John Abercrombie Music

"Timeless" released in 1975 is considered to be John Abercrombie's masterpiece, while there are some great songs on this album, I don't think I agree with these reviewer's high praise of this album. I think the important thing is to look at this album as jazz fusion album something which Abercrombie has gotten away from since this album was released. It's definitive for the time and that's all it is a representation of jazz in the mid-70s. This album also suffers from Mahavishnu Orchestra type fusion tunes like the opening song "Lungs" and "Red And Orange." I was never really a big fan of the Mahavishnu Orchestra, so this really doesn't help the album in my opinion.

I guess you're wondering by now, why am I giving an album that I've talked bad about 4-stars? Here's the reason: the improvisations, the interplay, the musicians, and three songs "Ralph's Piano Waltz," "Love song," "Timeless" and "Remembering." This is what saves this album for me from the dark fusion abyss. Jan Hammer and Jack DeJohnette provide excellent support to Abercrombie, who's still searching for his style.

Now, as dated as this album is, it's still a fine introduction to John Abercrombie's music and it serves as a piece of jazz guitar history. Abercrombie has come along way since 1974 and if you want to hear him play fusion music, then you should check this album out.

Listening to the album as a whole, as opposed to just "Timeless," the last track, isn't a matter of, "Oh yeah, what about those other pieces;" they can't have been composed to be, but they form a preternaturally good setting for it. All of the pieces stand up, and they are integral, a kind of staking out of territory for the title track to take the center of.

The thing I've "never figured out" about "Timeless" is how they take--or how Abercrombie takes--such a simple piece--drone, synth bass, organ cords, light percussion, and a simple melody on guitar--and make it so large, free and mysterious.

John Abercrombie emerged in the shadows of McLaughlin and Di Meola. He is subtler and, in some ways, more restrained and accomplished. The result here on his ECM debut is a session that really stands the test of time: TIMELESS indeed! I am particularly fond of the title track and the acoustic pieces (there are two here and they are sophisticated entries in the same vein as Mahavishnu's "Thousand Island Park" and Return to Forever's acoustic material: if only fusion had done MUCH MORE of this it would not have mutated into a parody of itself).
The sound of the record is tight, energetic, yet somehow mellow. Jack DeJohnette is superb throughout, Jan Hamer makes a rare appearance on Hammond B3 and just sizzles! On the up-tempo side is "Lungs" an opening burner that settles into an exploratory groove. On the mystical, searching side is the title track that takes a simple motiff and weaves a long gorgeous story that has much more to do with what we think of as the "ECM sound" than "fusion". This should be your first stop on the way to discovering the rich discography of John Abercrombie. Five Stars (meaning: EVERY track is superb, no clunkers, no filler)

John Abercrombie's first outing as a leader was not something you just put on quietly in the background and forgot about, it alternately grabbed you by the throat or hypnotised you. Joined here by the ever versatile Jack DeJohnette on drums and keyboard whiz Jan Hammer (taking a VERY rare turn on Hammond organ as well as piano and Mini Moog. Such a shame he didn't play organ more, he sounded GREAT on it!), JA blasts off with his own unique take on fusion, emphasizing the jazz end of the equation more than some of his contemporaries at the time.

1. Lungs - Gets off to a fiery start with call-and-response phrases at times reminiscent of the Mahavishnu Orchestra, it then starts to wind down to a mysterious and spooky mid-section (conjuring up images of a fog shrouded night in the woods) before ending on an unexpected funk jam to a fade out.

2. Love Song - Hammer and Abercrombie go for forlorn musical hues in this guitar/piano duet.

3. Ralph's Piano Waltz - Not forgettig his more traditional jazz roots, JA cooks up a piece that seems to evoke Miles Davis in it's memorable melody line, and featuring a SMOKING Hammond solo by Hammer.

4. Red And Orange - Baring the fangs this time with a Jan Hammer tune that rocks out yet retains the looseness of jazz. Great intense melody line too.

5. Remembering - A dissonant, angular piano/guitar duet that builds tension and pulls you along in its spell

6. Timeless - As another reviewer pointed out, it was amazing how JA could take a very simple phrase with chordal drones and turn it into something very mysterious and open, I couldn't agree more, definitely the most hypnotic track on the disc and a great closer.

"Timeless" is a very good album featuring the U.S. Jazz Guitarist. On it, he teams up with Jan Hammer (organ, synthesizer, piano) and Jack De Johnette (drums). There are only six pieces on this album, all instrumental. The best track is undoubtedly the haunting title track which closes the album, which forms a nice set of book-ends for the album with the opening piece "Lungs". Each of them is about 12 minutes long, and together are over half the album. In addition, I think "Red And Orange" is a very good track. The other three pieces are not as strong, but each of them has its moments, and none of them are bad.

