John Abercrombie
John Abercrombie
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Full Name and Common Aliases
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Born as John Starks Abercrombie, he was also known as "Jazz Guitar's Renaissance Man" due to his vast contributions to the genre.
Birth and Death Dates
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Born: December 16, 1944
Passed away: August 22, 2017
Nationality and Profession(s)
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American jazz guitarist, composer, and educator. He was an influential figure in the world of jazz, known for his eclectic style which seamlessly blended elements from various genres.
Early Life and Background
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John Abercrombie grew up in Connecticut, where he began playing guitar at a young age. His early influences included jazz legends such as John Coltrane, Bill Evans, and Charlie Christian. He attended the Berklee College of Music before serving in the United States Army Band.
Major Accomplishments
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Abercrombie's career spanned over four decades, during which he released numerous critically acclaimed albums. Some notable achievements include:
Pioneering Fusion: He was one of the first jazz guitarists to incorporate elements from rock and classical music into his playing style.
Collaborations: Abercrombie worked alongside legendary musicians such as Jan Hammer (of The Mahavishnu Orchestra), Jack DeJohnette, and Dave Liebman.
Innovative Compositions: His original compositions often featured complex harmonies and melodies that pushed the boundaries of traditional jazz.Notable Works or Actions
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Some notable works by Abercrombie include:
The Dream: A 1975 album featuring his solo guitar work, showcasing his ability to create intricate and atmospheric soundscapes.
* Baiji Boru: A 1980 release that saw him exploring more experimental and avant-garde sounds.
Impact and Legacy
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John Abercrombie's influence can be seen in many contemporary jazz musicians. His unique blend of styles has inspired a new generation of guitarists, solidifying his place as one of the most innovative figures in modern jazz.
Why They Are Widely Quoted or Remembered
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Abercrombie's contributions to the world of jazz have left an indelible mark on its history. His willingness to experiment and push boundaries has inspired countless musicians, making him a widely quoted and remembered figure in the genre.
"The guitar is a very personal instrument, and it's not just about technique – it's about expression."
— John Abercrombie
Quotes by John Abercrombie
The way I evolved was playing straight-ahead jazz into playing more fusion-type stuff just because I was young enough to get into it. As I get older, I find myself coming back to where I kind of started.
I don't think anybody really super-consciously tries to develop a style to play.
Take '39 Steps'. When I finished writing it, I counted the number of measures in the composition. I always do this because I am interested in the length of a song. So I counted this one a couple of times because 39 is an unusual number of measures for a song.
The music is fun. The big difference performing it live is that we might get a little more heated, not as subdued, we'll stretch things out more. It's how you stay fresh after such a long time in the business.
I started out trying to play more straight-ahead jazz. I went to Berklee in the early '60s when it was a brand new school, and so there was no fusion music. There wasn't a lot of mixing together of different kinds of music at that time, so jazz was kind of pure jazz.
I think once I started writing my own music and having my own bands, that's when I got more of a focus on what I wanted to do, personally.
When we improvise freely - that is, without a structure - it tends to sound more like 20th century classical music, more like a classical ensemble improvising, as opposed to a free-jazz group, where you're more used to hearing saxophones honking.
I grew up listening to Barney Kessel and Wes Montgomery, Kenny Burrell, guys with blues backgrounds.
In the studio, if things go wrong, you stop things and fix them. I have never been in a recording studio, really, where the people in the booth were not interested in making a very good album. It's often a light-hearted atmosphere but serious at the same time.
Every time I listen back to solos of mine I’ll hear something I like and then another phrase that I can’t stand. You have to live with what you play. And the recording medium puts that on us. When I play live gigs I don’t think so much like that.