November: John Abercombie
November marks a turning point in the recording career of John Abercrombie. His previous style of fluid guitar lines with a fusion-esque feel are replaced by an altogether more intimate style, bare fingers on the strings, plucked as opposed to struck chords. It signals a maturity in his style and an evolution in the musical ideas he would explore in coming albums.
For this recording he assembles a group of highly regarded musicians. Marc Johnson on bass, Peter Erskine, percussion and John Surman with sax and clarinet. A mouth-watering prospect for any familiar with their work.
The album comprises tracks of guitar – bass – percussion, and guitar – bass – percussion with added wind instruments. In style it is a mix of free jazz and a song-like exploration of rhythm and melody. A major contribution to this outing is the work of John Surman, providing some excellent saxophone, (baritone/soprano), and clarinet play.
In fact it is the tracks on which he contributes that leave the most lasting impression. ‘JS’ a beautiful, blue, see-saw of a song, ‘Rise and Fall’, the sax searching out lines, one moment in free fall, skirting around the lower registers, then rising while the guitar lightly steps up and down the fretboard. ‘Ogeda’ a melancholy and searching piece of music. ‘To Be’ a haunting composition, featuring some deliciously moving clarinet and subtle percussion, showcasing the unique lyrical and imaginative nature of John Abercrombie’s fret work. The opening track, the aptly titled, ‘The Cat’s Back’ is an successful exploration of the possibilities of free-jazz, guitar and bass trading lines over a driving percussion while the clarinet skits in and out of the spaces they open up.
Other notable tracks are ‘John’s Waltz’ a track that seems almost to whisper its intimacy, bass and guitar weaving in an out and off each other. ‘Prelude’ delightfully thoughtful, ‘November’ the title track, an edgy number, the guitar very much to the fore here, harsh at times, raw and yet drifting away as though into a mist, some excellent compelling drum and brush work.
The overall feel of this album is melancholy and intimate. It is a jazz that is at once free and yet not unfocused. Its lyricism is muted, hidden away at times, tempting to you come and look for it. Inviting rather than demanding. An excellent work.
Copyright (C) Peter Hodgins Nov 2007
For this recording he assembles a group of highly regarded musicians. Marc Johnson on bass, Peter Erskine, percussion and John Surman with sax and clarinet. A mouth-watering prospect for any familiar with their work.
The album comprises tracks of guitar – bass – percussion, and guitar – bass – percussion with added wind instruments. In style it is a mix of free jazz and a song-like exploration of rhythm and melody. A major contribution to this outing is the work of John Surman, providing some excellent saxophone, (baritone/soprano), and clarinet play.
In fact it is the tracks on which he contributes that leave the most lasting impression. ‘JS’ a beautiful, blue, see-saw of a song, ‘Rise and Fall’, the sax searching out lines, one moment in free fall, skirting around the lower registers, then rising while the guitar lightly steps up and down the fretboard. ‘Ogeda’ a melancholy and searching piece of music. ‘To Be’ a haunting composition, featuring some deliciously moving clarinet and subtle percussion, showcasing the unique lyrical and imaginative nature of John Abercrombie’s fret work. The opening track, the aptly titled, ‘The Cat’s Back’ is an successful exploration of the possibilities of free-jazz, guitar and bass trading lines over a driving percussion while the clarinet skits in and out of the spaces they open up.
Other notable tracks are ‘John’s Waltz’ a track that seems almost to whisper its intimacy, bass and guitar weaving in an out and off each other. ‘Prelude’ delightfully thoughtful, ‘November’ the title track, an edgy number, the guitar very much to the fore here, harsh at times, raw and yet drifting away as though into a mist, some excellent compelling drum and brush work.
The overall feel of this album is melancholy and intimate. It is a jazz that is at once free and yet not unfocused. Its lyricism is muted, hidden away at times, tempting to you come and look for it. Inviting rather than demanding. An excellent work.
Copyright (C) Peter Hodgins Nov 2007
John Abercombie: November. BUY.
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