This surprising 1984 endeavor from John Abercrombie finds the guitarist inwards conversation amongst January Hammer, Jack DeJohnette, too Mike Brecker. The lack of a bassist on this session is non felt; the spaciousness of the music too the masterful playing of all parties involved occur the focus clearly on the melodies, both scripted too improvised. This tin lav best last heard on the championship track, a lovely, tear-wrenching ballad. On roughly of the to a greater extent than up-tempo tracks, Hammer covers the bass goal amongst his keyboards almost similar he is taking purpose inwards an organ trio. Unlike the high-velocity fusion that Hammer is best known for inwards his function amongst the Mahavishnu Orchestra, Al DiMeola, too elsewhere, his function on Night is highly subdued. In fact, his playing is i of the most pleasant things most this record. It's squeamish to require heed him doing something other than blaring away at a i K k miles a minute. He actually is an first-class keyboardist, too his make is frequently underappreciated. However, the first-class compositions past times Hammer too Abercrombie are the strongest affair most Night. One of the best is the opener, "Ethereggae," which features an incredible guitar solo over a sparse, haunting synth figure too DeJohnette's incomparable comping. When Brecker adds his pointed, searching tenor, the despair too loneliness of the music are almost likewise much to bear. This tape is the sort of album that i would similar to require heed spell enjoying a late-night cigarette on the roof of a Manhattan apartment. Moody, atmospheric, too beautiful.
As its encompass indicates, Night gives us a colorful, collage-like portrait of John Abercrombie, who jumps hither into the urban deep goal amongst smoky monastic tell atmospheres too tight jams. It’s a joy to encounter the guitarist working amongst January Hammer again, too the inclusion of Mike Brecker on tenor too Jack DeJohnette on drums brand for a winning formula. Hammer adds a item spike to this sonic punch, competently filling the session’s lack of bass spell also fleshing out the production amongst an evocative sweep. Between the idiomatic blend of “Ethereggae” too the Timeless estrus distortion of “3 East,” his billowing keys give Brecker to a greater extent than than plenty room to present off his chops (he has hardly sounded better). This engagement isn’t all fun too games, however, for the rain-slicked streets of “Look Around” give us intermission for reflection. Hammer reignites things inwards “Believe You Me,” which despite existence the most straightforward runway compositionally sports Brecker’s most uninhibited solo yet. The band saves the best for terminal amongst “Four On One,” which draws roughly other band of move inwards an enthralling closer. DeJohnette gets his instant inwards the Sun hither every bit well.
Great combination of musicians! The whole album has an interesting sound. The Hammond organ is a chip of a difference from the typical January Hammer sound. Amazing playing from Michael Brecker, (as always) too the compositions are interesting amongst Abercrombie too DeJohnette's distinct styles. All musicians a featured to a smashing extent. If you're a fan of whatsoever of these players, you lot won't last disappointed.
This is i of my favourite records of all fourth dimension & the opener "Etherreggae" i of my favourite tracks of all time. This album also marks (I believe) entirely Abercrombie's 2nd experimentation amongst an organ largely replacing other keyboards (the maiden of all existence "Timeless" inwards 1974) & personally I intend the results are inspired (& sure enough induced Abercrombie to repeat the "experiment" on ii futurity albums, amongst Dan Wall stepping inwards for January Hammer). The other musicians on this disc are Mike Brecker (ts) & Jack de Johnette (d).
Take the aforesaid opener - maiden of all amongst a smashing 6-time repeated augmented B Minor chord amongst reverb past times Abercrombie this runway develops into a wonderfully tiresome reggae musical rhythm inwards major scale(s) amongst overdubbed guitar, a squeamish Brecker saxophone solo inwards the middle & a wonderful, uplifting closing electrical guitar solo (joined inwards a wonderful burning decision past times Brecker) featured. The 2nd runway "Night" encapsulates the mood of a reflective piece of cake eve at dwelling lone perfectly & features vivid soulful sax from Brecker summation squeamish acoustic pianoforte from Hammer. Finally on Track iii (Three East") Hammer's organ gets a decent workout exactly again, despite to a greater extent than smashing guitar function from Abercrombie, it's Brecker who steals the slice - ditto on "Look Around" which also features vivid function from de Johnette (hitherto a tad understated).
Throughout the album the organ plays mainly an underlying supporting role & actually sets a largely reflective & occasionally melancholic note (although the footstep noticeably picks upwards on the terminal ii tracks). The album also displays Abercrombie's versatility & willingness to experiment every bit good every bit what a vivid saxophonist Brecker was. Enjoy!!
Though something of an blip inwards the Abercrombie dorsum catalogue, Night is far from benign. Aside from the effusive music, what actually distinguishes this album is its sound. Another slam-dunk for engineer January Erik Kongshaug.
https://jazz-rock-fusion-guitar.blogspot.com/search?q=John+Abercrombie
Track listing:
1. "Ethereggae" (Jan Hammer) - 8:28
2. "Night" - 5:02
3. "3 East" - 4:33
4. "Look Around" - 9:02
5. "Believe You Me" - 7:42
6. "Four On One" - 6:42
Personnel:
John Abercrombie – guitar
Michael Brecker – tenor saxophone
January Hammer – keyboards
Jack DeJohnette – drums
EmoticonEmoticon