Structures John Abercrombie, Eddie Gomez, Gene Jackson

• 1 JazzFolk 09:31
• 2 The Touch of Your Lips 04:55
• 3 Moon and Sand 05:28
• 4 Walter Pigeon 05:18
• 5 Everything I Love 06:41
• 6 Embraceable You 06:07
• 7 3 For Three 06:15
• 8 Turn out the Stars 05:29
• 9 Missing You 04:46
• 10 How Deep is the Ocean 05:48
• Total Runtime 01:00:18

Info for Structures

Structures is a relaxed album of jazz standards and original compositions from this formidable trio, all captured with Chesky's world-renowned minimalist recording techniques. "These world-class improvisers create a vibe of calm thoughtfulness, subtlety and delicate interaction on Structures," according to the album's liner notes.

Abercrombie's first Chesky release came in 2003 with Three Guitars, a highly acclaimed album that saw him going acoustic with Larry Coryell and Brazilian phenomenon Badi Assad. Jackson, meanwhile, made his Chesky debut backing Valerie Joyce on her New York Blue CD in 2005.

This trio was so newly formed that drummer Gene Jackson hadn’t even played with Abercrombie before he walked into St Peter’s Episcopal Church, the unusual downtown Manhattan location for the recording. Both Gomez and Abercrombie have a long association stretching back to the 1970s, and Jackson is known for his ability to blend with any surroundings. On listening to Structures, you could be forgiven for thinking they’d been together for years, and in a sense of course they have.

Playing jazz full-time at the very highest level and interpreting many of the standards found here numerous times, such forms of expression become an integral part of each musician’s make-up, as natural as breathing. Abercrombie’s aim was a back-to-basics approach, dispensing with his solid bodied guitar and effects rack to play a jazz arch-top, choosing classic material with minimal arrangement, and launching into improvisations that cling to their melodic starting points as moths to light.

The presence of Gomez inevitably conjures Bill Evans to mind, and this trio shares a great affinity with the pianist with whom he worked for over a decade. Jackson rarely picks up sticks, preferring to caress with brushes. Even the non-standard material sounds like it’s been around for years, so totally classical is the trio’s outlook. Abercrombie, despite this toning-down, is nevertheless recognisable through the Metheny-esque reverb, and his clean articulation and distinctively oblique phrasing are very familiar.

It is only on How Deep Is The Ocean that the trio really hit the outer limits of form, but their ‘less is more’ approach is refreshing. Other highlights include a latin tinged Everything I Love, the swinging opener Jazz Folk, and a tender reading of Evans’ Turn Out The Stars, where Gomez’ pedigree is very much in plain view.

"(The) intimate approach produced sheer magic. Structures not only speaks of the remarkable chemistry of its participants (guitarist John Abercrombie, bassist Eddie Gomez with drummer Gene Jackson) but also presents a compelling argument for recording with less as opposed to more." (Bill Milkowski, audiophilereferencerecordings.com.au)

John Abercrombie, guitar
Eddie Gomez, double bass
Gene Jackson, drums

John Abercrombie
has played on more than fifty ECM sessions, both as a leader and highly creative contributor to recordings with Charles Lloyd, Kenny Wheeler, Jan Garbarek, Collin Walcott, Jack DeJohnette, Enrico Rava, Barre Phillips, Dave Liebman and many more. Along the way his playing has evolved, becoming, he says, both freer and more traditional, without ever renouncing experimentation. His 2011 recording Without A Song, with Joe Lovano, Drew Gress and Joey Baron, reflected upon the music that first inspired him back in the 1960s, taking stock of the freedoms implied in the music of Coltrane, Coleman and Rollins, and emphasising his musical connections to Bill Evans and guitarist Jim Hall.

Born in 1944 in Port Chester, New York, Abercrombie grew up in Greenwich, Connecticut, where he began playing the guitar aged 14. He started out imitating Chuck Berry licks, but the bluesy music of Barney Kessel soon attracted him to jazz. Abercrombie enrolled at Boston's Berklee College of Music and teamed up with other students to play local clubs and bars. After graduating, he went to New York, where he quickly became one of the city’s most in-demand session players and recorded with Gil Evans, Gato Barbieri and Barry Miles, among many others.

In the early 1970s, Abercrombie met Manfred Eicher, who invited him to record for ECM. The result was Abercrombie's first solo album, Timeless, in which he was joined by Jan Hammer and Jack DeJohnette. In 1975 he recorded in the cooperative trio Gateway, with DeJohnette and bassist Dave Holland.

At the end of the 1970s he formed his first quartet, recording three albums – Arcade, Abercrombie Quartet, and M – with pianist Richie Beirach, bassist George Mraz and drummer Peter Donald (re-released as a 3-CD set, The First Quartet, in 2015). It was in this group in which the guitarist defined some priorities, moving away from a jazz-rock period into a more spacious, impressionistic and original music.

A trio with bassist Marc Johnson and drummer Peter Erskine incorporated experiments with the guitar synthesizer, and what Abercrombie called "louder, more open music.”

