01.Homecoming (12:39) [Dave Holland]
02.Waltz New (8:29) [John Abercrombie]
03.Modern Times (7:26) [Dave Holland]
04.Calypso Falto (7:42) [John Abercrombie]
05.Short Cut (6:08) [John Abercrombie]
06.How's Never (7:30) [Dave Holland]
07.In Your Arms (5:44) [Dave Holland]
08.7th D (9:25) [Jack DeJohnette]
09.Oneness (7:45) [Jack DeJohnette].
John Abercrombie (guitar)
Jack DeJohnette (piano, drums, snare drum)
Dave Holland (double bass).
Recorded at Power Station, New York in December 1994.
The whole Gateway is an incredible thought of jazz rock, even by hitting the feathery gloss of a pragmatic essential quality (the first two albums are Abercrombie's classics, beyond most arguable feelings) rather than that of an incontestable strength and punditry, even by being produced by a master's personal guild, despite of a trio that masterly stands up with a profound texture and with several common artistic points that ravel everything in a natural way, and even considering the ideals of jazz-rock, rhythmic improvisation and dark melody beating out a tap, as oppose to John Abercrombie's other different styles, such as the color jazz, the sweet ambiances, the inner groove or the fashionable experimentations of tastes and sound. Breathing out all the differences, there is nonetheless a pleasure principle which, within the 70s Gateway, created beautiful jazz, rigorous excellent motives and contemplating steady emotions (from the very first notes, on some pieces), and which now, within these equally equitable 90s, makes out two more worthy, joyful or purely pleasant, interactive moments.
Gateway therefore surpasses expectations, pleases the mood, disguises art into joy, and poetry into jumping frets, it commodes the touch of jazz inside the nebulosity of plash rock, beats the odds of creativity since it doesn't weight more than a mild-paced work, and finally reflects the artists that are John Abercrombie (guitar, composer and mastermind), Dave Johnson (bassist and deep guru) and Jack DeJohnette (percussive artisan of outstanding, also outlandish maturity. Even if some other albums and creations might be more warm or more of a favorite taste, Gateway is put as a kind of a supreme expression, definitely of high standards, and is made out as an impression of happy music, sleepy art, kind charms and nebulous jazzy visions. It is an adventure of crunch-less class. In The Moment is deeply admirable, having obscurant moves, precise tastes, experimental moves. But Homecoming, which actually is the album that re-initiated the Gateway effort into the 90s, has an equally pleasant performance of ablative "pure jazz".
Close to a brilliant shape, a sliding interpretation, a moody mixture of sorrow and heavy notes and to different values being expressed in different ways, Gateway: Homecoming 's watery emphasis has strong reasons for which to be an unpredictable burst of jazz mastering and rock looping, the trio supplying some free skills and hard experienced jams, a good part of them being - in an actually relaxed color - intense. The best things that happen in the album are the moments of poetic music or virulent energy, attractive improvisations or calm coups of indifferent jazz tones. The guitar streaming is one of the fittest (but in The Moment it will have even better "pitches"), its motto purifying fade impressions, its cold color acting a smashing sound. The album is only a bit overlooked when it comes to truly powerful and original shapes, otherwise it has art, the old-recipe jazz trio fundament, and a reasonably subtle simplicity.
Even if it's probably not the frankest creation from the Gateway entire project, Homecoming's rust-modern jazz hasn't got the slightest of a jest within, it has a developing fruit of compassion, music and inner freshness. A good choice, an interesting listening, a deep concept right where it seems absent, a light of "new music" right where you think the classic Gateway gets too much related; well brought-up album, with crisp beliefs.
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Gateway therefore surpasses expectations, pleases the mood, disguises art into joy, and poetry into jumping frets, it commodes the touch of jazz inside the nebulosity of plash rock, beats the odds of creativity since it doesn't weight more than a mild-paced work, and finally reflects the artists that are John Abercrombie (guitar, composer and mastermind), Dave Johnson (bassist and deep guru) and Jack DeJohnette (percussive artisan of outstanding, also outlandish maturity. Even if some other albums and creations might be more warm or more of a favorite taste, Gateway is put as a kind of a supreme expression, definitely of high standards, and is made out as an impression of happy music, sleepy art, kind charms and nebulous jazzy visions. It is an adventure of crunch-less class. In The Moment is deeply admirable, having obscurant moves, precise tastes, experimental moves. But Homecoming, which actually is the album that re-initiated the Gateway effort into the 90s, has an equally pleasant performance of ablative "pure jazz".
Close to a brilliant shape, a sliding interpretation, a moody mixture of sorrow and heavy notes and to different values being expressed in different ways, Gateway: Homecoming 's watery emphasis has strong reasons for which to be an unpredictable burst of jazz mastering and rock looping, the trio supplying some free skills and hard experienced jams, a good part of them being - in an actually relaxed color - intense. The best things that happen in the album are the moments of poetic music or virulent energy, attractive improvisations or calm coups of indifferent jazz tones. The guitar streaming is one of the fittest (but in The Moment it will have even better "pitches"), its motto purifying fade impressions, its cold color acting a smashing sound. The album is only a bit overlooked when it comes to truly powerful and original shapes, otherwise it has art, the old-recipe jazz trio fundament, and a reasonably subtle simplicity.
Even if it's probably not the frankest creation from the Gateway entire project, Homecoming's rust-modern jazz hasn't got the slightest of a jest within, it has a developing fruit of compassion, music and inner freshness. A good choice, an interesting listening, a deep concept right where it seems absent, a light of "new music" right where you think the classic Gateway gets too much related; well brought-up album, with crisp beliefs.
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