"Timeless" released in 1975 is considered to be John Abercrombie's masterpiece, while there are some great songs on this album, I don't think I agree with these reviewer's high praise of this album. I think the important thing is to look at this album as jazz fusion album something which Abercrombie has gotten away from since this album was released. It's definitive for the time and that's all it is a representation of jazz in the mid-70s. This album also suffers from Mahavishnu Orchestra type fusion tunes like the opening song "Lungs" and "Red And Orange." I was never really a big fan of the Mahavishnu Orchestra, so this really doesn't help the album in my opinion.

I guess you're wondering by now, why am I giving an album that I've talked bad about 4-stars? Here's the reason: the improvisations, the interplay, the musicians, and three songs "Ralph's Piano Waltz," "Love song," "Timeless" and "Remembering." This is what saves this album for me from the dark fusion abyss. Jan Hammer and Jack DeJohnette provide excellent support to Abercrombie, who's still searching for his style.

Now, as dated as this album is, it's still a fine introduction to John Abercrombie's music and it serves as a piece of jazz guitar history. Abercrombie has come along way since 1974 and if you want to hear him play fusion music, then you should check this album out.

Listening to the album as a whole, as opposed to just "Timeless," the last track, isn't a matter of, "Oh yeah, what about those other pieces;" they can't have been composed to be, but they form a preternaturally good setting for it. All of the pieces stand up, and they are integral, a kind of staking out of territory for the title track to take the center of.

The thing I've "never figured out" about "Timeless" is how they take--or how Abercrombie takes--such a simple piece--drone, synth bass, organ cords, light percussion, and a simple melody on guitar--and make it so large, free and mysterious.

John Abercrombie emerged in the shadows of McLaughlin and Di Meola. He is subtler and, in some ways, more restrained and accomplished. The result here on his ECM debut is a session that really stands the test of time: TIMELESS indeed! I am particularly fond of the title track and the acoustic pieces (there are two here and they are sophisticated entries in the same vein as Mahavishnu's "Thousand Island Park" and Return to Forever's acoustic material: if only fusion had done MUCH MORE of this it would not have mutated into a parody of itself).
The sound of the record is tight, energetic, yet somehow mellow. Jack DeJohnette is superb throughout, Jan Hamer makes a rare appearance on Hammond B3 and just sizzles! On the up-tempo side is "Lungs" an opening burner that settles into an exploratory groove. On the mystical, searching side is the title track that takes a simple motiff and weaves a long gorgeous story that has much more to do with what we think of as the "ECM sound" than "fusion". This should be your first stop on the way to discovering the rich discography of John Abercrombie. Five Stars (meaning: EVERY track is superb, no clunkers, no filler)

John Abercrombie's first outing as a leader was not something you just put on quietly in the background and forgot about, it alternately grabbed you by the throat or hypnotised you. Joined here by the ever versatile Jack DeJohnette on drums and keyboard whiz Jan Hammer (taking a VERY rare turn on Hammond organ as well as piano and Mini Moog. Such a shame he didn't play organ more, he sounded GREAT on it!), JA blasts off with his own unique take on fusion, emphasizing the jazz end of the equation more than some of his contemporaries at the time.

1. Lungs - Gets off to a fiery start with call-and-response phrases at times reminiscent of the Mahavishnu Orchestra, it then starts to wind down to a mysterious and spooky mid-section (conjuring up images of a fog shrouded night in the woods) before ending on an unexpected funk jam to a fade out.

2. Love Song - Hammer and Abercrombie go for forlorn musical hues in this guitar/piano duet.

3. Ralph's Piano Waltz - Not forgettig his more traditional jazz roots, JA cooks up a piece that seems to evoke Miles Davis in it's memorable melody line, and featuring a SMOKING Hammond solo by Hammer.

4. Red And Orange - Baring the fangs this time with a Jan Hammer tune that rocks out yet retains the looseness of jazz. Great intense melody line too.

5. Remembering - A dissonant, angular piano/guitar duet that builds tension and pulls you along in its spell

6. Timeless - As another reviewer pointed out, it was amazing how JA could take a very simple phrase with chordal drones and turn it into something very mysterious and open, I couldn't agree more, definitely the most hypnotic track on the disc and a great closer.

"Timeless" is a very good album featuring the U.S. Jazz Guitarist. On it, he teams up with Jan Hammer (organ, synthesizer, piano) and Jack De Johnette (drums). There are only six pieces on this album, all instrumental. The best track is undoubtedly the haunting title track which closes the album, which forms a nice set of book-ends for the album with the opening piece "Lungs". Each of them is about 12 minutes long, and together are over half the album. In addition, I think "Red And Orange" is a very good track. The other three pieces are not as strong, but each of them has its moments, and none of them are bad.

