German jazz titan ECM continues its Luminessence vinyl reissues series with a pair of guitar gods from the 1970s. Both albums kicked off remarkable runs by their creators over the decades, were originally released in 1975 and sound as great as ever.
Of course, it’s disingenuous to label Gateway a guitar hero record. While it does indeed feature some of the best playing by axeperson John Abercrombie in his illustrious career (which, for those who followed his consistently marvelous work, is really saying something), the music fronts bassist Dave Holland and drummer Jack DeJohnette equally. (Indeed, it’s Holland who dominates the album compositionally.) Abercrombie provides the main melodic thrust with his fusion/free-tinged postbop runs, but the rhythm section doesn’t merely keep time. Holland’s rubbery grooves often stretch into countermelodies and solos, while DeJohnette plays around and through the beat as often as on it. Both are integral parts of each arrangement, making the tracks the work of a true ensemble, not a lead voice and backup support. With such a united front, the chemistry-soaked trio succeeds in every direction they approach, from ethereal balladry (“Jamala”) to burly fusion (“Back-Woods Song,” “Sorcery I,” which boasts some career-high aggression from Abercrombie) to exploratory free playing (“May Dance,” “Unshielded Desire”). Sparking not only a career with three more albums, but also stints as the backing trio for a number of ECM stars like Enrico Rava, Collin Walcott, and Kenny Wheeler, Gateway (with new liner notes by Nels Cline) fields some of its creators’ most adventurous work.
For Bright Size Life, guitarist Pat Metheny’s leader debut, there’s no question as to who the main attraction is. Yet, there’s still a sense of ensemble playing at its best. This is in part due to Metheny’s main sparring partner: bassist Jaco Pastorious, whose star was on the rise right about the same time. (Drummer Bob Moses holds down the foundation.) The bass innovator weaves in and out of support and scene stealer positions, yet never hogs the spotlight – it’s Metheny’s show, and he fits under those stage lights like he was born to it. Already in full command of the powers that would win him multiple Grammys and a large worldwide following, the guitarist plays to his strengths: melodic, folk-tinged tunes with wide-open spaces that encourage riffs and solos, and complex, fleet-fingered lines performed like they’re easy. “Missouri Uncompromised” and “Unquity Road” burn without leaving scorch marks. “Omaha Celebration” stands as one of Metheny’s first (and most successful) attempts at rewriting the jazz language to suit his own sensibilities. “Unity Village” and “Midwestern Nights Dream” set the stage for many lush ballads to come. And then there’s the beautiful, glistening title track, as perfect an album – and career – opener as any artist could wish for. Considering the artistic successes (and failures) Metheny would conjure up in the subsequent decades, Bright Size Life – released just in time for its creator’s 70th birthday – still holds up as one of his very best records.
