Here are the first 89 bars of the tune. As I hear it, the entire piece consists of two chords: Asus2 and Gm6. The Asus2 chord lasts either 6, 8, or 10 bars, while the Gm6 chord lasts 4 bars each time. The bass plays inversions of the Gm6 (Gm6/Bb; Eř).
I haven't been able to designate a clear pre-composed melody here. I bet Mr. Abercrombie just laid out an ambient background to shred on. ;-) It's remarkable how dexterous he is here. However, the motives on Asus2 at bars 25 - 27 (29 - 31, 39 - 40), and on Gm6 at bar 33 are reprised at the end of the recording. The drums have a light 16th-note undercurrent throughout.
The album from which this piece is taken is my favorite John Abercrombie recording. However, the composer thinks that Getting There is his least favorite record, but he loves some of the tunes. John looks the recording as his ”Sergeant Pepper” album in that it’s very highly produced, lots of effects and very elaborate. He considers it one of his his more colorful recordings as it’s got a lot of variety, moods, imagination — kind of over-the-top. John defines Getting There his ”overkill album”. (McNeil, John & Bienenfeld, Lolly (2013): Timeless — The Music of John Abercrombie, pg. 28).
I think the Asus2 chord could be replaced by a Asus4 chord throughout. Since the broken Asus2 chord comping occasionally adds #11 (D#), I didn’t end up spelling it sus4, but for the most part I think the sus4 will hit the spot.