John Abercombie Trio: Tactics

Tactics, (ECM), a live album from John Abercrombie’s working Trio circa the mid nineties exemplifies all that is best about this guitarist. It sounds easy on the ears at first, so easy in fact it is takes some time before you realise just how good it is.

Recorded at Visiones, NYC in 1996, and featuring Dan Wall on Hammond B-3, Adam Nussbaum, on drums as well as John Abercrombie on guitars it sticks close to the work of the Trio’s two studio albums, While We Were Young and Speak of the Devil. Noteworthy in the light of the trend by other guitarists to use multiple overdubs and studio technique to enhance their play, this recording sounds as tightly woven and pristine as anything produced in the studio, in fact but for the occasional outbreak of applause you could be forgiven for thinking it was a studio album.

A collection of three compositions by John Abercrombie, two by Dan Wall, one from Adam Nussbaum and two standards, it sets out the work they were doing at the time. Investigating the possibilities of the guitar, organ, drums trio. A collection of reflective and intelligently played numbers. John’s finger picked fret-work central yet with excellent organ play from Wall, and drum and brush work from Nussbaum. As with the Trio’s studio albums of this period the emphasis is on subtly and harmonic exploration within a conventional jazz framework.

Notable tracks are ‘Last Waltz’, (John does love a waltz), ‘You and the Night and the Music’, ‘Dear Rain’ (the drum and brush work here as good anything by that master of drum and brush work – Paul Motian), and a great version of Jerome Kern’s ‘Long Ago and Far Away’.

This is perhaps an album for those familiar with the studio work who want some idea of how the Trio sounded live. If that is your reason for listening you will not be disappointed. However such is the standard of play here it can be recommended for anyone who simply loves good jazz.

A full seventy-six minutes of music, the aesthetic of which is admirably expressed by John’s taut crediting of the band as the final track plays out, then signing of with a succinct, ‘thank you, you’ve been a wonderful audience’. It’s always a pleasure John.

Copyright (C) Peter Hodgins Nov 2007

Tactics: John Abercrombie Trio. BUY

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

John Abercombie: November. BUY.

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

It Takes Two: Kenny Wheeler

The album, It Takes Two, by Kenny Wheeler has been on general issue now for over a year. It was released in June 2006 by CamJazz, the Italian label launched in 2000.

Kenny Wheeler is such an understated and subtle artist that his music is not something the discerning listener jumps carelessly into. His playing has a way of sneaking up on you. Of winding its way into your consciousness so, only after some time, do you become aware of how good it is, how perfectly crafted and performed. Add this to the fact that on this outing he is accompanied by John Abercrombie, a supremely lyrical and perceptive guitarist and it becomes apparent that time has to pass before a judgement can be made.

Having said that this is the first of his albums to leave me a just little disappointed. That is not to say there is some beautiful music here, some fine playing and performances. A slightly unsatisfying recording would perhaps be the best description. Outside of Kenny’s flugelhorn, there are the contributions of the above mentioned John Abercrombie, John Parricelli – a British guitarist and the Swedish bass player Anders Jormin.

Highlights of the album are My New Hat, a dreamy number that opens with Jormin’s bowed bass striking a distinctly Moorish motif before the two guitars, (electric and acoustic) enter, creating a space over which the flugelhorn floats in its melody. It Takes Two follows - a typical Wheeler piece of music - the horn uncovering hidden harmonic and melodic spaces, then bending into the upper or lower registers in those sudden turns of which he is so capable, while the guitars trade an almost pizzicato style of soloing and accompaniment. But it is on track three, Comba Nr 3, that the combined talents of all four musicians come best together. A beautiful, haunting melody, full of, again, Moorish hints, southern European folkloric motifs and the north American urban landscape. The spacing of the instruments, their timing, their presence and absence at critical points make the track the prefect vehicle for Wheeler’s unique musical sense.

Other high points are Love Theme from Spartacus, just the two guitars with fingers sliding and the occasional sigh or grunt delightfully adding to its immediacy. One of Many, a lovely flowing piece which John Abercrombie augments with his clear, singing guitar lines. And, Fanfare, an overdubbed horn piece that brings to mind the Gil Evans – Miles Davis collaboration of Sketches of Spain. The two improvised pieces, no 1 and no 2, are interesting but strictly just that, improvisations, that tempt but do not completely convince of their necessity.

Despite this the album leaves me a little wanting. It seems at times to float away, to become so understated in intent that you find your mind wandering and not wandering as it should into places the music brings it. Nevertheless, such has been Kenny Wheeler’s credibility over the years that it may be it just requires more listening time. That it needs to sink in a little more before the entirety of its musical ideas, its palette becomes apparent.

However in the overall scheme of things these are minor quibbles. This is still an excellent and commendable work. An essential for those who lean to chamber jazz. For those who prefer the subtly of a Cézanne over the boldness of a Picasso.

Copyright (C) Peter Hodgins Nov 2007

Kenny Wheeler: It Takes Two. BUY