░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░ ░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░████████████░░░░░░░░░░░░░░░░░░░░░░░░░░░ ░░░░░░░░░░░░░░░░░░░░░░░░░░░░░██████████████████████░░░░░░░░░░░░░░░░░░░░░░░░ ░░░░░░░░░░░░░░░░░░░░░░░░░░███████████████████████████▓░░░░░░░░░░░░░░░░░░░░░░░ ░░░░░░░░░░░░░░░░░░░░░░░░██████████ ███████████░░░░░░░░░░░░░░░░░░░░░░ ░░░░░░░░░░░░░░░░░░░░░░███████░ ████████░░░░░░░░░░░░░░░░░░░░ ░░░░░░░░░░░░░░░░░░░░███████ ████████░░░░░░░░░░░░░░░░░░░ ░░░░░░░░░░░░░░░░░░███████ V E T E R A N S ██████░░░░░░░░░░░░░░░░░░ ░░░░░░░░░░░░░░░░░██████ ██████████ █████████ ██████░░░░░░░░░░░░░░░░░░ ░░░░░░░░░░░░░░░░█████▓ ░░█████████ █████████ █████▓░░░░░░░░░░░░░░░░ ░░░░░░░░░░░░░░░█████ ░██████████ █████████ █████▒░░░░░░░░░░░░░░░ ░░░░░░░░░░░░░░█████ ░░█████████ █████████ █████░░░░░░░░░░░░░░░ ░░░░░░░░░░░░░█████ ░█████████ ████████ █████░░░░░░░░░░░░░░ ░░░░░░░░░░░░░████ U R B A N ░░██████████████████ U N I T E D █████░░░░░░░░░░░░░ ░░░░░░░░░░░░█████ ████ ████ ░░████████████████ █████ █████ ████░░░░░░░░░░░░░ ░░░░░░░░░░░█████ ░████ ████ ░████████████████ ░█████ █████ █████░░░░░░░░░░░░ ░░░░░░░░░░░████ ░████ ████ ░░██████████████ ░█████ █████ ████░░░░░░░░░░░░ ░░░░░░░░░░░████ ░████ ████ ░░████████████ ░█████ █████ ████░░░░░░░░░░░ ░░░░░░░░░░████▒ ░████ ████ ░████████████ ░█████ █████ ████░░░░░░░░░░░ ░░░░░░░░░░████ ░████ ████ ░░██████████ ░█████ █████ ████░░░░░░░░░░░ ░░░░░░░░░░████ ░██████████ ░█████████▓ ░███████████ ████░░░░░░░░░░ ░░░░░░░░░█████ ░█████████ ░░████████ ░█████████ ████░░░░░░░░░░ ░░░░░░░░░█████ ░███████ ░░██████ ░███████ ████░░░░░░░░░░ ░░░░░░░░░░█████ ░██████ █████░░░░░░░░░░ ░░░░░░░░███████ ░░████ ███████░░░░░░░░ ░░░░░░░████████ ░███ ████████░░░░░░░ ░░░░░░█████▓▓██ ░░██ ██▓▓█████░░░░░░ ░░░░░█████▓▓▓██ ╔══════════════════════════════════════════════╗ ██▓▓▓█████░░░░░ ░░░█████▓▓▓█▓██ ║ r e l e a s e i n f o ║ ██▓█▓▓▓█████░░░ ░░▓████▓▓███▓██ ╚══════════════════════════════════════════════╝ ██▓███▓▓█████░░ ░░████▓▓████▓██ ██▓████▓▓████░░ ░█████▓█████▓██ ▌Artist__│ John Abercrombie ██▓█████▓█████░ ░████▓▓██▒██▓██ ▌Title___│ Gateway ██▓█████▓▓████░ ░████▓███▒██▓██ ▌Label___│ ECM Records ██▓██▒███▓████░ ░████▓███▒██▓██ ▌Genre___│ Jazz ██▓██▒███▓████░ ░████▓███▒██▓██ ▌Format__│ Album ██▓██▒███▓████░ ░████▓███▒██▓██ ▌Year____│ 1975 ██▓██▒███▓████░ ░░████▓█████▓██ ▀▀▀▀▀▀▀▀▀╝ ██▓█████▓████░░ ░░████▓█████▓██ ▌Time____│ 41:34 ██▓█████▓████░░ ░░░████▓████▓██ ▌Size____│ 100.23 MB ██▓████▓████░░░ ░░░░███▓▓███▓██ ▀▀▀▀▀▀▀▀▀╝ ██▓███▓▓███░░░░ ░░░░░███▓▓▓█▓██ ▌Source__│ Web Store ██▓█▓▓▓███░░░░░ ░░░░░░████▓▓▓██ ▌Quality_│ 320 kbps ██▓▓▓████░░░░░░ ░░░░░░░░░██████ ▀▀▀▀▀▀▀▀▀╝ ██████░░░░░░░░ ░░░░░░░░░░░░███ ███░░░░░░░░░ ░░░ ░░ ╔═══════════════╗ ░░ ║ T R A C K S ║░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░ ░░ ╚═══════════════╝▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀ ░░ ░░ 01. Back-Woods Song 7:51 ░░ 02. Waiting 2:10 ░░ 03. May Dance 11:01 ░░ 04. Unshielded Desire 4:49 ░░ 05. Jamala 4:47 ░░ 06. Sorcery I 10:56 ░░ ░░ ░░ ░░ ╔═══════════════╗ ░░ ║ N O T E S ║░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░ ░░ ╚═══════════════╝▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀ ░░ ░░ With this record, John Abercrombie both repaved and detoured from his ░░ staid path. He could hardly have been in finer company, and the ░░ combination seems to have fanned all sorts of flames within him. ░░ DeJohnette and Holland string an array of tightropes across which ░░ Abercrombie balances his way into previously uncharted territory. ░░ ░░ ôBack-Woods Songö evokes a mood that would come to define some of the ░░ later work of Bill Frisell. To be sure, the sound lives up to its name ░░ here as it awakens like an alligator poking its head above some swampy ░░ surface. Holland solos wonderfully here, after what some have rightly ░░ remarked to be a rather ôcreepyö turn from Abercrombie, ricocheting ░░ delightfully off the cymbals. This is very muddy jazz: viscous, opaque, ░░ and teeming with