching cover art. It is easy to understand why artists like Art Farmer and Paul Desmond omitted a pianist after hearing a release such as this one, because it would only clutter Hall's soft yet complete accompaniment. Joined by Tom Harrell (heard mostly on flügelhorn), bassist Steve LaSpina, and drummer Joey Baron, this CD is a delight from start to finish. The interaction of the musicians in the opener, a lively, waltzing "With a Song in My Heart," makes it sound like they have been a working unit for years. The well-conceived arrangement of "Where or When," which Hall dedicated to Basie guitarist Freddie Green (who died the year prior to the sessions), proves to be the most captivating track, with its understated yet consummately swinging air. Hall contributed the tense "Cross Court," a smoking post-bop vehicle, a pulsing calypso written originally for his 1985 Montreux concert with Michel Petrucciani and Wayne Shorter, as well as the haunting ballad "These Rooms," which opens with Harrell's melancholy unaccompanied trumpet solo, and has an abstract solo by the leader. "Something Tells Me" is a lovely bittersweet ballad by Jane Hall (Jim's wife, a talented composer whose work he has often recorded), featuring Hall and Harrell. Hall's unaccompanied take of Duke Ellington's "All Too Soon" makes one wonder why he has never recorded an entire album of guitar solos. This out of print CD is destined to become a collectible. by Ken Dryden 

Tracklist:

1 With a Song in My Heart 8:26

Lorenz Hart / Richard Rodgers

2 Cross Court 5:15

Jim Hall

3 Something Tells Me 5:13

Jane Hall

4 Bimini 9:20
Jim Hall
5 All Too Soon 4:02

Duke Ellington / Carl Sigman

6 These Rooms 11:28

Jim Hall

7 Darn That Dream 4:08

Eddie DeLange / James Van Heusen

8 My Funny Valentine 6:25

Lorenz Hart / Richard Rodgers 

9 Where or When 5:51

Lorenz Hart / Richard Rodgers

10 From Now On 7:08
Tom Harrell
Credits:
Bass – Steve LaSpina
Drums – Joey Baron
Flugelhorn – Tom Harrell (tracks: 1 to 5, 7 to 10)
Guitar – Jim Hall
Trumpet – Tom Harrell (tracks: 6)