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

Paul Motian Trio: Bill Evans: Tribute to the Great Post-Bop Pianist

Paul Motian has been a constant and essential feature of the American jazz scene for many years. From his early days as drummer with the Bill Evans Trio through to the mid period of his career, as one third of the Paul Motian Trio he has constantly shown touch and perception in his choice of material and playing partners.

This album, Bill Evans: Tribute to the Great Post-Bop Pianist, rereleased in 1990 on Winter & Winter, when he was approaching his sixtieth birthday marks perhaps a highlight in a career that has many highlights. Drawing on the material of the legendary pianist and melodist, Bill Evans, he has, together with his trio partners, Bill Frisell and Joe Lovano plus bassist Marc Johnson created an album that is excellent and at times sublime.

Given the high standards of playing this group of musicians has been responsible for over the years and add to that the unforgettable and haunting melodies of Bill Evans it is hard to see where this recording could have gone wrong. But what is truly remarkable is that all four musicians have found ways of expanding their past powers of interpretation and unearthed in these nine Evans tunes harmonic possibilities, rhythmic interplay and originality of voice that with lesser musicians could have resulted in a more subdued tribute. Perhaps Motian’s personal experience of playing with Evans brought an element to the sessions that prevented it from simply treading water as the work of four fans.

The only real problem must have been deciding on which Evans songs not to include. There are no real highlights here, as each track is played with such excellence and sensitivity they all stand out. It would be better perhaps to name my favourites. An absolute contender has to be ‘Turn out the Stars’, Joe Lovano floating lovely feathery and melancholy tenor sax over Paul Motian’s ever thoughtful drum and brush work - Bill Frisell’s curious, at times bluesy guitar shapes and Marc Johnson’s bass working off the percussion with a bounce and lightness of touch. ‘Time Remembered’ also stands out. The minor figures, the melody’s downward pull being interpreted with emphasis on its spaces, its sense of loss. The drum and brush work adding a fluid, almost liquid quality, a splash of cymbal here, a rhythmic phrase rising like a wave only to subside. A military style tapping out of beat that falls back into reflection. Again Bill Frisell pulls shapes and lines from his fretboard that have a feel of the blues as well as conventional jazz, even at times a hint of country-western. (a field he was later to explore). Marc Johnson walks and steps though the melody, with a solo that finds hidden harmonics. And Lovano’s tenor sax is perfectly pitched, sweet without being saccharine, expressive without being intrusive. There are other wonderful tracks. ‘Re: Person I knew’, (a great title), played with an engaging and wistful nonchalance, ‘Very Early’ that simply swings. ‘Five’ the most experimental, distorted guitar and passages of free-jazz. ’34. Skidoo’, a playful and uplifting number.

This is an excellent and essential recording. It shows four musicians at their best. The level of interplay and communication is never short of exquisite. It is a worthy tribute to a great musician and a worthy example of four great musicians playing music that is unforgettable and inspiring. Highly recommended.

Copyright (C) Peter Hodgins Nov 2007

Paul Motian Trio: Bill Evans: Tribute to the Great Post-Bop Pianist