| | John Abercrombie Characters CD John Abercrombie Discography of CDs
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Solo performer: John Abercrombie (acoustic & electric guitars, electric mandolin). Recorded at Talent Studio, Oslo, Norway in November 1977. Personnel: John Abercrombie (guitar, acoustic guitar, electric guitar, mandolin, electric mandolin); Peter Donald (drums). Recording information: Talent Studio, Oslo, Norway (11/1977). Photographer: Roberto Masotti. Always unique and uncompromising, John Abercrombie gained a good deal of his popularity from his solo playing. Not the virtuoso of his primary influences -- Django Reinhardt, Tal Farlow and Jim Hall -- Abercrombie is much more the introvert. He often bypasses traditional techniques to pursue experimental sounds and rhythms. Along with Ralph Towner, whom he has recorded with before (see Sargasso Sea), Abercrombie makes excellent use of space within both his compositions and solos. Upon the first listen there may not appear to be very much here; however, this music needs to be absorbed over several listens to appreciate Abercrombie's brilliance. ~ Robert Taylor John Abercrombie Characters Songs Characters Music Review Average Rating: (5 out of 5 stars)   Abercrombies only all-solo recording a true masterpiece Any (even casual) fan of the wonderfully original Jazz guitarist won't want to miss this one. It's Abercrombies only all-solo recording ever, an overdubbed masterpiece from 1977. Personally, i've been waiting for John to do another one since I first purchased the vinyl of this way back in '78, but it hasn't happened. I've purchased most of John's olo works, and many many performances on other peoples recordings but this is my "desert Island disc" as far as Abercrombie's career is concerned. Why hasn't he done another one? I don't know and i've been waiting since this one came out way back when. Perhaps he doesn't think he could top this one? That's the only acceptable reason I could think of. The long 1st track kicks off with several minutes of John's solo miniature elctric mandolin soloing before several acoustic guitars kick in wonderfully and drive the tune on. There are several shorter, more reflective pieces here based around Joh's acoustic guitars, or a combination of acoustic and electric. A couple of these rate as John's most beautiful ballad writng ever, very reflective and a bit sad. John was certainly inspired during these sessions. "Ghost Dance" has a bit of an unusal haunting refrain to it, but the final piece is by far my favorite. Without using any guitar synthesizers (this was before John's involvment with them), Abercrombie makes a spacey, ethereal pice using the volume swell of his electric guitar aided by some nice background finger picking on acoustic guitar. I could listen to him do this for 20 minutes, but, as usual Abercrombie doesn't overstay his welcome on any of these pieces, even the 10 minute opening track. I will continue to listen to all the music John will give to us in the future, and continue to hope that another all-solo effort is in the cards, but I don't know if this one can ever be topped... Submitted by phasedin (South Hackensack, NJ) Was This Review Helpful? Yes No
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| | Soulive No Place Like Soul CD (2007) Import
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Personnel: Neal Evans (vocals, keyboards, percussion, background vocals); Eric Krasno (guitar, Wurlitzer organ, bass guitar, drum programming, background vocals); Rashawn Ross (trumpet). Audio Mixers: Joel Hamilton ; Tony Maserati. Liner Note Author: Toshikazu Kanazawa. Recording information: Fyre Dept Studios, New York, NY (2006); Playonbrother Studios, South Deerfield, MA (2006); Righteous Sound, New York, NY (2006); Soulive Studios, Athens, VT (2006). No Place Like Soul is Soulive's seventh full-length (eight if you count the remixed Turn It Out), and the band's debut for Concord's then-recently birthed Stax label. The longstanding instrumental trio has reinvented itself by adding a fourth member in vocalist Toussaint from Boston (former frontman of the reggae outfit China Band). On Breakout, the band used guest vocalists such as Chaka Khan, Ivan Neville, and Corey Glover to further diversify its sound, but Toussaint (son of a Baptist preacher and former church choir leader) is an equal member of the ensemble. The sound is gritty, nasty, and pumped up on most of the set's 13 cuts. While Soulive had matured in their previous incarnation perhaps as far as they were going to, the addition of a permanent singer finds them back in the cradle, learning how to rebalance their sound with an additional wheel. The results are mixed, and that's not a bad thing at all. While it roars out of the gate with the funk-drenched "Waterfall" with Eric Krasno's guitar dirtying up the joint, it's rooted more in the nastiness of Southern soul than Funkadelic. Where the vocal dredges up the grit and grease and meets the organ fills, organic breaks, and wah-wah guitar head on "Don't Tell Me," the volume (and adrenaline) rush is less effective, however, with the band's shoddy backing vocals and the instrumental rave-up so full-on it nearly feels like an organ playing with Living Colour and a different vocalist. It's got a stuttered rock-cum-New Orleans groove that feels stilted by the production, though ...
| | Eyal Maoz Hope And Destruction CD (2009)
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$12.99 Personnel: Eyal Maoz (guitar); Eyal Maoz (guitar); Brian Marsella (keyboards); Yuval Lion, Yuval Lion (drums). Audio Mixers: John C.F. Davis; John Davis. Recording information: 05/2009. Authors: Albert Einstein; Eyal Maoz. Electric guitarist Eyal Maoz offers his second Tzadik CD with the quartet Edom in a favorable but wary quandary, as the title Hope and Destruction suggests, rattling cages and offering dire-straits themes while also taking liberties that stretch the parameters of this music no matter the specific genre, Maoz redefines what ethnocentric world fusion can be from a mean-streets New York City perspective. You could loosely call this a jam band or Klezmer fusion, but it's more jazz-rock with the emphasis on rock. Swirling motifs and densely packed melodies are pushed and shoved with a Jewish undercurrent, electronics, thumping beats, and a hardcore arrogance that easily blend into a unified whole -- an instantly recognizable, unique sound. The various keyboards that Brian Marsella employs stagger the imagination, ...
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