"Timeless" released in 1975 is considered to be John Abercrombie's masterpiece, while there are some great songs on this album, I don't think I agree with these reviewer's high praise of this album. I think the important thing is to look at this album as jazz fusion album something which Abercrombie has gotten away from since this album was released. It's definitive for the time and that's all it is a representation of jazz in the mid-70s. This album also suffers from Mahavishnu Orchestra type fusion tunes like the opening song "Lungs" and "Red And Orange." I was never really a big fan of the Mahavishnu Orchestra, so this really doesn't help the album in my opinion.

I guess you're wondering by now, why am I giving an album that I've talked bad about 4-stars? Here's the reason: the improvisations, the interplay, the musicians, and three songs "Ralph's Piano Waltz," "Love song," "Timeless" and "Remembering." This is what saves this album for me from the dark fusion abyss. Jan Hammer and Jack DeJohnette provide excellent support to Abercrombie, who's still searching for his style.

Now, as dated as this album is, it's still a fine introduction to John Abercrombie's music and it serves as a piece of jazz guitar history. Abercrombie has come along way since 1974 and if you want to hear him play fusion music, then you should check this album out.

Listening to the album as a whole, as opposed to just "Timeless," the last track, isn't a matter of, "Oh yeah, what about those other pieces;" they can't have been composed to be, but they form a preternaturally good setting for it. All of the pieces stand up, and they are integral, a kind of staking out of territory for the title track to take the center of.

The thing I've "never figured out" about "Timeless" is how they take--or how Abercrombie takes--such a simple piece--drone, synth bass, organ cords, light percussion, and a simple melody on guitar--and make it so large, free and mysterious.

John Abercrombie emerged in the shadows of McLaughlin and Di Meola. He is subtler and, in some ways, more restrained and accomplished. The result here on his ECM debut is a session that really stands the test of time: TIMELESS indeed! I am particularly fond of the title track and the acoustic pieces (there are two here and they are sophisticated entries in the same vein as Mahavishnu's "Thousand Island Park" and Return to Forever's acoustic material: if only fusion had done MUCH MORE of this it would not have mutated into a parody of itself).
The sound of the record is tight, energetic, yet somehow mellow. Jack DeJohnette is superb throughout, Jan Hamer makes a rare appearance on Hammond B3 and just sizzles! On the up-tempo side is "Lungs" an opening burner that settles into an exploratory groove. On the mystical, searching side is the title track that takes a simple motiff and weaves a long gorgeous story that has much more to do with what we think of as the "ECM sound" than "fusion". This should be your first stop on the way to discovering the rich discography of John Abercrombie. Five Stars (meaning: EVERY track is superb, no clunkers, no filler)

John Abercrombie's first outing as a leader was not something you just put on quietly in the background and forgot about, it alternately grabbed you by the throat or hypnotised you. Joined here by the ever versatile Jack DeJohnette on drums and keyboard whiz Jan Hammer (taking a VERY rare turn on Hammond organ as well as piano and Mini Moog. Such a shame he didn't play organ more, he sounded GREAT on it!), JA blasts off with his own unique take on fusion, emphasizing the jazz end of the equation more than some of his contemporaries at the time.

1. Lungs - Gets off to a fiery start with call-and-response phrases at times reminiscent of the Mahavishnu Orchestra, it then starts to wind down to a mysterious and spooky mid-section (conjuring up images of a fog shrouded night in the woods) before ending on an unexpected funk jam to a fade out.

2. Love Song - Hammer and Abercrombie go for forlorn musical hues in this guitar/piano duet.

3. Ralph's Piano Waltz - Not forgettig his more traditional jazz roots, JA cooks up a piece that seems to evoke Miles Davis in it's memorable melody line, and featuring a SMOKING Hammond solo by Hammer.

4. Red And Orange - Baring the fangs this time with a Jan Hammer tune that rocks out yet retains the looseness of jazz. Great intense melody line too.

5. Remembering - A dissonant, angular piano/guitar duet that builds tension and pulls you along in its spell

6. Timeless - As another reviewer pointed out, it was amazing how JA could take a very simple phrase with chordal drones and turn it into something very mysterious and open, I couldn't agree more, definitely the most hypnotic track on the disc and a great closer.

