THE THIRD QUARTET

If you don't like the so-called 'ECM sound' associated with modern European jazz then this is probably best avoided, but if, like me, you can't get enough of it, then its definatley worth listening to. It is a lovely melodious set. Abercrombie, as always, has a gentle, wistful guitar sound, but the real star of the album is Marc Feldman's violin. His playing is lyrical and emotive. Feldman may also be known to experimental jazz fans for his playing with John Zorn's Masada quartet and he has also appeared with Michael Brecker. The delicate, but edgy atmosphere of the album is maintained throughout by the restrained, but brilliant drumming of Joey Baron, another veteran of the Massada quartet and Manfred Eicher's production is clean and uncluttered. Its not an album that will grab you by the throat, but give it a chance and it might just take you on a journey. The opening tune, 'Banshee' sets the tone for the rest of the album which peaks for me with the gorgeous 'Tres'. Strangely, the track called 'Epilogue' does not come at the end of the album, although perhaps it was conceptually intended to, as the two tracks that follow it don't really add anything to the mix.

Don't expect any Jazz-Rock or other musical fusions here: this is strictly Jazz of the purest kind, from one of its most esteemed players. And if you don't already possess a well-developed palate for the real thing, feel free to skip the rest of this review (or better yet, give the album a fair hearing: it might just surprise and / or enrich you more than expected).

The instrumentation is unusual for an otherwise traditional Jazz combo: drums, upright bass, guitar, and violin, the latter introducing hints of Folk Music richness into the ensemble. Abercrombie's guitar is the only electrified instrument in the group, but his amplification is attractively muted to fit snugly alongside his acoustic cohorts (all ace players, it goes without saying).

The music itself is beyond criticism. Each of the ten entirely instrumental tracks is never less than exquisite, refined, subtle, and intuitive. All of them together form a simple yet sophisticated album, following to the letter the ECM label motto: 'the most beautiful sound next to silence'.

My conservative rating is only a reflection of the sometimes limiting Prog Archives guidelines (the album is hardly essential to a strictly Prog Rock music library). Veteran Jazz aficionados (I'm more of a dedicated tourist myself) can add another star at their discretion.

Excellent album of electric jazz/fusion guitar veteran John Abercrombie. In the first decade of new century he plays very aerial, extremely elegant and tasteful contemporary jazz. His electric guitar is only electric instrument on all recording, it's supported by acoustic rhythm section and violin.

John's collaborators on this album are really great: drummer Joey Baron and violinist Mark Feldman both are known by collaborations with John Zorn, and were long-time Masada members as well.

Interplay between electric guitar and acoustic violin are fantastic: if you remember Masada's violin sound, played by Feldman, you can easily imagine, how much warm and melancholic elements his violin can produce! Recording sound is very acoustic, in minimalistic production tradition of ECM recordings.

Rhythm section is ascetic, but very competent. You will hardly find such a great balance between high art and accessibility in contemporary jazz. For sure, there are no fusion at all, so this album is a real gem, but for highest class jazz lovers only.