Showing posts with label John Abercrombie. Show all posts
Showing posts with label John Abercrombie. Show all posts
Thursday, April 8, 2010
News: John Abercrombie in the Prague Post
Guitarist John Abercrombie talks about his upcoming Prague gig in the Prague Post. You can read the article here.
Tuesday, March 31, 2009
Gig Review: Robert Balzar Trio & John Abercrombie
Lucerna Music Bar
22nd March 2009
People were looking forward to this one. The release of their excellent album, Tales, was one of the highlights of the Czech jazz scene in 2008, and it was with high hopes that the joint Robert Balzar Trio / John Abercrombie tour was announced. A European tour by one of the world’s leading jazz guitarists fused with one of Central Europe’s leading outfits was an exciting prospect, and yet further proof (if any was needed) of the very high standard of Czech jazz.
Thankfully for Prague’s jazz and ice hockey enthusiasts the local concert didn’t clash with any of the home play off matches that dominate the domestic calendar in March. As such we were spared the sight of breathless latecomers thundering into the venue still sporting their shirts and scarves, wielding flags, and with their faces painted in team colours. Indeed there was plenty of time for a relaxing drink before the band took to the stage, with one of Lucerna’s very best features being its exceedingly cheap tank Pilsner Urquell.
Balzar introduced the band and there was warm and appreciative applause for the American guitarist, who sat down modestly behind a single guitar with a couple of pedals - no excessive paraphernalia required. Immediately it became clear that this was very much a true collaboration between the two parties. Although much of the material was familiar from Robert Balzar Trio gigs the arrangements were, as on Tales, adapted to make room for Abercrombie’s guitar. Similarly the star guitarist did not steal the show, never just soloing in the spotlight and using his younger, less experienced counterparts as a backing band. Instead they worked together, sometimes sweet in harmony and sometimes creating tension by dissonance. This quartet has not had the chance to play together a lot and they perhaps lacked the telepathy that is developed by playing hundreds of gigs together over many years, but still it was fluid and cohesive and frequently spectacular.
Virtually all of Tales was played, although for some reason “22 Years Ago” and “Portissimo”, both excellent tracks on the recording, were not included and seem to be live rarities. It was good to hear “Just In Tune” and ‘Sing Song”, both penned by Abercrombie, presented with their guitar parts in place. The main beneficiaries though were “Tale” (R. Balzar) and “Remember Hymn” (J. Abercrombie). Both of these pieces are staples of the Trio’s regular live set and they do sound good when presented as such, but the crisp, dry guitar lines gave them something special, something extra. It was as though the sound was presented with more definition: where before the curve of each note was a fuzzy edge it was now a simple single line, clear and satisfying to the ear. This was especially true of “Remember Hymn”, where Abercrombie’s fragile and ethereal phrases added a whole extra dimension to this slow-motion elegy.
All of the Tales material was given a thorough workout, with expansions, extrapolations and extensions abounding. Sticking very much to the jazz maxim of never playing something the same way once it was the music from the album brought alive before our eyes and ears. The audience, lacking the casual tourist element that so often spreads its sonic graffiti across the soundscape with wild abandon, was constantly attentive. Loud when offering applause and quiet when listening: the combination that some tourists find so hard to master.
Not all the material played was from Tales. A couple of Abercrombie pieces not usually played by the Trio were included, as was Balzar’s affecting “Ben-In-Jam”. Used to close the main set, as it usually closes a night with the Trio, this piece was presented in a very different form. Instead of the lead lines being provided by Balzar’s expert work with the bow they were taken by Abercrombie, who treated them with the same love and respect that he showed to his own compositions. It was also one of the few moments when he really let rip with some perfectly placed aggressive attacks.
While Balzar and Abercrombie dominated the concert, both with their presence and with their soloing, the other two members of the Trio worked equally hard and clearly enjoyed the experience. Stanislav Mácha contributed much of his trademark luscious, rolling piano and took a couple of excellent solos. Meanwhile, at the back of the stage, Jiří “Mr Swing” Slavíček pinned down the tempos with his precision work on the kit. The only thing missing from the night was a full-blooded drum solo, but he showed his skills (and as ever, his good taste) constantly during the entire performance. He is one of the outstanding drummers on the Czech scene and one of the best drummers I have ever seen play, and it is this combination of technical ability and artistic restraint that places him in this elite category.
A first encore of “I Fall In Love too Easily” (S. Cahn / J. Styne) was not enough to silence the audience who brought the band out for a second time before finally letting them quit for the night. It is to be hoped (and expected) that the music was this well received at all the gigs on the tour.
