Customer Reviews

Open Land

5 star:		(3)
4 star:		(4)
3 star:		(2)
2 star:		(0)
1 star:		(0)

 

 

Since most of John Abercrombie's recent albums as a leader have featured his trio (with Adam Nussbaum and Dan Wall), it's really delightful to see him get a chance as a composer and leader for a more colorful ensemble. Abercrombie's gift for long, sinuous, adventurous melodies, supported by a very distinctive harmonic sense and punctuated by superbly tasteful electrical bursts, blooms in the company of various other strong soloists. This album is not just a blowing session; there's a definite feel of very creative interplay among all the musicians. Highly recommended, and I hope that ECM continues to provide opportunities to Abercrombie to stretch his horizons. If you're interested in hearing his more intimate trio music, you should also check out the album Tactics from a couple of years ago, which got a well deserved 5-star review in Downbeat magazine.

For the musical explorer, Open Land is one of those rare and precious prizes - an absolutely perfect album. The sound is excellent (as you'd expect from an ECM recording) and the instrumental palette is perfect - rich and varied, but never cluttered (only four of the six musicians play at any time). Abercrombie provides spine-tingling thrills when he gets into his strident, evocative trips, but his guitar is mostly an omnicient, discreet presence, augmenting but never intruding on his virtuosi guests. In particular, Kenny Wheeler provides magesterial flugelhorn statements throughout, understated yet confident, providing a gorgeous, "breathy" brass texture to the overall sound; Joe Lovano exudes soul on the tenor sax, and Mark Feldman's brilliant flourishes beg re-evaluation of the violin as a lyrical, even psychedelic sound in jazz. Abercrombie's graciousness in leaving the best themes and solos for his guests to perform repays handsomely in the end, since it results in a richly textured soundscape. But the "regulars" deserve enormous credit too, excelling in their roles and certainly far from being outshone, even by the stellar performances of the guests: Adam Nussbaum's percussion is subtle, shimmering and colourful; Dan Wall's organ is always restlessly probing, providing an undercurrent of mystery and intrigue. Above all, the themes are magnificent - engaging and unforgettable, often hauntingly so (especially the slightly chilling and desolate lines stated on Wheeler's muted trumpets), marking Abercrombie as an exceptional composer of wonderful tunes. The album's calm pace, cool rythyms and pellucid sounds evoke bright winter sunshine - it has a crystal sheen to it, and an air of mystery and wonder. Open Land is a triumph of genuine musical alchemy, and one of the outstanding records of any idiom, any time. Immaculate.

This CD contains the kind of open, lyrical music hinted at by the title and fits right in with lots of Abercrombie's older stuff and with the so-called typical ECM sound (although ECM has released every flavor under the sun short of speed metal), and builds nicely on Abercrombie's organ trio albums. The use of Feldman's violin here is inspired - its a rich and accomplished violin sound, yet as unfettered as any saxophonist - he sounds as at- home with Lovano as Redman or Osby did. Wheeler does his thing, sounding like no other trumpeter, Wall's organ is eerie and cool and telepathic with the guitarist - they're a real team - and Nussbaum swings, pulses, splashes the open moments with color and surprise. It leans more toward the spare and atmospheric, but there's heat and swing in there too.

One of the better jazz albums I've heard this year, superior to his last release, November (At least this is the last release of his I bought.) Using Kenny Wheeler on trumpet and Mark Feldman on violin, Abercrombie holds back on his guitar playing to create an ensemble sound. Excellent!

The majority of reviews here are emphasising the merits of the expanded ensemble on this album; no complaints here, as the music is very good and the interplay is often terrific.

However, I have reservations about John Abercrombie's guitar playing on this disc. Whilst it is always interesting, I feel it lacks the power and conviction of some of his earlier work. If I am not mistaken, some time in recent years he has abandoned the use of a plectrum. His lines were always so fluid and articulate; he could express his amazing creativity so well. This has seemingly been replaced by a more limited fingerstyle ability. (If this is not the case, perhaps someone could enlighten me as to the reason for the sudden change in his style, and his sound!) His soloing on the last few efforts is, to my ear, rather scrabbled and scratchy-sounding. As a result, I have mixed feelings about this album, and indeed his other recent work too. (This same sound is evident in recent albums with Charles Lloyd, and the 'Hudson Project' too. I haven't heard 'Cat 'n' Mouse', but presumably it will be the same.) I for one hope this is a passing trend in John's music, though it would appear not to be the case.

