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His chamber works in particular are non-confrontational, welcoming the listener by virtue of their genre-defying grammar and rhythmic impetuses. Like Elliott Carter, to whom it is sometimes compared, Birtwistle’s music rides the edge of incomprehensibility, all while maintaining the exuberance of one who enjoys his craft. In his liner notes for ECM’s first ever reckoning with Birtwistle, English composer and music critic Bayan Northcott stresses the cyclical, as opposed to the goal-directed, vision of the music selected here. One can approach a recital album, however, on one’s terms, treating it as would a scientist who both knows what to expect and expects the unknown. In a space typically occupied by Elgar and the like, it was jarring to be thrown into the deep end of modernism without a life preserver. It was a question of context and expectation. Even the infamous riot provoked by Stravinsky’s Rite of Spring had less to do with sound than staging. If that work caused a stir, it wasn’t so much due to the music itself. Harrison Birtwistle has garnered continental attention as Britain’s leading living composer, despite (if not also because of) the occasional controversy, including a much-criticized broadcast of Panic, a work for alto saxophone and orchestra written for the Last Night of the Proms in 1995. Recorded August 2011, Herkulessaal der Münchner Residenz (To hear samples of 39 Steps, click here.) Harrison Birtwistle: Chamber Music (ECM New Series 2253) This is his finest album in recent memory and may just earn its place among your old favorites with repeated listens.
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Then again, Abercrombie has always favored tone over muscle, and here the fine tweaking of his experience pays off in spades. The first tune boasts simpatico timekeeping from the rhythm section, giving Abercrombie more than enough court to lob his soaring improvisations, and in second, though more relaxed, making way for some of his most forthright playing in years. Abercrombie takes great care to strip that rose of its thorns until it can be safely handled.Ĭopland’s two offerings map the quartet’s brightest courses, stretching highway through the joyous “LST” and setting up the tensile atmosphere of “Spellbound” with assurance. The slack-jawed title track, for its part, simplifies things by opening single note before expanding into a fragrant rose. “Greenstreet” feels like ice-skating across a winter wonderland even as it thaws in the sparkle of Baron’s cymbals, while Gress’s bass ladders adroitly, every bit as limber as the rest. Two remaining Abercrombie originals showcase the composer at his evocative best. Copland eases the rest of band into focus here with an elegant intro and further contributes the album’s first noteworthy solo. “Vertigo” is the first of a handful of Alfred Hitchcock references and opens the session with a laid-back vibe that is, given its title, surprisingly congruous (a four-dimensional take on the standard “Melancholy Baby” at the tail end feels far more off kilter). The leader’s pen yields three more tunes. In the latter vein are the eye-squintingly melodic “Bacharach,” the slice of chromatic brilliance called “Another Ralph’s” (a follow-up to Abercrombie’s classic tune “Ralph’s Piano Waltz”), and “As It Stands,” which feels like a cigarette burning down to the filter, the two chordists taking turns exhaling the smoke. With bassist Drew Gress, drummer Joey Baron, and pianist Marc Copland (making his ECM debut) along for the ride, Abercrombie takes the listener on a road trip as fresh as it is nostalgic. Such is the lyrical dichotomy of 39 Steps, and all of it served by world-class engineering that gives the instruments their respective spaces but joins them through shared breath. Despite sitting atop a career spanning decades, the guitarist sounds as youthful and buoyant as ever, yet with a reflective edge that comes only with experience.
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If ever there was, as this album’s sole free improvisation would phrase it, a “Shadow Of A Doubt” of John Abercrombie’s prowess, then here is fiercely understated confirmation of his staying power. Recorded April 2013 at Avatar Studios, New York