(ecm, post-bop) John Abercrombie Quartet - Within A Song - 2012, FLAC (tracks+.cue), lossless
Треклист:
John Abercrombie Quartet - Within A Song
Жанр: ecm, post-bop
Год издания: 2012
Издатель (лейбл): ecm
Номер по каталогу: 2254
Аудиокодек: FLAC (*.flac)
Тип рипа: tracks+.cue
Битрейт аудио: lossless
Продолжительность: 01:00:57
Источник (релизер): jlgt
Наличие сканов в содержимом раздачи: да
Треклист:
1. Where Are You
2. Easy Reader
3. Within A Song / Without A Song
4. Flamenco Sketches
5. Nick Of Time
6. Blues Connotation
7. Wise One
8. Interplay
9. Sometime Ago
John Abercrombie: guitar
Joe Lovano tenor: saxophone
Drew Gress: double-bass
Joey Baron: drums
ecmplayer
Жанр: ecm, post-bop
Год издания: 2012
Издатель (лейбл): ecm
Номер по каталогу: 2254
Аудиокодек: FLAC (*.flac)
Тип рипа: tracks+.cue
Битрейт аудио: lossless
Продолжительность: 01:00:57
Источник (релизер): jlgt
Наличие сканов в содержимом раздачи: да
Треклист:
1. Where Are You
2. Easy Reader
3. Within A Song / Without A Song
4. Flamenco Sketches
5. Nick Of Time
6. Blues Connotation
7. Wise One
8. Interplay
9. Sometime Ago
John Abercrombie: guitar
Joe Lovano tenor: saxophone
Drew Gress: double-bass
Joey Baron: drums
Лог создания рипа
Exact Audio Copy V1.0 beta 2 from 29. April 2011
EAC extraction logfile from 23. May 2012, 21:46
John Abercrombie Quartet / Within a Song
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==== Log checksum 02035553A305166A572287E26D444D569E76B206948F454DF71C093002CEF5AF ====
Содержание индексной карты (.CUE)
REM GENRE Jazz
REM DATE 2012
REM DISCID 740E5B09
REM COMMENT "ExactAudioCopy v1.0b2"
PERFORMER "John Abercrombie Quartet"
TITLE "Within a Song"
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PERFORMER "John Abercrombie Quartet"
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about
Fromhttp://www.ecmrecords.com/:
“Within A Song” celebrates the spirit of discovery that illuminated the jazz of the 1960s, as John Abercrombie declares his musical loyalties in a quartet album that pays tribute to a range of early influences including Miles Davis, John Coltrane, Bill Evans, Ornette Coleman, Sonny Rollins and Jim Hall. “This was the music that spoke to me. When I heard it, it was like finding a new home.” The group assembled especially for this production, recorded at New York’s Avatar Studios in September 2011 features tenorist Joe Lovano as the optimal partner for Abercrombie. Together they mine deep feelings from these modern jazz classics.
Project:
On “Within A Song”, John Abercrombie pays tribute to formative influences, to the recordings and the musicians that shaped his early listening and his future directions. The period addressed is the 1960s, with specific reference to key recordings by Miles Davis, Sonny Rollins, Ornette Coleman, John Coltrane and Bill Evans. This new album, revisiting some classics of the era, is effectively a modern jazz primer, but it’s also much more.
“Manfred Eicher and I had been talking for a while about doing an album that might pay homage to a particular jazz artist or composer. But in the end I preferred to look at the era when my own musical tastes were shaped. The recordings that I was listening to back then were mostly post-bebop jazz albums, usually by artists who were stretching the forms, in their various ways.”
Guitarist Abercrombie and tenorist Joe Lovano convey their empathy with the original protagonists, while also bringing much of their own creativity into service. There is superlative playing from both of them, with encouragement and alert support from Joey Baron and Drew Gress, also vital contributors to the project.
The album opens with “Where Are You”, from Rollins’ “The Bridge”, and from the same source comes “Without A Song”, the latter now enveloped in John’s title track. “Hearing Sonny Rollins and Jim Hall on ‘The Bridge’ was an epiphany for me,” Abercrombie says. “They just turned my head around. When I heard them playing ‘Without A Song’", I thought that’s the best thing I’ve ever heard! So for this new album I wrote songs based upon it.”
Jim Hall has long been one of John’s primary influences, admired for musicality and harmonic sophistication beyond the creation of great solos, and there are several Hall references on the disc, in connections to Rollins, Bill Evans and also Art Farmer. “I had the opportunity to see Art Farmer’s band with Jim Hall, Steve Swallow on acoustic bass and Pete La Roca on drums quite often, and every time I saw them they played Sergio Mahanovich’s tune ‘Sometime Ago’ in such a poignant way. It was so moving. In my mind, at least, it was the theme song of the Art Farmer-Jim Hall Quartet.” Hall was also on board for Bill Evans’s ‘Interplay’ album whose title tune is reinterpreted here. “I always liked this tune of Bill’s. It’s a very well-written theme on a minor blues. The construction of the melody, and Bill’s use of intervals, is quite unique. Plus, I welcomed the chance to play a blues on an ECM album.”
