John Abercrombie Quartet

When producer Mary Ann Topper teamed Petrucciani with Hall in late 1985, it was a truly inspired choice. Hall, the consummate accompanist and thoughtful soloist, is the kind of player who can work with just about anyone and find a way to gracefully inject his own gentle presence. And if the Petrucciani/Hall pairing was inspiration, adding Shorter for the final three pieces of the performance was pure genius. Working together, on the strength of this Montreux performance recorded on July, 14, 1986, yielded the kind of incredible interplay that most musicians dream of. Hall's tone has always been warm, but blends an acoustic brightness that yields an incredible feeling of intimacy; regardless of where you are, you feel like you're sitting only a few feet away.

From jazz and soul to rock and country, the blues are the bedrock and a uniting feature for much of the popular music originating in the United Sates. The simple and repetitive structures are easy to grasp and perform, making the blues extremely approachable. Under the command of brilliant writers like the legendary Lead Belly, the blues maintains a unique place between high art and common expression.

There's a 20-plus-year span between electric guitarist Hahn's Brotherhood recordings and this CD. In between he's gone from hippie to tweed suit while establishing the jazz guitar studies program at Wichita State University, taking residence in Portland and Denver, and doing this date in NYC with all-stars bassist Steve LaSpina, drummer Jeff Hirshfield, either pianists Phil Markowitz or Art Lande, and soprano saxophonist David Liebeman for two selections. Hahn's influence on Pat Metheny, John Scofield, John Abercrombie, Mike Stern, and Bill Frisell is clear. He uses a little delay, echo, and reverb, just enough to enhance his improvisations, and when he's technically concentrating, he can easily be coarsely sparse and sharply staccato, elongated from a chordal standpoint, a bit twangy, and consistently tasteful…