QWFF ’18: Open Land—Meeting John Abercrombie

Like many guitar players, John Abercrombie often led an organ trio, but his music was more contemplative than typically greasy soul jazz. Probably no other guitarist has had as long and successful relationship with Manfred Eicher’s ECM record label, but he still swung. In short, he was a true jazz original. The late, great guitar hero takes stock of his life and career in Arno Oehri’s documentary Open Land—Meeting John Abercrombie (trailer here), which screens during this year’s Queens World Film Festival.

Open Lands opens with Abercrombie’s “Sad Song” playing over atmospheric scenes of Midtown Manhattan by night. As far as the musician’s fans are concerned, the film could go on like this forever, but Oehri soon shifts, introducing us to Abercrombie’s comfortable home. This is actually quite significant in retrospect, because the musician will later discuss in length the experience of being almost completely wiped out when his house burned down a few short years prior.

Abercrombie leads Oehri on a trip down memory lane, revisiting the nearby neighborhood of his pleasant, lower middle-class youth. He discusses his early musical experiences, but the highlight of the film is his vivid recollection of recording “Timeless,” his “greatest hit.” In doing so, he expresses great love and respect for Eicher and ECM (which is indeed an extraordinarily well-run artist-focused company).

Along the way, we also hear a good deal from Abercrombie’s last regular drummer and organist, Adam Nussbaum and Gary Versace, who are thoughtful when it comes to music and warmly affectionate when it comes to Abercrombie. Of course, the best part is listening to them play. Hats off to Oehri and co-producer Oliver Primus, because they totally got it. Unlike so many documentaries about musicians that lack confidence in their subjects to hold viewer interest, they include a full trio performance, with unedited solos from all trio members. It sounds terrific.

Obviously, Open Land takes on unexpectedly bittersweet dimensions since Abercrombie passed away last year (a few months after releasing his final ECM recording, Up and Coming). Yet, there are never any uncomfortable moments in the documentary, because Abercrombie always looks like he is in good health and good spirits.

In fact, this film is quite a blessing, documenting Abercrombie at the height of his powers, for posterity. Throughout the film, Oehri shows a clear affinity for the ECM aesthetic, often approximating the distant vistas of their album cover art, while sampling Abercrombie’s considerable recorded archive. All in all, it is an excellent tribute to a great artist. Let’s put it this way—it is worth venturing all the way to Queens to see it. Very highly recommended, Open Land—Meeting John Abercrombie screens this Friday (3/23) at the 2018 QWFF.

The John Abercrombie Quartet: Wait Till You See Her

Wait Till You See Her
By the John Abercrombie Quartet
ECM Records

In 1974, the USSR expelled dissident novelist Aleksandr Solzhenitsyn, Oskar Schindler passed away, Philippe Petit walked a high wire between the Twin Towers, and jazz guitarist John Abercrombie recorded his first session as a leader for ECM Records. Thirty-three years and twenty-six albums later, Abercrombie is still recording for the label, now fronting a slightly reconfigured quartet that prominently features violinist Mark Feldman on his latest release, Wait Till You See Her.

While guitar and violin are hardly an unheard of combination in jazz, the Abercrombie Quartet is not at all Hot Clubby. Much of the group’s character is actually derived from the sound of the violin, although the music and conception is undeniably Abercrombie’s. Indeed, the plaintive quality of Feldman’s violin is particularly pronounced on the aptly named opener “Sad Song.” Marked by Abercrombie’s thoughtful solo and drummer Joey Baron’s sensitive brush work, it might sound like a counter-intuitive choice to kick-off Wait, but it is certainly a distinctive one.

Conversely, the following “Line-Up” is taken at a more vigorous tempo, yet it is a freer piece that allows the quartet greater latitude for exploring. The sole standard of the set is the Rogers & Hart title track, originally composed for the 1942 musical By Jupiter (which ran just over a year on Broadway for 427 performances, but is not particularly well remembered today). Again, like “Sad Song” it is a lyrical lament that derives much of its tonal colors from Feldman’s contributions.

Feldman then sits out on the most traditionally boppish tune, the logically titled “Trio,” which is quite a virtuoso spotlight for Abercrombie, ably abetted by the rock-solid support of Baron and bassist Thomas Morgan. However, listeners will probably find the strongest melodic hooks in Abercrombie’s “Out of Towner,” as well as a soaring solo from Feldman, contrasting nicely with Wait’s more pensive moments. Indeed, it might be the most radio accessible track of the disk. The Quartet concludes with their most dramatic selection, the spellbinding “Chic of Araby,” which channels exotic sounds and hypnotic rhythms for a truly trance-inducing effect.

Throughout Wait the Quartet’s seamless interplay is quite remarkable. Abercrombie and Feldman deliver consistently inventive jazz solos while combining the discipline of classical chamber music with the openness of freely improvised music. It is an accomplished group that New Yorkers will have an opportunity to hear live when they open at Birdland on September 30th.