What the future holds for the collaboration between Balzar’s Trio and John Abercrombie is at the moment (to us at least) unknown. It would be a shame if this is the end of their work together, but if this is the case then they leave a legacy of an excellent studio album and resulting tour. Given the presence of four static and moving cameras at Lucerna there could also be a DVD in the future. More information on that if and when we get it. Until then we will just have to make do with some pictures from the Prague Jazz private vault.
22nd March 2009
People were looking forward to this one. The release of their excellent album, Tales, was one of the highlights of the Czech jazz scene in 2008, and it was with high hopes that the joint Robert Balzar Trio / John Abercrombie tour was announced. A European tour by one of the world’s leading jazz guitarists fused with one of Central Europe’s leading outfits was an exciting prospect, and yet further proof (if any was needed) of the very high standard of Czech jazz.
Thankfully for Prague’s jazz and ice hockey enthusiasts the local concert didn’t clash with any of the home play off matches that dominate the domestic calendar in March. As such we were spared the sight of breathless latecomers thundering into the venue still sporting their shirts and scarves, wielding flags, and with their faces painted in team colours. Indeed there was plenty of time for a relaxing drink before the band took to the stage, with one of Lucerna’s very best features being its exceedingly cheap tank Pilsner Urquell.
Balzar introduced the band and there was warm and appreciative applause for the American guitarist, who sat down modestly behind a single guitar with a couple of pedals - no excessive paraphernalia required. Immediately it became clear that this was very much a true collaboration between the two parties. Although much of the material was familiar from Robert Balzar Trio gigs the arrangements were, as on Tales, adapted to make room for Abercrombie’s guitar. Similarly the star guitarist did not steal the show, never just soloing in the spotlight and using his younger, less experienced counterparts as a backing band. Instead they worked together, sometimes sweet in harmony and sometimes creating tension by dissonance. This quartet has not had the chance to play together a lot and they perhaps lacked the telepathy that is developed by playing hundreds of gigs together over many years, but still it was fluid and cohesive and frequently spectacular.
Virtually all of Tales was played, although for some reason “22 Years Ago” and “Portissimo”, both excellent tracks on the recording, were not included and seem to be live rarities. It was good to hear “Just In Tune” and ‘Sing Song”, both penned by Abercrombie, presented with their guitar parts in place. The main beneficiaries though were “Tale” (R. Balzar) and “Remember Hymn” (J. Abercrombie). Both of these pieces are staples of the Trio’s regular live set and they do sound good when presented as such, but the crisp, dry guitar lines gave them something special, something extra. It was as though the sound was presented with more definition: where before the curve of each note was a fuzzy edge it was now a simple single line, clear and satisfying to the ear. This was especially true of “Remember Hymn”, where Abercrombie’s fragile and ethereal phrases added a whole extra dimension to this slow-motion elegy.
All of the Tales material was given a thorough workout, with expansions, extrapolations and extensions abounding. Sticking very much to the jazz maxim of never playing something the same way once it was the music from the album brought alive before our eyes and ears. The audience, lacking the casual tourist element that so often spreads its sonic graffiti across the soundscape with wild abandon, was constantly attentive. Loud when offering applause and quiet when listening: the combination that some tourists find so hard to master.
Not all the material played was from Tales. A couple of Abercrombie pieces not usually played by the Trio were included, as was Balzar’s affecting “Ben-In-Jam”. Used to close the main set, as it usually closes a night with the Trio, this piece was presented in a very different form. Instead of the lead lines being provided by Balzar’s expert work with the bow they were taken by Abercrombie, who treated them with the same love and respect that he showed to his own compositions. It was also one of the few moments when he really let rip with some perfectly placed aggressive attacks.
While Balzar and Abercrombie dominated the concert, both with their presence and with their soloing, the other two members of the Trio worked equally hard and clearly enjoyed the experience. Stanislav Mácha contributed much of his trademark luscious, rolling piano and took a couple of excellent solos. Meanwhile, at the back of the stage, Jiří “Mr Swing” Slavíček pinned down the tempos with his precision work on the kit. The only thing missing from the night was a full-blooded drum solo, but he showed his skills (and as ever, his good taste) constantly during the entire performance. He is one of the outstanding drummers on the Czech scene and one of the best drummers I have ever seen play, and it is this combination of technical ability and artistic restraint that places him in this elite category.
A first encore of “I Fall In Love too Easily” (S. Cahn / J. Styne) was not enough to silence the audience who brought the band out for a second time before finally letting them quit for the night. It is to be hoped (and expected) that the music was this well received at all the gigs on the tour.
