John Abercrombie, Dave Holland, Jack DeJohnette – Gateway (ECM)

With this record, John Abercrombie has paved his way anew and taken a detour at the same time. He could hardly have been in better company, and the combination seems to have ignited all kinds of flames within him. DeJohnette and Holland stretch out a series of tightropes over which Abercrombie balances his way into previously unexplored territory.

"Back-Woods Song" conjures up a mood that would shape some of Bill Frisell's later work. The sound lives up to its name as it awakens like an alligator sticking its head out over a swampy surface. Holland lays down a wonderful solo here after Abercrombie, as some have rightly noted, takes a rather "spooky" turn that bounces off the cymbals gloriously. This is very muddy jazz: viscous, opaque and full of unseen life. "Waiting" is essentially a slow ramble for the bass, leading us to "May Dance", where Abercrombie's fingers flit across the fretboard. In this way, he brings a clear sense of continuity and dynamic energy, scratching the surface of what's possible and peering into its inner depths without fear of censorship. The ensuing flurry of activity leads into a delicate bass solo, where Abercrombie takes a much-needed breather. Holland cleverly mimics Abercrombie's style, emphasizing the same cluster concept of note value and melodic ascent. 'Unshielded Desire' is exactly what it purports to be. It begins with a percussive bang like the finale of a firework display, and Abercrombie runs with all his might to capture every dying spark that burns out in the sky. The music spirals, flirting with a center it can never reach no matter how deep it goes, until it's like a compass going haywire in the Bermuda Triangle. Next up is 'Jamala', the album's quietest track. It's an atmospheric masterpiece and a good introduction to the magical, epic and fiery 'Sorcery I' that rounds off the set.

The first three times I tried to listen to this album, I actually fell asleep. For whatever reason, their quirky energy seems to have a calming effect on me. Strange, because I can't think of a more invigorating guitar trio. Abercrombie has such a distinctive sound, and it's not just to do with the amplification and choice of instruments (or combination thereof), but more importantly the fragmented aesthetic he brings to his playing. Abercrombie is a 'sensual' musician, that is, a musician of the senses. He seems to shake his own bones and brings a sense of detached wonder to his improvisations. Those in search of the laid-back Abercrombie may have an unexpected experience here. However, I think it's worth a listen, as the freer moments here may well surprise and inspire. Despite a seemingly haphazard approach, Abercrombie stays true to the immediacy of the music. His electric sound stays close to its acoustic roots, while Holland's solos swell and ebb without ever straying from the basic beat, as if they were strung along DeJohnette's limbs.

With "bold and visionary spirit", to quote a Downbeat review from the year of this album's release, the three master improvisers John Abercrombie, Dave Holland and Jack DeJohnette have forged an unparalleled approach to trio interplay on their first joint work under the name "Gateway". The trio tackles Dave Holland and Jack DeJohnette's original compositions with subtlety and innovative flair.

As The Observer noted in an article at the time, "the telepathic interplay and perfect delivery make it hard to believe that this music is almost entirely improvised". The unique instrumental styles of each musician had already fully crystallized here and also hinted at the great music that was yet to come from each individual.

The Luminessence edition of the album comes in a tip-on gatefold sleeve and features previously unpublished archive photos and a new accompanying text by Wilco guitarist Nels Cline.

One thing most of the label's recordings have in common is capturing special moments in real time. That's what "Gateway" is all about, and that's how it still feels so many years later, and as long as we have ears to listen. - from the liner notes by Nels Cline.

Reviews

"A milestone of guitar trio jazz, sometimes drivingly melodic [...], sometimes balladic-dreamy ('Janmala'), sometimes wildly aggressive [...]. In addition, 'Unshielded Desire' is a drum-guitar duel of superlatives. Another excellently mastered and impeccably pressed gem in ECM's 'Luminessence' series." ("Sound tip" in AUDIO+stereoplay, August 2024)

"The trio's modern chamber jazz is sometimes wonderfully melodious [...], sometimes virtuosic and fast-paced [...]. Always quite demanding, but never annoying [...] audiophile top marks also for the very carefully pressed new edition." (GoodTimes, June/July 2024)

"The sound is incredibly good. Above all, the absolute freedom from noise of Angel Song is convincing, while Gateway sounds more transparent than ever, even in the more aggressive moments of improvisation." (MINT, July 2024)