When one considers the instrumentation (alto, piano and guitar) and the personnel (Bob Mover, Paul Bley and John Abercrombie), it is not surprising that this date is full of thoughtful, chance-taking and often lyrical improvisations. Most of the selections are either duets or unaccompanied solos, and although there are some melodies, the music was pretty much all improvised on the spot. An intriguing set.
John Abercrombie Quartet: Up and Coming Starting the new year with, if not precisely a bang, a nevertheless unforgettable record whose strength lies in pristine lyricism, nuanced group interplay and writing that capitalizes on the entire quartet's appreciation of subtlety over gymnastics and refined lyricism over angularity, John Abercrombie's Up and Coming—ECM's first release of the year—is also founded strongly on the concept of relationship.
John Abercrombie Quartet: Up and Coming Starting the new year with, if not precisely a bang, a nevertheless unforgettable record whose strength lies in pristine lyricism, nuanced group interplay and writing that capitalizes on the entire quartet's appreciation of subtlety over gymnastics and refined lyricism over angularity, John Abercrombie's Up and Coming—ECM's first release of the year—is also founded strongly on the concept of relationship. The guitarist has been playing with Marc Copland since the pianist's days in the early '70s as a saxophonist before deserting it entirely for a career and discography that's as rich and rewarding as Abercrombie's…
As part of ECM'0bs Old & New Masters series of box sets, John Abercrombie's The First Quartet collects three albums recorded for the label between 1978 and 1980. Two titles, 1979's Abercrombie Quartet and 1981's M, have been unavailable for decades. By the guitarist's own admission, this band represents the guitarist's first time as a "proper" bandleader. His earlier dates on ECM had been co-led sessions (Timeless, Gateway, Sargasso Sea), a solo album (Characters), and sideman gigs (Jack DeJohnette's New Directions, David Liebman's Lookout Farm, etc.). These three dates also represent an important foundation for Abercrombie as a composer.
Excellent trio date featuring Abercrombie playing with bassist Marc Johnson and drummer Peter Erskine. The three take chances, converge, collide, alternate time in the spotlight, and make emphatic, unpredictable music while never staying locked into one groove or style.
After a long hiatus from the record shelves, the turbaned Dr. Lonnie Smith – along with guitarist John Abercrombie and drummer Marvin "Smitty" Smith – sets his sights upon John Coltrane, turning in five 'Trane tunes plus Mongo Santamaria's "Afro-Blue" and a grooving Smith tribute, "Traces of Trane." The propulsive title track is mostly dominated by Abercrombie, while "Impressions" continues the driving pace as Lonnie sprays Hammond B-3 organ notes all over the place with constant brief call-and-response dialogues with himself.
'Timeless' is right–in the future, this is the kind of interplanetary jazz they're going to be playing at the docking stations of newly colonized planets. Recorded in 1974, 'Timeless' is very much a product of its age. Lightning fast guitar and keyboard runs, hi-hats, and drums writhe around each other in serpentine fury, giving way to moments of stately grace and calm waters such as "Love Song." Composer John Abercrombie has remained one of the great session men and in-demand guitarists in both jazz and avant-garde circles since the mid-'70s.
The follow-up to While We're Young has a less melodic, more loosely structured feel, as if it were all kinetically inspired and freely improvised within various structures. The intuition or trust level of electric guitarist John Abercrombie, organist Dan Wall, and drummer Adam Nussbaum is clearly evident: They are listening, reacting, and responding to each other from measure to measure, and that is the basis for their music making.