JOHN ABERCROMBIE QUARTET - Up and Coming
ECM 572 3377
John Abercrombie (guitar); Marc Copland (piano); Drew Gress (double bass); Joey Baron (drums)
Recorded April/May 2016
Following up on his 2013 release for ECM, 39 Steps, Abercrombie has retained the same line up and produced an album that has sheer class written all over it. With a long and distinguished career and extensive discography behind him, the guitarist shows no sign of slowing down and instead drives his music forward with passion and conviction.
If the album opens on a rather ethereal note with 'Joy', Abercrombie and Co stamp their authority all over the all too brief 'Flipside' with some hard swinging and neatly compact solos. Marc Copland's 'Silver Circle' skirts craftily around the theme before laying down an gentle shuffle rhythm that gradually builds in intensity throughout Abercrombie's solo and continuing as Copland unravels his own story over the solid foundation of Drew Gress's bass line and Joey Baron's subtly shifting accents from the drums.
This is where the real meat of the album lies in that it can be listened to on multiple levels, with each listening focusing the ear (and attention) on one particular instrument or aspect of the music. Drummer Joey Baron, is a constant source of surprise and delight, and I frequently found myself listening to his intricate patterns on cymbals. It his playing on the Miles Davis' tune 'Nardis' that gives it such a unique perspective whilst also allowing the group to acknowledge the work of Bill Evans in the process.
The association between Abercrombie and Copland goes back to the early 70's when the pianist was still primarily playing alto saxophone, and in fact predates the guitarist's association with ECM, and it is this long working relationship and understanding that is present, yet always seems fresh and never hackneyed allowing a conversation that is less a dialogue between the two but openly invites contributions from all members of the quartet. This is most telling perhaps on the ballads, 'Sunday School' by the guitarist and Copland's 'Tears' that leave plenty of space, with the quartet not always feeling to the need to fill it but allow the two contrasting compositions to find their own pace.
Of the leader it is perhaps fair to say that he is probably playing better now than at any time in his career. His lines flow with a soft mellifluous tone that permits the contours of the solo to be clearly heard. Indeed by using his thumb to strike the strings as opposed to pick the impression of direct and quiet conversation with the listener is perceived. Abercrombie has also noted that he is playing "less fast than I used to, less 'technical' ".
However you wish to define it, the quartet have produced an album that is packed with incident and detail, using carefully controlled dynamics and shading along with superb solos from all make this another album to treasure from one of the world's leading guitarists, perhaps only now reaching the peak of his powers.
Reviewed by Nick Lea
ECM 572 3377
John Abercrombie (guitar); Marc Copland (piano); Drew Gress (double bass); Joey Baron (drums)
Recorded April/May 2016
Following up on his 2013 release for ECM, 39 Steps, Abercrombie has retained the same line up and produced an album that has sheer class written all over it. With a long and distinguished career and extensive discography behind him, the guitarist shows no sign of slowing down and instead drives his music forward with passion and conviction.
If the album opens on a rather ethereal note with 'Joy', Abercrombie and Co stamp their authority all over the all too brief 'Flipside' with some hard swinging and neatly compact solos. Marc Copland's 'Silver Circle' skirts craftily around the theme before laying down an gentle shuffle rhythm that gradually builds in intensity throughout Abercrombie's solo and continuing as Copland unravels his own story over the solid foundation of Drew Gress's bass line and Joey Baron's subtly shifting accents from the drums.
This is where the real meat of the album lies in that it can be listened to on multiple levels, with each listening focusing the ear (and attention) on one particular instrument or aspect of the music. Drummer Joey Baron, is a constant source of surprise and delight, and I frequently found myself listening to his intricate patterns on cymbals. It his playing on the Miles Davis' tune 'Nardis' that gives it such a unique perspective whilst also allowing the group to acknowledge the work of Bill Evans in the process.
The association between Abercrombie and Copland goes back to the early 70's when the pianist was still primarily playing alto saxophone, and in fact predates the guitarist's association with ECM, and it is this long working relationship and understanding that is present, yet always seems fresh and never hackneyed allowing a conversation that is less a dialogue between the two but openly invites contributions from all members of the quartet. This is most telling perhaps on the ballads, 'Sunday School' by the guitarist and Copland's 'Tears' that leave plenty of space, with the quartet not always feeling to the need to fill it but allow the two contrasting compositions to find their own pace.
Of the leader it is perhaps fair to say that he is probably playing better now than at any time in his career. His lines flow with a soft mellifluous tone that permits the contours of the solo to be clearly heard. Indeed by using his thumb to strike the strings as opposed to pick the impression of direct and quiet conversation with the listener is perceived. Abercrombie has also noted that he is playing "less fast than I used to, less 'technical' ".
However you wish to define it, the quartet have produced an album that is packed with incident and detail, using carefully controlled dynamics and shading along with superb solos from all make this another album to treasure from one of the world's leading guitarists, perhaps only now reaching the peak of his powers.
Reviewed by Nick Lea
