# “John Abercrombie: Timeless” – Brooklyn tribute to guitar great features Scofield, Frisell, DeJohnette and many more: Videos, Photos

- Link: https://jazzblues.eu/2018/04/01/john-abercrombie-timeless-brooklyn-tribute-to-guitar-great-features-scofield-frisell-dejohnette-and-many-more-videos-photos/
- Published: 2018-04-01T11:30:45+01:00
- Author: https://JazzBlues.EU

**On Monday night, at the Brooklyn venue Roulette, a fantastic two-hour-plus tribute
show was bookended by the same interview footage from the documentary _Open Land–
Meeting John Abercrombie_ (which sees DVD release this summer). In it, the guitarist
is talking about what constitutes a proper evaluation in art. A musician needs only
to look inward, he argues: “My responsibility is to myself.”**

That’s effective talk for a reflective film, but it isn’t necessarily the truth 
that this concert bore out. Abercrombie, who died in August at age 72, was one of
his generation’s most natural collaborators, an insider’s guitar hero who architected
an arty, emotive version of fusion and wrote tunes balancing his love of melody 
with sly harmonic and rhythmic complexities. His bands, particularly in his generation-
defining work for ECM in the 1970s, were supergroups on paper but functioned as 
profoundly empathic working outfits. Even his improvising, especially after he began
using his thumb instead of a pick, felt even-handed, egalitarian, as if each note
were equally integral to the grand narrative shape of his solos. His responsibility
was one of generosity.

In Brooklyn, a striking lineup of Abercrombie’s peers from jazz’s baby-boom generation
gathered to return some of his many favors. With WBGO’s Nate Chinen, a former _JT_columnist,
providing sharp intros that functioned as live liner notes, Abercrombie’s music 
was interpreted and a few of his ensembles were recreated. Sometimes that meant 
placing in the leader’s stead other brilliant guitarists who learned to play bebop
during the rock era.

After establishing a tone of reverent calm with bassist Thomas Morgan on “Epilogue,”
guitarist Bill Frisell filled Abercrombie’s shoes in the quartet from his 2009 ECM
release, _Wait Till You See Her_, alongside Morgan, violinist Mark Feldman and drummer
Joey Baron. On the ballad “Sad Song” and chamberlike postbop of “Anniversary Waltz,”
Frisell captured Abercrombie’s patient temperament but applied his own trademarks,
replacing single-note phrasing with Monk-like chord-melody improvisations. Feldman’s
gorgeously textured, melancholy vibrato served as a reminder that this night was
indeed a wake of sorts.

[⌊Nels Cline (photo by Scott Friedlander)⌉⌊Nels Cline (photo by Scott Friedlander
)⌉[

**Nels Cline (photo by Scott Friedlander)**

Nels Cline lifted up Abercrombie’s solo-guitar masterwork from 1978, _Characters_,
with a take of “Memoir,” before the guitarist and pianist Marc Copland gave the 
infectious melody of “Boat Song” its requisite sparkle, supported by Morgan and 
drummer Peter Erskine. Throughout, Cline’s winsomely rugged, rock-inflected technique
was exciting in the context of Abercrombie’s writing—Advanced Jazz Composition of
the school ruled by Pat Metheny, Carla Bley, Steve Swallow and the like. Pianist
Eliane Elias filled out Abercrombie’s mid-to-late-’80s trio featuring Erskine and
bassist Marc Johnson, and on “John’s Waltz” and especially “Jazz Folk,” she played
with an escalating gospel-blues fervor that brought down the house.

[[

**John Scofield, with bassist Drew Gress at back (photo by Scott Friedlander)**

John Scofield, in a trio with Baron and Johnson, swung like mad on his fellow guitarist’s
tune “Even Steven,” a fetching set of changes off _Solar_, Abercrombie and Scofield’s
overlooked gem from 1982. The bop zest continued into “Within a Song”: Scofield 
and saxophonist Joe Lovano, his partner in one of current jazz’s most thrilling 
frontlines, played cat-and-mouse on the theme and burned during their solos, atop
bassist Drew Gress and the furious _spang-a-lang _of drummer Adam Nussbaum. (In 
terms of volume and intensity, the evening worked at two levels: with Nussbaum and
without.)

[⌊Joe Lovano (photo by Scott Friedlander)⌉⌊Joe Lovano (photo by Scott Friedlander
)⌉[

**Joe Lovano (photo by Scott Friedlander)**

On “Arcade” and “Flipside,” Randy Brecker and Dave Liebman were similarly, delightfully
interactive as a frontline tandem—the former blowing with virtuosic elegance on 
flugelhorn, and the latter, nearly right out of the gate, summoning up Trane on 
soprano sax at full tilt. Copland, who was also the evening’s musical director, 
soloed here and elsewhere in comprehensive orchestral statements. On “Flipside,”
with its shades of vintage Wayne Shorter, an unbilled appearance by drummer Billy
Hart got a terrific but short-lived band back together: Contact, whose 2010 release
_Five on One_ is another of Abercrombie’s unsung pearls of modern postbop.

[⌊Dave Liebman (photo by Scott Friedlander)⌉⌊Dave Liebman (photo by Scott Friedlander
)⌉[

**Dave Liebman (photo by Scott Friedlander)**

The program closed with a proper finale, with music from 1975’s _Timeless_, a diverse
album highlighted by cosmic organ-trio fusion and featuring keyboardist Jan Hammer
and drummer Jack DeJohnette. That is Abercrombie’s most popular LP, though not necessarily
his best of the era; just as many record collectors might argue in favor of _Gateway_.
More important, it’s a cultural touchstone of sorts: the kind of jazz LP that smart,
curious rock and folk fans absorbed alongside _The Köln Concert_ and _In a Silent
Way_, and a jewel of his enduring and fruitful devotion to the ECM label. (It’s 
worth noting that the label’s founder, Manfred Eicher, was in the house.) At Roulette,
DeJohnette, Copland, Gress and Frisell, on a funny-looking short-scale octave guitar,
meditated on the title track, an ambient drift of spare but sparkling melody. Then
came “Ralph’s Piano Waltz,” which offered the sold-out room the welcome opportunity
to witness DeJohnette swing at midtempo.

Even among the frequent all-star tributes to jazz heroes that occur in New York,
this was a special evening. It made you marvel at the sheer volume and magnitude
of Abercrombie’s circle, and remember those key figures who couldn’t be there, like
Ralph Towner, who cancelled his appearance due to illness, or Dave Holland and Andy
LaVerne. Perhaps most impressive, it was a sit-down theater-style show that felt
like the best kind of musicians’ hang, in which the players were either onstage 
or engaged with the performances as fans. (Case in point: DeJohnette sat next to
me in a press seat until about a minute before he went to work.) It was all for 
John, but, in his spirit, it was also all for each other.

**Jack DeJohnette (left) and Bill Frisell (photo by Scott Friedlander)**

![JATT-1975-©ScottFriedlander](https://i0.wp.com/cdn2.jazztimes.com/2018/03/JATT-
1975-%C2%A9ScottFriedlander-550x440.jpg?resize=550%2C440&ssl=1)

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