#steve tibbetts

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Shengshik Pema Jungney (Remastered) · Choying Drolma · Steve Tibbetts

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Steve Tibbetts - Big Map Idea. 1989 : ECM 1380.

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Dieter Rehm

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Climbing

Provided to YouTube by Universal Music Group Climbing · Steve Tibbetts Safe Journey

Released on: 1984-04-01 Associated Performer, Guitar, Percussion, Studio Personnel, Recording Engineer: Steve Tibbetts Associated Performer, Conga, Percussion: Marc Anderson Associated Performer, Percussion: Tim Wienhold Associated Performer, Tabla: Steve Cochrane Associated Performer, Double Bass: Bob Hughes Producer: Manfred Eicher Studio Personnel, Mix Engineer: Jan Erik Kongshaug Composer: Steve Tibbetts Composer: Marc Anderson

His Best Album!

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Steve Tibbetts — Life Of (ECM)

Following 1994’s The Fall of Us All, multi-instrumentalist Steve Tibbetts has made three albums of what might first appear to be increasing reticence. Percussive rhythms, so integral to Tibbetts’ 1980s work, have faded into something approaching a background. Distortion has all but vanished. These have been replaced by extremely delicate nuance and depth of timbre, and Life Of thrives on both.

From his 1977 debut, just reissued by Cuneiform in a gorgeous high-definition digital version, Tibbetts has made a music of layers. Sounds ebb and flow in tandem behind his guitar with the lightness of air, the thickness of granite or the Protean fluidity of water. Now, they’ve taken on the organic transparency of glass and the sinewy connections of wire. Behind the melodies evolves a network of related but still somehow distant tones and colors that float by in beaded strands. The brief “Life of Emily” thrums with activity, but it emerges in slow waves, especially the bass-heavy but paper-thin rhythms. These elaborate background tableaus can take on an orchestral quality, as on the sensual but somehow acetic “Life of Mir.”  Much of this richness is likely due to cellist and dronesmith Michelle Kinney’s contributions, as might also be the case on “Life of Joel,” but the latter is infused with Tibbetts’ pianism, which has undergone a sea change. His counterpoint with his own guitar is exquisite, ramping up the rhythmic intrigue while keeping dynamics at bay. All background layers, electronic or otherwise, are integrated much more smoothly than was the case eight years ago, affording a much subtler experience highlighted by headphones.

These accompanying rivulets would lead nowhere were it not for the composer’s mastery of the guitar, which has also entered a new phase. The only other person who bends harmonics with such a mixture of precision and pure emotion may be Jaco Pastorius. Listen to the first two melody pitches of “Life of Someone” to hear the technique; they are all but stopped, only upper components then sustained and bent as if the instrument had transcended the role of 12-string. This recent approach has affected Tibbetts’ timing and phrasing, leading him to an even more mature relationship with each pitch and with the mechanisms by which it’s produced.

Like John Fahey, Kidd Jordan, or Emil Gilels as their careers progressed, Tibbetts has turned virtuosity inward, scaled it down only to magnify each tone and color with it. Still episodic, Life Of is, as the titles suggest, also of a piece and should be heard that way. Surface similarities give way to oceans of association, each drop experienced, resonating and ultimately subsumed. If such sublime and steady motion forward required eight years, can Tibbetts devotees hold out hope for 2026?

Marc Medwin

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Steve Tibbetts – Life Of. ECM 2599 : 2018.