Open Land: John Abercrombie


Every now and then comes a release you purchase without giving a second thought. John Abercrombie has long had my respect. His lyrical style and, it would seem, propensity for exploring music not popularity have perhaps deprived him of the celebrity status of a Pat Metheny or John Scofield. He is, nevertheless, an excellent and innovative guitarist and is a wonderful and imaginative musician to boot.

Open Land released in 1999 on ECM, is one of those works that just grow and grow on the listener. With an impressive line-up, Kenny Wheeler, (flugelhorn), Joe Lovano, (tenor sax), Mark Feldman, (violin) added to John’s usual sidemen, Adam Nussbaum, (percussion) and Dan Wall, (organ) Open Land is a feast of musical ideas and contemporary jazz. From the opening bars of “Just in Tune” the scene is set. Guitar, drums and organ step in with the grace of a cat. Putting in place a laid-back rhythm over which the trumpet finds a warm and burnished melody. The album grows from there, exploring free jazz, (“Open Land” and “Free Piece Suite (E)”), a tribute to trumpeter Booker Little, ("Little Booker") and some fine lyrical pieces, notably “Spring Song”. The playing is excellent throughout. Thoughtful and never overbearing, each musician contributing ideas, warming the texture, providing support, improvising when called on and generally lifting the quality of musicianship. Yet the real force is John Abercrombie himself. Something not immediately apparent. At times he stands back in the mix. His fret-playing it would seem content just to suggest ideas, avenues to explore. But it is this very subtlety that gives the album its strength. For the guitar is always there. Working away. Never letting the music flag. On “Spring Song” first impressions are the violin of Mark Feldman. Showboating a little, to be sure, playing long and plaintive lines; wringing, it would seem, as much feeling as possible from his instrument. Yet the guitar is ever present. Adding touches and direction. Its fingered tone, commanding attention when soloing. Bringing the melody back to ground, back to where it should be. On “Speak Easy” John provides a wonderful commentary on Kenny Wheeler’s climbing and dipping trumpet lines. On “Gimme Five”, he combines with the organ to set the swing, playing off, first the violin, then the trumpet, then leading both before coming back to play an almost percussive role. And on ‘That’s for Sure’ his guitar drives the music from below, pushing the other instruments on. Giving them the freedom to play. He finishes with some string bending and nicely plucked chords.

With the exception of “Free Piece Suite (E)” (a combined effort), all compositions are by John Abercrombie. It is too his credit that there are no ‘filler’ tracks here. Each composition stands on its own. It is also to his credit that the guitar never dominates. Each track is built from a musical idea and is not simply a vehicle for virtuosity.

This is a great recording. It will not set your world on fire on first listening. Yet it is music that leaves a deep impression. It challenges at times, but is worth responding to. You’ll find yourself coming back to it again and again. Until it becomes so familiar it feels like an old friend. One that is always welcome and never less than interesting.

Copyright (C) Peter Hodgins Nov 2007

Open Land: John Abercrombie. BUY