|John Abercrombie with a Les Paul|
Born in 1944. Abercrombie took up guitar at age 14 and learned Chuck Berry, Bill Haley, and Fats Domino tunes. He later discovered Jazz by listening to Barney Kessel recordings.
|Young Abercrombie |
with 1920's Gibson L-4
For awhile, Abercrombie shared a room with fellow student Jan Hammer.
When the gig with Smith ended, Abercrombie moved to New York and signed on to play in drummer Chico Hamilton's band. He was soon in high demand as a sideman.
Abercrombie attributed the beginnings of his style to Kessel, Wes Montgomery, and Jim Hall. He also drew inspiratation from Miles Davis and Bill Evans. John Abercrombie became one of the pioneering figures of Jazz/Rock, which he states was developed out of necessity due to lack of role models.
|John Scofield, Bill Connors,|
Steve Khan-John Abercrombie
At one point on the tour, Abercrombie decided this was not the direction we wanted to pursue for his music or life style.
He moved back to New York and became an in-demand session player, recording with Gato Barbeiri, Barry Miles, Manfred Eicher (who founded ECM records), and Gil Evans.
By 1974 he teamed up with college acquaintance Jan Hammer and drummer Jack DeJohnette for a recording called Timeless. This album was critically received and established a foothold for Abercrombie with ECM records.
|Abercrombie with the Gateway Trio|
After the Gateway albums Abercrombie altered his style to a more traditional Jazz style. He recorded several LP's and was leader of the group.
The Abercrombie Quartet, which recorded the LP of the same name and another simply called M.
Abercrombie went on to perform with the groups bassist, George Mraz and guitarist John Scofield. Abercrombie's style included Jazz Rock, Jazz Fusion, and plain, but very lyrical Jazz.
|Abercrombie with an Ibanez Synth|
|Abercrombie with Guild Starfire|
John Abercrombie played a variety of different electric guitars throughout his career. The earliest photo I can find shows him playing a Guild Starfire. Around the same time he was also playing a Guild F-50 acoustic guitar.
|Abercrombie with his mandolins|
Around 1976 Abercrombie says he was recording with Ralph Towner. and was looking for a different sound. He went to Manny's Music in NYC and found an old Fender 4-string electric mandolin.
He tried to play in fifths, the way most mandolins are tuned, but did not want to learn new fingerings. So ever since he has tuned it in fourths, as on a guitar. Since then he acquired several more electric mandolins, that appear to have been made by Kevin Schwab of Minneapolis. Since his mandolins are tuned an octave higher than a guitar, Abercrombie refers to them as Piccolo guitars.
|With Les Paul|
Note Acoustic brand Amps
At the time in his career he seemed to be partial to Gibsons, as he is seen here with a Gibson SG Custom.
|Abercrombie with Sadowsky guitar|
This guitar had a Strat-style vibrato.
|Abercrombie with a Sadowsky Tele|
He later had Sadowsky build a more traditional Tele with a humbucker in the neck position and a single coil in the bridge.
|Ibanez Synth Controller|
By the mid 1980's John had began experimenting with a synth controller and synth that was provided by Ibanez.
|With Ibanez Artist|
Around the same time Ibanez provided him with two Artist 2619 model that he used for quite a few years. These guitars have been in the Ibanez catalog since 1976. He stated he preferred the Ibanez to his gold top Gibson Les Paul, which had small humbuckers. He also stated that the Ibanez pickups had a fatter sound.
|With a Heritage Guitar|
As John got older he discovered different guitars, including this Heritage solid body model.
|With a Peter Coura Guitar|
He also played an electric model made by luthier Peter Coura.
|With a Soulezza Guitar|
Around 2015 he had a headless guitar built for him from Spanish luthier, Fernando De Oleza, who creates extraordinary guitars under his brand, Soulezza Guitars.
|With a McCurdy Guitar|
Abercrombie also played a beautiful green guitar made by New York City luthier, Ric McCurdy.
|With Brian Moore DC1P|
During Abercrombie's final years, he seemed to favour guitars made by Brian Moore. At first Abercrombie used a Brian Moore model DC1P. The body shape was similar to a Les Paul, however it had Moore's unique headstock, which has two strings on the top and four strings on the bottom.
|Brian Moore - |
John Abercrombie DC19.13USB
The guitars headstock has Moore's 2 on the bottom, four on the top tuning machine arrangement.
Young John Abercrombie started out playing through amps made by Fender, Mesa Boogie, and the now defunct Acoustic Company.
|Polytone Mini Brut|
Later in life he preferred jazz style amplifiers like the Polytone Mini Brut.
|Walter Woods Electracoustic|
He also owned a Walter Woods amplifier. This was one of the earliest models of transistor amplifiers, and it was made for bass players.
Walter Woods amplifiers were class D, and had a very high output, from 120 to 1200 watts, which aided to project the bass signal. Despite the output, the amp itself was in a fairly small package. It needed to be paired to a separate speaker cab.
There are some videos of Abercrombie playing through a Carr Viceroy amplifier.
On the road Abercrombie preferred Roland Jazz Chorus amplifiers; either a JC-120 or a JC-77. He did not carry these with him, but in his contract rider, the club or facility where he was playing was required to rent one of these amplifiers.