What the future holds for the collaboration between Balzar’s Trio and John Abercrombie is at the moment (to us at least) unknown. It would be a shame if this is the end of their work together, but if this is the case then they leave a legacy of an excellent studio album and resulting tour. Given the presence of four static and moving cameras at Lucerna there could also be a DVD in the future. More information on that if and when we get it. Until then we will just have to make do with some pictures from the Prague Jazz private vault.
Thursday, March 19, 2009
Balzar & Abercrombie in the Prague Post
Unusually there is something worth reading in the Prague Post: an article about the Robert Balzar Trio and John Abercrombie.
This rarity can be found here.
This rarity can be found here.
Saturday, July 19, 2008
CD Review: Robert Balzar Trio & John Abercrombie
Tales
Sony BMG Music Entertainment (Czech Republic) 98021150262, 2008
There were high expectations for Tales, an album that brings together the formidable talents of the Robert Balzar Trio and the legendary American jazz guitarist John Abercrombie. There is no doubting the potential of such a collaboration on paper, but quite often these things don’t really seem to work in the studio. Egos and styles can clash and grate, and you are left with a piece of music that is less than the sum of its parts. In short, high expectations are the easiest way to find deep disappointments. This album does not disappoint. This album works.
First things first: it just sounds beautiful. Stanislav Mácha’s Steinway is as sweet as a fresh mountain spring. Abercrombie’s guitar is warm and fuzzy, and delivered with the precision of a laser beam. Jiří “Mr Swing” Slavíček adds a sense of melody and depth with a vast array of tones and sounds from his kit, as well as counting out time. Last, and of course not least, Balzar underpins it all with his acoustic bass; rich and woody, rising to the forefront when the mood takes. All this is recorded with such clarity that you can almost hear the sweat dripping off their faces. Sound engineer Tadeusz Mieczkowski did a great job with the recording and mixing, and he deserves not only credit but lots of lucrative work in the future!
Of the nine tracks on the album five are penned by Balzar, three by Abercrombie, and there is one standard thrown in for luck. The selection is well balanced, and many of the pieces will be familiar to those who have seen the Robert Balzar Trio playing live.
The opening piece is the uncompromising “Tale” (Balzar): a graceful ten minutes of jazz mini-epic, it rolls and sways with shades of dissonance and slippery-slidey drumming that never intrudes but never seems to settle down, maintaining an air of nervous tension. Uneasy listening, but never falling into chaos, it is a brooding showcase for all the musicians on this album. A particularly beautiful moment is Balzar’s transition from a haunting background riff up into his own solo; a solo that makes my fingers ache just from listening to it.
The more upbeat “22 Years ago” (Balzar) contains chunky Latin themes underneath long and languid guitar before things get more frenzied. Mácha picks up Abercrombie’s solo seamlessly and runs with it for a while, and the finale features some fine rolls and thrashes from the drumming maestro.
“Just in Tune” (Abercrombie) and “Remember Hymn” (Abercrombie) are both staples of the Trio’s current live set, the latter being a dark and brooding slow-motion session of introspection. This piece is particularly effective, with the delicately thin guitar lines defining the phrases and movements of the sound with more precision than the wider tones of a piano are capable of doing. The effect is of something so fragile and something so ephemeral that it only seems to have been called into being for that single moment, seemingly sure to collapse under its own weight.
"Portissimo" (Balzar) kicks off with some breathtaking work by Slavíček: a crazy double-time beat, relentlessly busy and in furious contrast to the gentle piano, bass and guitar that ebb and flow over it. Another beautiful Balzar solo midway, and while tone and pace change on the higher levels, the drums carry on remorselessly below. It is only in the final moments that the pace finally drops for an elegant fadeout. I don’t recall seeing the Trio perform this piece live; it would be a welcome addition to their repertoire.
Abercrombie’s jaunty “Sing Song” features some of his most exciting guitar work on the album, and it is followed by the explosive “Black Cat White Dog” (Balzar). While it is good to have this live favourite captured for posterity on disc, with its furious shifting tempos and rhythms, it doesn’t quite hit the wild abandon that it does on stage. It is still pretty wild though, complete with more finger-aching bass, but it is not the totally feral beast it can sometimes be.
The fluid and rolling “Night” (Balzar) features some lovely brushwork from Mr Swing, and once again joyously unites the sounds of all four members. “I Fall In Love Too Easily” (S. Cahn / J. Styne) ends the album with a complete change of mood. You could listen to this piece at midday in a non-smoking juice bar and you would instantly be transported to the early hours of morning and a boozy smoke-filled cellar. Dripping with sadness, slow brushes, and aching languid phrases, it is the perfect low-key encore to the original material on this album.