unseen life. ôWaitingö is essentially a slow trek for ░░ bass that ushers us into ôMay Dance,ö in which AbercrombieÆs fingers ░░ frolic across the fretboard. Thus he brings a clear sense of continuity ░░ and of dynamic energy, scraping away at the surface of possibility and ░░ peering into its inner depths without fear of censure. The ensuing frenzy ░░ of activity resolves into a delicate bass solo, during which Abercrombie ░░ takes a much-needed breather. Holland cleverly mimics AbercrombieÆs ░░ style, underscoring that same cluster concept of note value and melodic ░░ ascendency. ôUnshielded Desireö is exactly what it claims to be. It ░░ starts with a percussive bang like the finale of a fireworks display and ░░ Abercrombie runs with all his might to capture every dying spark as it ░░ trails in the sky. The music goes around in spirals, flirting with a ░░ center it can never reach no matter how far down it goes, until it is ░░ like a compass gone haywire in the Bermuda Triangle. Next is ôJamala,ö ░░ the most downtempo cut on the album. This is a moody masterpiece and a ░░ fine lead-in to the magical, epic, and incendiary ôSorcery I,ö which ░░ rounds out the set. ░░ ░░ I actually fell asleep the first three times I tried listening to this ░░ record. For whatever reason, its quirky energy seems to have had a ░░ soothing effect on me. Odd, seeing as I cannot imagine a more ░░ invigorating guitar trio. Abercrombie has such a distinctive sound and it ░░ has to do not only with the amplification and choice of instrument (or ░░ pairing thereof), but more importantly with the fragmented aesthetic he ░░ brings to his playing. Abercrombie is a ôsensualö musicianùthat is, a ░░ musician of the senses. He seems to rattle his own bones, bringing to his ░░ improvisation a sense of detached wonder. Those looking for the laid-back ░░ Abercrombie may find this an unexpected outing. I do think itÆs worth ░░ taking a chance on, however, as the freer moments herein might very well ░░ surprise and inspire. Despite a seemingly haphazard approach, Abercrombie ░░ remains tightly knit to the musicÆs immediacy. His is an electric sound ░░ that stays close to its acoustic roots, while HollandÆs solos rise and ░░ fall, never straying from the core beat, as if strung to DeJohnetteÆs ░░ limbs. ░░ ░░ ItÆs difficult to explain this kind of jazz to someone who has never ░░ heard it, and almost as difficult to describe it as someone hearing it ░░ for the first time. It is chameleonic music of the highest order. The ░░ wealth of possibility represented here in the art of improvisation ░░ expands the ear, the mind, and the heart of the listener, cracking the ░░ window of oneÆs worldview open just that much more to reveal the joys of ░░ lived experience. And maybe thatÆs what jazz is all about: experiencing ░░ the human spirit and the infinite ways in which it contorts itself to the ░░ tune of some intangible creativity. ░░ ░░ https://play.google.com/store/music/album?id=B5ice3ikyuwhbnz2a74toa2ucii ░░ ░░█ ░░███ ░█ ░░░░██ █▓█ ████░ ░░░░░██ y o o v e e y o o █████ █████ ░░░░░░██ g o t t h e ▒████░ ██▒▒██ ░░░░░░░█ ░ ██▓██ ▓█▒██ ░░░░░░░█ ███ ███ ███ ███ ███ ████ ▒▓███ ▒███ ░░░░░░░█ ░█ █░█ █░█ █░█ █░█ ░███████ ████░ ░███ ░░░░░░░█ ░███░███░█ █░███░███ █████████▒ █████ ██ ░░░░░░░█ ░█ ░█ █░█ █░█ ░░░█ ██████████████ █████ █ ░░░░░░██ ░█ ░█ █░█ █░█ ░█ ██████████████████ ████▓ ░░░░░██ ░█ ░█ █░█ █░█ ░█ ████████████████████▒ ░░░░██ ░█ ░█ █░█ █░█ ░█ ▓██████▒▒▒▒███████░ ░░░██ ░█ ░█ █░█ █░█ ░█ ▓█████▒███████████ ░░░█ ░█ ░█ █░█ █░█ ░█ █████▒▒░████████ ░░░█ ░█ ░█ █░█ █░█ ░█ ██▓██▒██▓███▒ ░░░█ ░█ ░█ █░█ █░█ ░░░█ ██████████ ▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄ ░░░█ ░█ ░█ █░███░█ ░███ ▒███████ /─────────────────────────\ ░░░██ ███ ░| shouts 2 all the groups |░ ░░░░██ ████ ░| putting out |░ ░░░░░██ █████ ░| quality music |░ ░░░░░░███ ████▒ \─────────────────────────/ ░░░░░░░▓▓█████████████▒ ▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