He reunited with his Gateway coleagues in 1995 for an album titled Homecoming. Another propitious relationship has been with guitarist, pianist, and composer Ralph Towner, with whom Abercrombie has worked in duet setting.

In 2013 he recorded 39 Steps with Marc Copland (piano), Drew Gress (double bass), Joey Baron (drums). Of this album, on which jazz ballads and lyricism predominate, LondonJAzzNews wrote: “the entire album simply exudes class, elegance and assurance – a flawless recording from four masters of the craft at the top of their game”.

Eddie Gomez
(Edgar Gómez, born December 12, 1944, in Santurce, Puerto Rico) is a Puerto Rican jazz double bassist known for his work with the Bill Evans Trio from 1966 to 1977.

Gómez was born and raised in Santurce, a district of San Juan, Puerto Rico. He began playing the double bass at the age of 11 after being inspired by a performance by the New York Philharmonic Orchestra. He moved to New York City with his family when he was 13 and attended the High School of Music & Art. He later received a scholarship to the Juilliard School, where he studied with Rome Indrisano.

After graduating from Juilliard, Gómez began his professional career as a sideman, working with musicians such as Gerry Mulligan, Paul Bley, and Marian McPartland. In 1966, he joined the Bill Evans Trio, remaining with the band for eleven years and recording several critically acclaimed albums, including Bill Evans Trio with Eddie Gomez (1966), Undercurrent (1967), On the Loose (1968), Live at the Village Vanguard (1969), and The Bill Evans Trio with Eddie Gomez Plays Montreux (1976).

During his time with the Bill Evans Trio, Gómez established himself as one of the most talented and versatile double bassists in jazz. He was known for his technical proficiency, melodic sense, and ability to swing with authority. He also developed a close musical relationship with Evans, and their collaboration helped shape the trio’s sound.

In 1977, Gómez left the Bill Evans Trio to pursue a solo career. He has since recorded and performed with a wide range of musicians, including Tony Williams, Chick Corea, Herbie Hancock, Wayne Shorter, Dizzy Gillespie, and Benny Goodman. He has also led his bands and composed numerous original works.

Gómez has received numerous awards and honors, including the Latin Grammy Award for Best Instrumental Album in 2006. He has also been awarded honorary doctorates from Berklee College of Music and the University of Puerto Rico.

Gene Jackson
Jazz musicians all over the world are likely to be aware of drummer Gene Jackson's talent and expressive performances. While Roy Haynes, Philly Joe Jones, Elvin Jones, Billy Higgins, and Tony Williams were some of his drumming influences, Jackson has a style that can change in accordance to what genre of music he plays. His ability to range from African to Latin to Cool rhythms have afforded Jackson the opportunity to be recommended by dozens of eminent musicians since his career took off 15 years ago. Jackson was born October 16, 1961 in West Philadelphia, Pa. Though he grew up as an only child, Jackson began to focus on music with the help of his guardian's grandson, Greg McDonald who played the drums. "(Greg) would have rehearsals with a band of excellent musicians, which helped inspire me early on," Jackson said.

In 1979, Jackson, who had the ambition to become a professional drummer as soon as he picked up the sticks, went to Boston to attend the well-renowned Berklee College of Music. In the five years Gene spent at Berklee, he counted among his peers and classmates: Walter Beasley, Branford Marsalis, Mark Whitfield, Monty Croft, Donald Harrison, Cindy Blackman, Terri Lynn Carrington, Billy Kilson, Jeff "Tain" Watts, Marvin Smitty Smith, Cyrus Chestnut, Danilo Perez, Dave Kakowski, Jovan Jackson, to name a few. Jackson also lived in an apartment with saxophonist Branford Marsalis, with whom he had established a good friendship. When Branford moved to New York City, fellow drummer Marvin "Smitty" Smith became Gene's roommate.

Though he has maintained a successful career, Jackson's Berklee ties helped boost his way to becoming a professional when Jeff "Tain" Watts and vocalist Lenora Helm recommended him to guitarist Kevin Eubanks. Jackson recorded and toured with Eubanks while still living in Boston, and then moved to New York 1987 to continue playing with Kevin. "Working with Kevin Eubanks was pivotal in helping my career take off."

By playing with the many musicians, he has acquired the ability to play the skins in multiple styles and genres of music. "I learned early on that adapting to the various musical situations would be essential to my survival," said Jackson. "I found it is musically satisfying for me when I follow where the music takes me as opposed to dictating where the music goes."

His capability to do this is reflected in Jackson's recording and travel career with such artists as: Dianne Reeves, Christian McBride, Hugh Masekela, Cyrus Chestnut, Greg Osby, Terence Blanchard, Andrew Hill, George Coleman, Steve Turre, Chico and Von Freedman, Don Patterson, Elvis Costello, Art Farmer, Mark Ledford, James Williams, Carla Cook, Craig Harris, Dave Kakowski, Conrad Herwig, Gonzalo Rubalcaba, Claudio Roditi, Donald Brown, Joe Lovano, Billy Childs, Joe Locke, Craig Handy, Michele Rosewoman, The Scream Headless Torsos , Anthony Cox, Lonnie Plaxico, Steve Slagle , The NDR Big band, to name a few, to the cutting edge post bop swinging of The Herbie Hancock Trio/Quartet , who Jackson says playing with was one of the high points of his career, along with Wayne Shorter and Dave Holland.

