(Some Of) My Record Collection @someofmyrecordcollection - Tumblr Blog

#NewMusicFriday: just the right song to start the #Summer during #corona times #TheWailers feat. #Shaggy #Farruko #SkipMarley #CedellaMarley enjoy #OneWorldOnePrayer #celebrate #together

Heute neu in den “digitalen” Läden. Genau der richtige #Groove um in den #Sommer zu starten “One World, One Prayer” von The Wailers mit #Latin Superstar Farruko , der #Reggae Ikone Shaggy sowie Skip Marley und Cedella Marley

John Abercrombie, Marc Johnson, Peter Erskine

John Abercrombie, Marc Johnson, Peter Erskine (Live)

ECM Records ‎– 837 756-1

Vinyl, LP

Germany 1989

Jazz, Contemporary Jazz, Fusion

#john abercrombie #marc johnson #peter erskine #ecm records #vinyl

phroyd

Abercrombie began forming his style in Boston while attending Berklee in the mid-'60s, eventually helping to redefine the lines between jazz, fusion and rock.

John Abercrombie, an intrepid and deeply lyrical guitarist who made a formative contribution to jazz-rock before refining a judicious, poetic iteration of post-bop, died on Tuesday at Hudson Valley Hospital, in Cortlandt Manor, N.Y. He was 72.

His death was confirmed by ECM Records, which noted that Abercrombie died after a long illness. ECM released Abercrombie’s first album, Timeless (1974) as well as his last, Up and Coming (2017); he appears on dozens of other albums on the label, as a leader, a co-leader and a sideman.

“John could go anywhere – rhythmically, melodically, harmonically – at the drop of a hat,” drummer Jack DeJohnette told NPR, who maintained a more than four-decade association with Abercrombie. “He had a very warm sound, and always played with sensitivity, dynamics. He could create atmosphere with his comping, and through his great use of space.”

Abercrombie was a confident but unassuming artist, whose abundant gifts did not include the knack for self-promotion. He emerged in the immediate wake of electric-guitar trailblazers like Sonny Sharrock and John McLaughlin but, at least temperamentally, he belonged more to the generation a decade or so his junior: cheerful omnivores like Pat Metheny, John Scofield and Bill Frisell.

Abercrombie’s music was likewise difficult to fix on a continuum, shifting with ease from pristine acoustic clarity to a synthetic glow, from conflagrant fury to glassy calm. The unifying thread was an alert sensitivity to his musical surroundings, and a willingness to serve the larger whole. To the extent that this was chameleonic, it involved a changing of colors more than shape or form.

Abercrombie often said that he developed his pioneering jazz-rock style out of necessity, lacking available role models. “I had to figure things for myself,” he told Ted Panken in a 2012 interview for Jazziz. “I grabbed onto every device I had in my arsenal — my knowledge of harmony and the guitar, the few little fuzztones or pieces of gear that I used at the time — and tried to fit in. When I’d play with Jack and Dave Holland, or some other players, I responded to what I was hearing around me, and let the sound of it all teach me what I was supposed to do.”

John Laird Abercrombie was born in Port Chester, N.Y. on Dec. 16, 1944, the son of John Abercrombie and the former Elizabeth Beattie. He grew up in Greenwich, Conn., where he began playing guitar in his early teens, inspired at first by rock ‘n’ roll and rhythm and blues — Chuck Berry, Fats Domino, Bill Haley.

His first jazz guitar hero was Barney Kessel; the two most influential were Wes Montgomery and Jim Hall. But inspiration came equally from non-guitarists with a lyrical style, like Miles Davis and Bill Evans.

Abercrombie studied at the Berklee School of Music, sharing a room for a time with Jan Hammer. (“He played in a strip joint in Boston,” Abercrombie told Panken, “and I’d run down and sit in with him before the strippers came on.”) He spent a few years working with the soul-jazz organist Johnny “Hammond” Smith before moving to New York in 1970, where he was soon in high demand as a sideman with drummer Chico Hamilton and others.

Timeless, with DeJohnette and keyboardist Jan Hammer, provides a textbook illustration of Abercrombie’s fluidity; from one angle an exploratory entry in the organ trio tradition, and from another a blazing dispatch from fusion’s second wave. The album was well received in its time, but has since acquired the patina of a touchstone. (It has also been a popular source sample, notably on tracks by Slum Village, Boards of Canada, and Ab-Soul with Kendrick Lamar.)

Phroyd