1. Prelude (4.34) 
2. BTG (11.55) 
3. Long Ago and Far Away (7.14) 
4. That's For Sure (9.54) 
5. Him (Danielsson) (7.39) 
6. Little Jump (Danielsson) (10.12) 
7. Descending Grace (Abercrombie) (cut) (6.30)

John Abercrombie; guitar 
Mark Feldman; violin 
Adam Nussbaum; drums 
Palle Danielsson; bass

17th July 1998 
Pori Jazz Festival

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01 - Sad Song
02 - Line-Up
03 - Wait Till You See Her
04 - Trio
05 - I’ve Overlooked Before
06 - Anniversary Waltz
07 - Out Of Towner
08 - Chic Of Araby
John Abercrombie - Guitar
Joey Baron - Drums
Mark Feldman - Violin
Thomas Morgan - Double Bass

John Abercrombie's longstanding partnership with Mark Feldman has yielded several albums of exquisite music, and Wait Till You See Her is no different. The mood is naturally restrained, contemplative, and introspective as you would expect, while there's a common thread of healthy respect that keeps the quartet in the softer mezzo piano range. With acoustic bassist Thomas Morgan and the irrepressible drummer Joey Baron, the electric guitarist and violinist weave their way through one standard and seven originals from Abercrombie that comes straight from the heart. It's not all sedate music -- check out "Line-Up," a fun listen as sneaky melody lines and frisky interplay is infused in a neo-bop context. A sprightly two-step beat, walking along with a brief, folksy musical snippet makes "Out of Towner" a tongue-in-cheek tribute to Ralph Towner. Then there's another cutely titled parody, "Chic of Araby," a bass-led tango with Abercrombie's secretive, snake-like guitar in the lower key dynamic the band prefers. A bluesy and reverent piece, "Anniversary Waltz" is in the midtempo pace that sports a more universal appeal, and it's draped in a pretty, elegant dress. The extremely slow "Sad Song" paraphrases the melody of "Speak Low" as Feldman's violin speaks to the emotions of the fallen, the title selection, a Richard Rodgers/Lorenz Hart evergreen, is reduced to a wisp of an anticipatory theme, and "I've Overlooked Before" has the seascape-at-midnight audio quality evocative of the best film noir soundtrack, ultimately dusky and sighing. One track sans Feldman -- "Trio" -- is a pretty good jazz swinger as you hear the sparse signature sound Abercrombie has held close to his soul for four decades. Feldman always holds sway with his beautiful and piquant voicings. Alongside Abercrombie, you always know there's a compatible, agreeable sound forged between these high-level contemporary jazz string players. It's not a commanding performance, but the subtle nuances outweigh any kind of loud pronouncements that distract from musicality. At the bottom line, it's another consistent and at times excellent effort from these tried and true modern musicians. ---Michael G. Nastos, ROvi

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01 – Where Are You
02 – Easy Reader
03 – Within A Song Without A Song
04 – Flamenco Sketches
05 – Nick Of Time
06 – Blues Connotation		play
07 – Wise One
08 – Interplay
09 – Sometime Ago

Musicians:
John Abercrombie (guitar), 
Joe Lovano (tenor saxophone), 
Drew Gress (double-bass), 
Joey Baron (drums).

Recorded at New York’s Avatar Studios in September 2011

John Abercrombie's tying together of jazz's many threads made him one of the most influential acoustic and electric guitarists of the 1970s and early '80s; his recordings for ECM have helped define that label's progressive chamber jazz reputation. His star has since faded somewhat, due largely to the general conservatism that's come to dominate jazz, though he has remained a vital creative personality. Abercrombie's style draws upon all manner of contemporary improvised music; his style is essentially jazz-based, but he also displays a more-than-passing familiarity with forms that range from folk and rock to Eastern and Western art musics.

Abercrombie attended Boston's Berklee College of Music from 1962 to 1966. While at Berklee, the guitarist toured with bluesman Johnny Hammond. After relocating to New York in 1969, Abercrombie spent time in groups led by drummers Chico Hamilton and Billy Cobham. It was with the latter's Spectrum group that Abercrombie first received widespread attention. Abercrombie's first album as leader was Timeless, a trio album with drummer Jack DeJohnette and keyboardist Jan Hammer. That was followed by Gateway, another trio with DeJohnette and bassist Dave Holland replacing Hammer. Abercrombie's subtle and lyrical style is heard to best effect in small, intimate settings, with the recurring Gateway trio or as captured in duos with fellow guitarist Ralph Towner.

Abercrombie continued to be active as the 21st century opened, releasing Cat 'n' Mouse in 2002, Class Trip in 2004, A Nice Idea (with pianist Andy LaVerne) in 2005, Structures (recorded with a single microphone) in 2006, and Third Quartet in 2007. Wait Till You See Her appeared in 2009. ---Chris Kelly, allmusic.com

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1. Arcade 
2. Nightlake 
3. Paramour 
4. Neptune 
5. Alchemy  

John Abercrombie: Guitar, electric mandolin 
Richie Beirach: Piano 
George Mraz: Bass 
Peter Donald: Drums

This is some of the most beautiful music you will ever hear. These guys are so tight. But most of all John's playing is breathtaking. He plays electric mandolin on here as well. The best way to listen to this is ...lying in bed at night, a great set of headphones, and your eyes closed. John Abercrombie is a phenominal musician and songwriter. ---Marion Hill, amazon.com

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1-Sidekicks 5:17 
2-Upon a Time 4:27 
3-Getting There 7:35 
4-Remember Hymn 5:13 
5-Thalia 4:19 
6-Furs on Ice 8:09 
7-Chance 4:55 
8-Labour Day 3:45

John Abercrombie - Guitar, Guitar (Acoustic), Guitar (Electric), Synthesizer
Michael Brecker - Sax (Tenor)
Peter Erskine - Drums
Marc Johnson - Bass

The music on this 1988 release from guitarist John Abercrombie is groomed to such aseptic perfection that little remains of the musical personalities behind these sounds. Abercrombie, bassist Marc Johnson, drummer Peter Erskine, and saxophonist Michael Brecker (on three tracks) turn in immaculate performances, rich in technique and austere, cerebral exchanges, but despite the musical prowess, the listener is left to gaze on blankly, uninvolved. The malaise is typified by Abercrombie's guitar synthesizer, which too frequently renders the leader's brush strokes in a muted monochrome. Similarly, while the signature "Fortress of Solitude" chill of an ECM date is not the issue, the release's enervating engineering does sap the vitality from these performances. There are, nestled among this generally reflective, introverted music, some rewarding bits, notably Abercrombie's short jazz waltz, "Labour Day," where he sets aside the guitar synthesizer and electronic enhancements to serve up some delicious straight-ahead sounds. Two of the tracks with Brecker, Abercrombie's "Sidekicks" and Johnson's "Furs on Ice," have initially engaging melodies and rhythmic interest, but their promise is not realized. These two tracks would make excellent instrumental beds for a pair of latter day Steely Dan songs, but they do not sustain interest on their own. Musicians of the caliber of Abercrombie, Johnson, Erskine, and Brecker cannot fail to generate interest when they get together. This time out, though, their efforts would have been better presented as a master class workshop. The broader fan base, however, can take a pass. ---Jim Todd, Rovi

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