Ornette Coleman’s “Blues Connotation”, originally recorded on “This Is Our Music”, plays more loosely with the language of the blues. “I liked the total sound of Ornette’s bands with Don Cherry, Charlie Haden and either Ed Blackwell or Billy Higgins. It was clear to me that Ornette had a concept and knew what he was doing. I heard his alto playing really as an extension of Charlie Parker. Having recorded ‘Round Trip’ already in the quartet with Mark Feldman [on ‘The Third Quartet’ in 2006], I was looking for another piece with that feeling of openness. ‘Blues Connotation’ has that quality. It’s a piece that gives you the option of playing in a blues style or freely, and this time we took a freer path.”
Abercrombie describes himself as “a late bloomer” vis-à-vis “Kind of Blue”: “It was released in ’59 but I didn’t hear it until 1962, when I was a student in Boston. I was completely captured by Miles’s playing on that album, the simplicity and beauty of it. Of course, the album is meanwhile so well-known that certain tunes have been practically worn out with repetition. But I thought it was still possible to play something fresh on the chord progressions of ‘Flamenco Sketches’ and create our own melodies.”
Coltrane’s “Crescent”, was also the subject of intense scrutiny in Abercrombie’s Boston years. “I had loved the way Coltrane played ballads, but ‘Crescent’ seemed to be a centrepiece for the new music he was working on: the new tunes, with the long rubato intros, of which ‘Wise One’ was a great example. Music of real beauty.”
Abercrombie also adds compositions of his own to the programme. “Easy Reader”, an amiable Abercrombie waltz, makes a nod to Dennis Hopper and Peter Fonda’s “Easy Rider”, another iconic production of 60s vintage. This like “Nick Of Time” with its oblique melody, is integrated within the context of an album that looks back with admiration – and a measure of nostalgia – for an era when jazz was in the throes of great changes. “A celebration”, John says, “of an era when the musicians were stretching the forms”.
“Within A Song” was produced by Manfred Eicher at New York’s Avatar Studios in September 2011.
*** Review fromhttp://www.guardian.co.uk/:
John Abercrombie Quartet: Within a Song – review
(ECM)
★ ★ ★ ★
John Fordham
guardian.co.uk, Thursday 10 May 2012 22.42 BST
This is an unusual ECM release – a journey back to guitarist's guitarist John Abercrombie's formative 1960s influences, in the music of Sonny Rollins, John Coltrane, Ornette Coleman, Miles Davis and Bill Evans. But the implications of the title, and a glance at a postbop superband lineup – saxophonist Joe Lovano, bassist Drew Gress and drummer Joey Baron complete the group – are the clues to its underlying contemporary strengths. Flamenco Sketches, from the Davis/Evans collaboration on Kind of Blue, joins sparing guitar and delicious tenor-sax tentativeness from Lovano. Coleman's Blues Connotation is a snappy, postbop twister that grows rhythmically more devious, Coltrane's Wise One showcases Abercrombie and Lovano's patient narrative-building and sensuous tone, and Evans' Interplay is a cool-school weave that gets raunchier in Lovano's solo. The atmosphere is delicate (Baron, at times, seems barely to be touching his cymbals), but there's a great deal more exuberant swing than on recent Abercrombie sessions – and this all-star group constantly demonstrate how joyous that can sound without winding up the volume.
“Within A Song” celebrates the spirit of discovery that illuminated the jazz of the 1960s, as John Abercrombie declares his musical loyalties in a quartet album that pays tribute to a range of early influences including Miles Davis, John Coltrane, Bill Evans, Ornette Coleman, Sonny Rollins and Jim Hall. “This was the music that spoke to me. When I heard it, it was like finding a new home.” The group assembled especially for this production, recorded at New York’s Avatar Studios in September 2011 features tenorist Joe Lovano as the optimal partner for Abercrombie. Together they mine deep feelings from these modern jazz classics.
Project:
On “Within A Song”, John Abercrombie pays tribute to formative influences, to the recordings and the musicians that shaped his early listening and his future directions. The period addressed is the 1960s, with specific reference to key recordings by Miles Davis, Sonny Rollins, Ornette Coleman, John Coltrane and Bill Evans. This new album, revisiting some classics of the era, is effectively a modern jazz primer, but it’s also much more.
“Manfred Eicher and I had been talking for a while about doing an album that might pay homage to a particular jazz artist or composer. But in the end I preferred to look at the era when my own musical tastes were shaped. The recordings that I was listening to back then were mostly post-bebop jazz albums, usually by artists who were stretching the forms, in their various ways.”
