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.

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