Amoeblog

I REMEMBER JOHN ABERCROMBIE, 1944-2017

Posted by Rick Frystak, September 4, 2017 02:12pm | Post a Comment


-photo Doug Proper

by Rick Frystak

Guitarist John Laird Abercrombie passed away of heart failure last week at the age of 72, too young an age for an artist who had so many more years of creativity left. John was one of my all-time favorite guitarists, one of only a handful of unique, tasteful ''jazz-rock'' guitarists who managed to create his own style and mature with it for all the years that he was active and making records.

John's playing had a swing, a lilt, perhaps a swaying effect that was captivating and had me eagerly anticipating his notes to see where he would go with a tune or a solo. His songs were quite often effectively moody and dark which I loved, but alternately funky, and always a good melody but left room for discovery. When he really let go, as he soon highlighted on his early solo records and the Billy Cobham big band records he could bring the house down. But when he turned inward, it was like telling a secret or a heartbreaking whisper. And his compositional directions were such an amalgamation of the old standard beauty and a new, ear-bending edginess.

I first heard John on the small, independent Oblivion label album, Friends, featuring Marc Cohen playing a searing electric alto sax, inspiring John to higher highs of energy I'd rarely heard outside of heavy rock, the whole group developing music that would be years ahead of it's time. Then came his first of a 43-year ECM Records relationship, the immortal, iconic Timeless, with Jack DeJohnette  and Jan Hammer (fresh out of Mahavishnu Orchestra and Billy Cobham's fantastic Spectrum album),which took the heaviness and beauty and made some of the most intense trio jazz since Tony Williams' Lifetime. He excelled in the trio format, and in his group with Peter Erskine and Marc Johnson they swung hard, burned.  He released his last ECM record this year, Up And Coming, which would be, as the press kit notes, his first album played without a pick, just using his fingers. This sound seems more buttery and lyrical, perhaps like a fine scotch,  the tempering of John's later-career approach and character.

Continue reading...

Essential Records: The Tony Williams Lifetime, "Emergency!"

Posted by Rick Frystak, November 23, 2014 02:57pm | Post a Comment

They say music can be life-changing. I’ll buy that. Probably the most important and profound post-Beatles record in my Jazz life, or even my musical, personal and business life (you’ll see), was Emergency! by the The Tony Willams Lifetime. That’s a big sentence for an LP fiend like me. ONE record led by a drummer did all that? To me, Jazz is a huge, beautiful expression of the American Classical music, no small accomplishment in the last 100 years with everything out there. And I remember as if was yesterday how this record came to change my life.

In high school and later I was in a bluesy, Procol Harum-meets-Jefferson Airplane-style outfit calledMoonfleet, after the film. We had the town and the era by the ear, so naturally we were asked to play our own Senior Picnic close to graduation at Westchester High School (still there), near the beach in L.A. I had played drums at another Senior picnic and I knew the picnics were free-for–all's in those days. We were excited to blow our fellow student’s minds, with coffins and dancers and fiery  entertainment, with myself on guitar then.

As per our gig deal, the school had hired a PA system for our show. The day came and we pulled in for a sound check with our equipment. What the hell? It’s a flat bed truck set up on the Jr. Varsity lawn!! With nice club-PA speakers! Loud!! With audio guys that knew what they were doing!! We had a big stage with good sound. But, hey, that music, coming over the system?

As we unpacked our gear we started to actually hear the music that the sound guys were playing. We thought we were doing fire music! This music had the most energy and fast logic I’d ever heard in any organized small band! The group would play the main melody of the song and then this wonderfully composed improvisation would come just blistering out of the sound, churning with ideas and primitive juju, smearing itself over our teen minds, and then back to the main melody again, thank you, allowing us to breathe again…formed like Jazz, but smoking and searing like Rock. And all of it, electric guitar, searing Hammond organ, and even the 4-piece drum set sounding like it was coming out of Marshall stacks set on 11, said drummer just exploding with super-human chops!.

Continue reading...