What the RBT and Abercrombie have produced is more than a good album. It is an interesting and possibly important album that withstands repeated listening. We can only hope that Sony use the full powers they have available to bring this piece of music to the attention of their international audience. If awards and accolades do not come for this recording then there is little justice left in the world.
Sony BMG Music Entertainment (Czech Republic) 98021150262, 2008
There were high expectations for Tales, an album that brings together the formidable talents of the Robert Balzar Trio and the legendary American jazz guitarist John Abercrombie. There is no doubting the potential of such a collaboration on paper, but quite often these things don’t really seem to work in the studio. Egos and styles can clash and grate, and you are left with a piece of music that is less than the sum of its parts. In short, high expectations are the easiest way to find deep disappointments. This album does not disappoint. This album works.
First things first: it just sounds beautiful. Stanislav Mácha’s Steinway is as sweet as a fresh mountain spring. Abercrombie’s guitar is warm and fuzzy, and delivered with the precision of a laser beam. Jiří “Mr Swing” Slavíček adds a sense of melody and depth with a vast array of tones and sounds from his kit, as well as counting out time. Last, and of course not least, Balzar underpins it all with his acoustic bass; rich and woody, rising to the forefront when the mood takes. All this is recorded with such clarity that you can almost hear the sweat dripping off their faces. Sound engineer Tadeusz Mieczkowski did a great job with the recording and mixing, and he deserves not only credit but lots of lucrative work in the future!
Of the nine tracks on the album five are penned by Balzar, three by Abercrombie, and there is one standard thrown in for luck. The selection is well balanced, and many of the pieces will be familiar to those who have seen the Robert Balzar Trio playing live.
The opening piece is the uncompromising “Tale” (Balzar): a graceful ten minutes of jazz mini-epic, it rolls and sways with shades of dissonance and slippery-slidey drumming that never intrudes but never seems to settle down, maintaining an air of nervous tension. Uneasy listening, but never falling into chaos, it is a brooding showcase for all the musicians on this album. A particularly beautiful moment is Balzar’s transition from a haunting background riff up into his own solo; a solo that makes my fingers ache just from listening to it.
The more upbeat “22 Years ago” (Balzar) contains chunky Latin themes underneath long and languid guitar before things get more frenzied. Mácha picks up Abercrombie’s solo seamlessly and runs with it for a while, and the finale features some fine rolls and thrashes from the drumming maestro.
“Just in Tune” (Abercrombie) and “Remember Hymn” (Abercrombie) are both staples of the Trio’s current live set, the latter being a dark and brooding slow-motion session of introspection. This piece is particularly effective, with the delicately thin guitar lines defining the phrases and movements of the sound with more precision than the wider tones of a piano are capable of doing. The effect is of something so fragile and something so ephemeral that it only seems to have been called into being for that single moment, seemingly sure to collapse under its own weight.
"Portissimo" (Balzar) kicks off with some breathtaking work by Slavíček: a crazy double-time beat, relentlessly busy and in furious contrast to the gentle piano, bass and guitar that ebb and flow over it. Another beautiful Balzar solo midway, and while tone and pace change on the higher levels, the drums carry on remorselessly below. It is only in the final moments that the pace finally drops for an elegant fadeout. I don’t recall seeing the Trio perform this piece live; it would be a welcome addition to their repertoire.
Abercrombie’s jaunty “Sing Song” features some of his most exciting guitar work on the album, and it is followed by the explosive “Black Cat White Dog” (Balzar). While it is good to have this live favourite captured for posterity on disc, with its furious shifting tempos and rhythms, it doesn’t quite hit the wild abandon that it does on stage. It is still pretty wild though, complete with more finger-aching bass, but it is not the totally feral beast it can sometimes be.
The fluid and rolling “Night” (Balzar) features some lovely brushwork from Mr Swing, and once again joyously unites the sounds of all four members. “I Fall In Love Too Easily” (S. Cahn / J. Styne) ends the album with a complete change of mood. You could listen to this piece at midday in a non-smoking juice bar and you would instantly be transported to the early hours of morning and a boozy smoke-filled cellar. Dripping with sadness, slow brushes, and aching languid phrases, it is the perfect low-key encore to the original material on this album.
What the RBT and Abercrombie have produced is more than a good album. It is an interesting and possibly important album that withstands repeated listening. We can only hope that Sony use the full powers they have available to bring this piece of music to the attention of their international audience. If awards and accolades do not come for this recording then there is little justice left in the world.
Subscribe to:
Posts (Atom)