Guitarist Abercrombie and tenorist Joe Lovano convey their empathy with the original protagonists, while also bringing much of their own creativity into service. There is superlative playing from both of them, with encouragement and alert support from Joey Baron and Drew Gress, also vital contributors to the project.
The album opens with “Where Are You”, from Rollins’ “The Bridge”, and from the same source comes “Without A Song”, the latter now enveloped in John’s title track. “Hearing Sonny Rollins and Jim Hall on ‘The Bridge’ was an epiphany for me,” Abercrombie says. “They just turned my head around. When I heard them playing ‘Without A Song’", I thought that’s the best thing I’ve ever heard! So for this new album I wrote songs based upon it.”
Jim Hall has long been one of John’s primary influences, admired for musicality and harmonic sophistication beyond the creation of great solos, and there are several Hall references on the disc, in connections to Rollins, Bill Evans and also Art Farmer. “I had the opportunity to see Art Farmer’s band with Jim Hall, Steve Swallow on acoustic bass and Pete La Roca on drums quite often, and every time I saw them they played Sergio Mahanovich’s tune ‘Sometime Ago’ in such a poignant way. It was so moving. In my mind, at least, it was the theme song of the Art Farmer-Jim Hall Quartet.” Hall was also on board for Bill Evans’s ‘Interplay’ album whose title tune is reinterpreted here. “I always liked this tune of Bill’s. It’s a very well-written theme on a minor blues. The construction of the melody, and Bill’s use of intervals, is quite unique. Plus, I welcomed the chance to play a blues on an ECM album.”
Ornette Coleman’s “Blues Connotation”, originally recorded on “This Is Our Music”, plays more loosely with the language of the blues. “I liked the total sound of Ornette’s bands with Don Cherry, Charlie Haden and either Ed Blackwell or Billy Higgins. It was clear to me that Ornette had a concept and knew what he was doing. I heard his alto playing really as an extension of Charlie Parker. Having recorded ‘Round Trip’ already in the quartet with Mark Feldman [on ‘The Third Quartet’ in 2006], I was looking for another piece with that feeling of openness. ‘Blues Connotation’ has that quality. It’s a piece that gives you the option of playing in a blues style or freely, and this time we took a freer path.”
Abercrombie describes himself as “a late bloomer” vis-à-vis “Kind of Blue”: “It was released in ’59 but I didn’t hear it until 1962, when I was a student in Boston. I was completely captured by Miles’s playing on that album, the simplicity and beauty of it. Of course, the album is meanwhile so well-known that certain tunes have been practically worn out with repetition. But I thought it was still possible to play something fresh on the chord progressions of ‘Flamenco Sketches’ and create our own melodies.”
Coltrane’s “Crescent”, was also the subject of intense scrutiny in Abercrombie’s Boston years. “I had loved the way Coltrane played ballads, but ‘Crescent’ seemed to be a centrepiece for the new music he was working on: the new tunes, with the long rubato intros, of which ‘Wise One’ was a great example. Music of real beauty.”
Abercrombie also adds compositions of his own to the programme. “Easy Reader”, an amiable Abercrombie waltz, makes a nod to Dennis Hopper and Peter Fonda’s “Easy Rider”, another iconic production of 60s vintage. This like “Nick Of Time” with its oblique melody, is integrated within the context of an album that looks back with admiration – and a measure of nostalgia – for an era when jazz was in the throes of great changes. “A celebration”, John says, “of an era when the musicians were stretching the forms”.
“Within A Song” was produced by Manfred Eicher at New York’s Avatar Studios in September 2011.
*** Review fromhttp://www.guardian.co.uk/:
John Abercrombie Quartet: Within a Song – review
(ECM)
★ ★ ★ ★
John Fordham
guardian.co.uk, Thursday 10 May 2012 22.42 BST
This is an unusual ECM release – a journey back to guitarist's guitarist John Abercrombie's formative 1960s influences, in the music of Sonny Rollins, John Coltrane, Ornette Coleman, Miles Davis and Bill Evans. But the implications of the title, and a glance at a postbop superband lineup – saxophonist Joe Lovano, bassist Drew Gress and drummer Joey Baron complete the group – are the clues to its underlying contemporary strengths. Flamenco Sketches, from the Davis/Evans collaboration on Kind of Blue, joins sparing guitar and delicious tenor-sax tentativeness from Lovano. Coleman's Blues Connotation is a snappy, postbop twister that grows rhythmically more devious, Coltrane's Wise One showcases Abercrombie and Lovano's patient narrative-building and sensuous tone, and Evans' Interplay is a cool-school weave that gets raunchier in Lovano's solo. The atmosphere is delicate (Baron, at times, seems barely to be touching his cymbals), but there's a great deal more exuberant swing than on recent Abercrombie sessions – and this all-star group constantly demonstrate how joyous that can sound without winding up the volume.