"Timeless" is a very good album featuring the U.S. Jazz Guitarist. On it, he teams up with Jan Hammer (organ, synthesizer, piano) and Jack De Johnette (drums). There are only six pieces on this album, all instrumental. The best track is undoubtedly the haunting title track which closes the album, which forms a nice set of book-ends for the album with the opening piece "Lungs". Each of them is about 12 minutes long, and together are over half the album. In addition, I think "Red And Orange" is a very good track. The other three pieces are not as strong, but each of them has its moments, and none of them are bad.

This album shows the versatility of Peter Erskine at its best: beautiful varied compositions (highlights being Corazon and King Richard II Suite) with an inspired cast of well-known musicians like Joe Lovano, Bob Mintzer, Marc Johnson and Kenny Werner. Moreover the masterful material is recorded with an unbelievable clarity of sound. One of, if not THE best solo effort of Peter Erskine and a recording that stands tall in the incredible discography of Peter Erskine.

Started listening to this CD again after some years - its still as vital and intriguing as I recall the first time - Definitely stands the test of time - outstanding.

Great CD! I have owned this CD for 12 years. Two things to listen for: The variety of the cuts is amazing. It really keeps you suprised. Second, the intensity of Erskins music grabs you. I am not tired of it after 12 years.

Peter Erskine has done loads of work with the uber producer/arranger/composer Vince Mendoza. They've collaborated on some of my favourite jazz CDs - More or less all of Vince's solo stuff, Jimmy Haslip's "ARC" and Joni Mitchell's "Both Sides Now" so I was wondering how come Vince hadn't worked on any of Peter's albums?

Then I learned about this one browsing amazon.com a few weeks ago, while trying to see if Vince has anything new out. I ordered it without even listening to the sound samples and this album is a testament to the fact that good music never dates. This album was released NINETEEN years ago and it sounds as fresh as if it came out last month! It features some of my biggest heroes - Pete and Vince themselves (of course), with John Abercrombie, Joe Lovano and Bob Mintzer. Brilliant from beginning to end, I have no complaints, thank you amazon.com!

This is the first of John Abercrombie's albums with Dan Wall and Adam Nussbaum, trio or otherwise, and it's a beauty. This is a smouldering, brooding album of fine, fine music; both composed and improvised. The music is, of course, always paramount. John Abercrombie wouldn't know how to disappoint in this department. He is an outstanding composer. Having said that, one of my favourites on this album is 'Carol's Carol', a great tune by Dan Wall!

The Amazon[.com] reviewer above says that 'While We're Young' hasn't got much drive. Granted, a Bluenote 60's organ tio it is NOT, but that for me is an absolute plus! This is imaginative, modern, and non-standard in every way (pun intended). Drifting and dreamy? Maybe. Aimless? Certainly not. This is not docile and aimless music. (For docile one need look no further than Abercrombie's 'Open Land' disc.) This is subtle, absorbing, even mystrious, but thoroughly swinging music. There's a cool atmosphere here, true, but there's also plenty of heat just beneath the surface.

There's some incredibly fine guitar work from John Abercrombie on this album. His soloing is melodic, but it's never repetitive or predictable. It's full of fascinating twists and turns, and his comping (accompaniment) is really superb. He even plays some fine acoustic guitar - with organ and drums! Wow!

Perhaps this IS an acquired taste, but to my mind this music is every bit as engaging as that of any guitarist in Jazz; now or any other time. Highly recommended.

This is the first of John Abercrombie's albums with Dan Wall and Adam Nussbaum, trio or otherwise, and it's a beauty. This is a smouldering, brooding album of fine, fine music; both composed and improvised. The music is, of course, always paramount. John Abercrombie wouldn't know how to disappoint in this department. He is an outstanding composer. Having said that, one of my favourites on this album is 'Carol's Carol', a great tune by Dan Wall!

The Amazon[.com] reviewer above says that 'While We're Young' hasn't got much drive. Granted, a Bluenote 60's organ tio it is NOT, but that for me is an absolute plus! This is imaginative, modern, and non-standard in every way (pun intended). Drifting and dreamy? Maybe. Aimless? Certainly not. This is not docile and aimless music. (For docile one need look no further than Abercrombie's 'Open Land' disc.) This is subtle, absorbing, even mystrious, but thoroughly swinging music. There's a cool atmosphere here, true, but there's also plenty of heat just beneath the surface.

There's some incredibly fine guitar work from John Abercrombie on this album. His soloing is melodic, but it's never repetitive or predictable. It's full of fascinating twists and turns, and his comping (accompaniment) is really superb. He even plays some fine acoustic guitar - with organ and drums! Wow!

Perhaps this IS an acquired taste, but to my mind this music is every bit as engaging as that of any guitarist in Jazz; now or any other time. Highly recommended.