Jazz
CDアルバム

販売価格

¥
2,790
税込
ポイント15%還元

在庫状況 について

フォーマット CDアルバム
発売日 1993年11月14日
国内/輸入 輸入
レーベルECM
構成数 1
パッケージ仕様 -
規格品番 5190732
SKU 731451907326

構成数 : 1枚
合計収録時間 : 01:08:50
録音 : ステレオ (Studio)

  1. 1.[CDアルバム]
    1. 1.
      Cat's Back, The

      アーティスト: John Abercrombie

    2. 2.
      J.S.

      アーティスト: John Abercrombie

    3. 3.
      Right Brain Patrol

      アーティスト: John Abercrombie

    4. 4.
      Prelude

      アーティスト: John Abercrombie

    5. 5.
      November

      アーティスト: John Abercrombie

    6. 6.
      Rise and Fall

      アーティスト: John Abercrombie

    7. 7.
      John's Waltz

      アーティスト: John Abercrombie

    8. 8.
      Ogeda

      アーティスト: John Abercrombie

    9. 9.
      Tuesday Afternoon

      アーティスト: John Abercrombie

    10. 10.
      To Be

      アーティスト: John Abercrombie

    11. 11.
      Come Rain or Come Shine

      アーティスト: John Abercrombie

    12. 12.
      Big Music

      アーティスト: John Abercrombie

作品の情報

メイン

その他
プロデューサー: Manfred Eicher
エンジニア: Jan Erik Kongshaug

商品の紹介

Q (2/94, p.91) - 3 Stars - Good - "...There's a sense of the spirit of the great Bill Evans groups of the past being carried on, particularly on graceful pieces like `Prelude'...."|
Rovi

This 1993 recording of John Abercrombie's trio with a guest appearance by British saxophone giant and composer John Surman is, without question, a trademark ECM session. There's the spacious, pristine, icy production by label boss Manfred Eicher from his studio in Oslo. Next, all the players are ECM staples with the exception of Erskine, who plays everything from pop jazz to classical music. But there are many things that distinguish it as well. For one, Surman is playing here with a fire not heard since the early '70s. Whether he is blowing a baritone or soprano saxophone or his bass clarinet, he's cutting loose. There are long, looping lines that quote everyone from John Carter to Jim Pepper to Eric Dolphy and Ben Webster. His willingness to seek out the heart of dissonance inspires his bandmates, particularly on "The Cat's Back." From a nuanced, eerie wail to a Native American folk melody to smoky phraseology taken from "Chelsea Bridge," Surman pulls out all the stops and then puts them back in to make the tune whisper. Abercrombie doesn't exactly take a back seat on this date, but he does showcase his expansive knowledge of Tal Farlow's harmonic palette by playing extended chords either inside the melody or as a dissonant counterpoint to Surman. Other standouts include the title track with its strange, even alien, crosstalk between Johnson's bowed bass and Abercormbie's short, knotted leads. On Surman's ballad "Ogeda," too, Abercrombie investigates the manner in which the jazz tradition celebrates dissonant harmonies while using a kind of lyrical improvisation to keep the tune gently swinging. It's a solid session from beginning to end, but one still wishes Eicher would take his hands off the sound controls a bit, allowing some of the rawness that each of these players shows in live settings to enter the studio. ~ Thom Jurek
Rovi

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