Jackson began working with Herbie Hancock in the fall of 1991 after he was recommended by drummer and good friend Terri Lynne Carrington to do a tour with The Herbie Hancock & Wayne Shorter Quartet. Gene continued his association with Herbie until 2000. Although this group did not record officially, in Gene's opinion, "It was one of the hottest groups in Jazz. Not because of my involvement!" Gene says, " But because of the mastery and science that Herbie Hancock brings to the music in addition to mastery of bassist Dave Holland. I had the honor of witnessing this magic night after night for years and I still can't believe it was not officially documented.".

Herbie Hancock's groups toured the globe extensively from 1993 -2000 and despite numerous personnel changes, Gene was always in the drummer's chair. From 1993-95 the Herbie Hancock Trio highlighted the fat groove of bassist Jeff Littleton. The next Trio (95-96) was with master veteran bassist Dave Holland. This group pushed the boundaries of the traditional jazz trio. It was during this period that Gene developed at good musical relationship with Dave Holland. Gene then began touring and recorded with Dave Holland's band.

In 1996, The Herbie Hancock Trio became The Herbie Hancock Quartet with the inclusion of tenor saxophonist Craig Handy. Continuing to push the boundaries of the music this group toured the globe extensively. In 1997, Dave Holland left the Quartet and began to concentrate on his own group and was replaced by bassist Kenny Davis. The touring scheduled of both Dave Holland and Herbie Hancock made it difficult for Gene to play in both groups and so he remained with Herbie, and was replaced by good friend and inspiration Billy Kilson in The Dave Holland band. Gene continued to tour with The Herbie Hancock Quartet until February 2000.

Through out the herbaceous period of Gene's career he continued to work in many situations. When he wasn't working with Hancock, Jackson became a member of Michele Rosewoman's Quintessence, Robin Eubanks Mental Images Group, Jorge Sylvester's Music Collage and The Mingus Big Band.

Since 1999 Gene has been involved in various projects around the world. On numerous occasions Gene has toured and recorded with Germany's NDR Big Band under the direction of various conductors including composer arranger Peter Herborn which featured compositions and performances by tenor saxophonist Gary Thomas. A highlight in 2000 was a concert at the Montréal Jazz Festival 2000 featuring Clark Terry, and most recently a radio broadcast with Grammy nominee vocalist Carla Cook with arrangements of stellar tenor saxophonist, arranger, vocalist Lance Bryant.

Jackson also recorded and toured with premier German tenor saxophonist Christof Lauer. The record released in 2000 was became the Number 1 jazz record in Germany. The group comprised of French tuba player Michelle Godard and Marc Ducret on guitar with Anthony Cox on bass.

Jackson and and fellow Philadelphian bassist Christian McBride were the rhythm section for the Thelonious Monk Institute of Jazz Piano Competition at the Kennedy Center in Washington D.C. in 1999. Coincidentally the winner and runner up Eric Lewis and Orrin Evans were Philadelphia area musicians.

To sum up some of Gene's work abroad in 2001: The Mingus Big band toured Switzerland, France and Germany, The Orrin Evans trio toured Italy, Sicily, Spain and Malta. Vocalist Claudia Acuna performed in Finland, a musical review, " Fire at Keaton's Bar and Grill" featuring Elvis Costello performed in London and Manchester England and Rotterdam, Holland. Jackson also toured with Italy's premiere jazz pianist Antonio Farao in Switzerland, Italy and Germany. The band also recorded a CD which will be released sometime in 2002.

Gene also worked with veteran bassist Stafford James and toured Vienna, Brussels, Frankfort and a performance for Radio France in Paris. They also recorded in Köln, Germany at WDR studios which will be released sometime in 2002.

Gene has recorded with soprano saxophonist Sam Newsom, trombonist Conrad Herwig, trumpeter Alex Sipiagen, tenor saxophonist J.D. Allen, pianist Orrin Evans all are due to be released in 2002.

Now, when he is not performing or recording, Jackson teaches privately at The Aaron Copland School of Music at Queens College in New York City. Jackson has also given workshops and private instruction at Drummers Collective in New York for numerous years and a workshop at Eastman University in Rochester, NY. He has taught overseas as well, with Germany as a frequented location; including at the Drummers Institute in Douseldorf, at Musik-hochschule in Hamburg and at Folkwang-hochschule in Essen. He also teaches at a very successful program in the Alps of Austria every year call Project Outreach.

His work as teacher has made Jackson proud of his protégés. He says of his instructing role, "It has been very rewarding, especially when I help the student see that many of the answers they look for are in themselves." Teachers that have been important to Jackson's development are Greg McDonald, Robert Zollman, John Ramsey, Lenny Nelson, Alan Dawson, and Sam Ulano.

This album contains no booklet.