But let's be fair, this is still a lovely album all things considered. As other reviewers have pointed out, the focus here is not Abercrombie's guitar work. This is a good thing, and necessary by nature of the music here; and there is some fine music here. John Abercrombie the guitarist has played much better, but Abercrombie the composer is still as amazing as ever. All the other players are top notch and they all sound great. Call me one-eyed if you like, because despite that fact I still really miss Marc Johnson and Peter Erskine!

John Abercrombie returns again with the venerable Dan Wall and Adam Nussbaum; this time they are joined by musicians Joe Lovano, Kenny Wheeler and Mark Feldman.

In my opinion, John Abercrombie's greatest strength is his unique and almost-surrealist sense of melody. This album is an excellent showcase of his lyrical mastery, and the way he constructs flowing lines on his guitar. The sound is uniquely his: very different from Pat Metheny or John Scofield's approach to playing, and complementary of Frisell's philosophy.

Listening to this album is like reading a doctoral thesis from the great master himself: there's a recurring melodic theme, creative composition, and most importantly, excellent interplay between the musicians.

Highlights of this album include 'Gimme Five' and 'Speak Easy'. One note of caution: This album builds on Abercrombie's prior works. If you didn't like him then, you probably won't like him now.

As is usual with Mr Abercombie, there is one track in the programme which is devoted to free improvisation. The remaining eight are works composed by the leader. Of these, some are desultory and wandering (eg, Just in Tune and Speak Easy) but the title track is intriguing and exciting with a stunning solo by Mr Feldman on violin (backed by the brilliant Mr Nussbaum).
Gimme Five shows Mr Abercombie at his swinging best. Overall, too few jewels on what gives every impression of being a relaxed afternoon gig.

Abercrombie is truly an individual voice on his instrument, and he functions well both as a sideman and as a leader. On Open Land he also steps forward as a composer, penning eight of the nine tunes (the remaining cut being a group jam session). The sextet he leads on this ECM outing is a bit unusual, consisting of Abercrombie on guitar, Mark Feldman on violin, Kenny Wheeler on trumpet and flugelhorn, Joe Lovano on tenor saxophone, Dan Wall on organ, and Adam Nussbaum on drums. The latter two musicians have previously teamed with Abercrombie to make some killer trio recordings for ECM, and the three "newcomers" seem to fit right in; indeed, this is a killer sextet and a killer recording.

Lovano's playing on this set is the best I have ever heard from the sax veteran--he seems to accomplish more as a sideman than as a leader, or maybe it is because of the way that Abercrombie has put together the arrangements. Each of the players makes a solid contribution to the sound of the whole, and the music ranges from the swinging to the spacey, but it always sounds coherent and purposeful. It is fun to listen to how the various musicians take turns leading out, then stepping back to provide reflective accompaniment. These are six very accomplished musicians, and they play very well together. Tasty, tasty stuff that may well appeal even to folks who don't think they like jazz.

Abercrombie in recent years has turned to the setting of the traditional guitar-organ-drums trio, with Dan Wall on organ & Adam Nussbaum on drums, though his individuality means of course that while it often draws on inspirations like Larry Young's work with Grant Green or Tony Williams' Lifetime it sounds utterly individual. Probably my favourite album by the basic trio is _Speak of the Devil_; the live album _Tactics_ is very fine too.

The group is augmented here by Kenny Wheeler, Joe Lovano & the violinist Mark Feldman. The music is quite different from a disc like _Tactics_: often low-key & colouristic, it's an intelligent, fundamentally gentle music. Both Lovano (who is rather under-used) and Wheeler seem to be having a quiet day, & it's the impassioned Feldman who's the most forceful presence. (Feldman's a terrific player though perhaps a little too histrionic. His work may also be sampled on Marilyn Crispell's fine _Santuerio_, and on his own solo disc on Tzadik.)

This is a good album--not to my mind a great one, which is a little disappointing given the stellar group assembled for it, but certainly worth checking out.