Steps Ahead 1983 Marc Johnson

In the summer of 1999, Steps Ahead founder/vibraphonist Mike Mainieri joined Eliane Elias, Bob Berg, Marc Johnson and Peter Erskine for a reunion tour of Europe. They recorded several of those shows but Mainieri didn’t listen to the tapes for two years. He eventually did, and the result is the two-CD set Holding Together (N.Y.C.). The musicians perform the tunes with great sensitivity to one another, both as an ensemble and in solo spotlights. “Uncle Bob” just swings along, while Mainieri’s gliding vibes impart an almost magical quality to a lovely version of Ellington’s “In a Sentimental Mood,” and “The Time Is Now” is a 22-minute-plus opus that gives everyone a chance to shine. There are too many high points on this solid set to mention, but it should be noted that Berg’s playing is vigorous and inventive throughout and provides a poignant reminder of the profound loss the jazz world suffered when he was killed in a car accident.

On the cover of this album you can see a picture of New York taken in Hoboken, New Jersey where we recorded these tracks. To me it represents the beauty of a familiar place seen from a different perspective. I come from a small town in Austria called Judenburg. If my family when I moved to the next bigger city, Graz, it felt like the navel of the world. Graz is considered provincial for the Viennese.

The pairing of electric guitarists Bill Frisell and John Scofield had to be one of the most auspicious since John McLaughlin and Carlos Santana. Acoustic bassist Marc Johnson's stroke of genius in bringing the two together on Bass Desires resulted in a sound that demonstrated both compatibility between the guitarists and the distinctiveness of the two when heard in combination. Add drummer Peter Erskine and you had a bona fide supergroup, albeit in retrospect a short-lived one, before Frisell and Scofield would establish their own substantial careers as leaders. The guitarists revealed symmetry, spaciousness, and a soaring stance, buoyed by the simplicity of their rhythm mates. This is immediately achieved on the introductory track, "Samurai Hee-Haw," as hummable, head-swimming, and memorable a melody as there ever has been, and a definite signature sound.

Lyle Mays, who came to fame for his electric collaborations with Pat Metheny, surprised many with this superior outing in an acoustic trio setting. On the liner jacket Mays thanks Herbie Hancock, Keith Jarrett, and Paul Bley for their inspiration. If one adds in Chick Corea and especially Bill Evans, that should give listeners an idea of what to expect. However, to his credit (and with the assistance of bassist Marc Johnson and drummer Jack Dejohnette) Mays avoids performing overly played standards and sticks mostly to originals (including two free improvisations). There is no coasting on this excellent set.

Oddly enough, this outing signifies British pianist John Taylor's first "ECM Records" issued solo effort, especially when considering the artist's twenty-five year tenure with this notable record label. Here, Taylor employs one-time Bill Evans trio bassist Marc Johnson, and New York City based drummer Joey Baron for a set consisting of Taylor originals, such as the mood evoking, "The Bowl Song," and others. A seminal "ECM" session ace, Taylor has graced recordings by drummer Peter Erskine and trumpeter Kenny Wheeler throughout his distinguished career.