John Law, piano; Jon Lloyd, alto/soprano; Tim Wells, bass; Gerry Hemingway, drums.
I've been a fan of John Law's since the series of albums he made in the mid 90's for Future Music Records. Giant Leaves (Autumn Steps) with Paul Clarvis (drums) and Tim Wells (bass) was particularly fine. The trio operated live with such a degree of empathy that the mind ran to (at times, too hastily) comparisons with the Jarrett Standards Trio and even the Bill Evans trio with La Faro and Motian. But they were definitely very, very good.
Abacus finds Law still in the company of Wells but with Gerry Hemingway in place of Clarvis. Old sparring partner, Jon Lloyd, joins on alto and soprano. Wells is on particularly good form. He's one of those bass players who can anchor complex music and yet allow it to breathe. He takes a lovely, soulful solo on Sarabande" (dedicated to John Stevens) but his playing on "Gigue" and the stuttering rhythms of "Burlesque" is just as striking. Hemingway is one of the best drummers for music that slips and slides between free form and more obviously structured styles. Those years with Braxton must make this seem a bit like a vacation - but who knows what some people do for fun! Lloyd had always struck me as a rather astringent and austere player but here he's very much part of the ensemble. His alto dances over the rhythm section on "Gigue", just as his soprano cries softly on "Aria". He's actually a much more versatile musician than I'd credited and his tone on both instruments is warm and generous.
As for Law himself, his weakness in the past as a composer and performer has been a tendency to emphasise the clever over the more visceral aspects of this music. A reaction, perhaps, to too much exposure to blowing sessions in his early days on the scene. The balance is right here. These attractive tunes are clever but they're also attractive and memorable and in his playing the emphasis is on taste not waste. You may not anticipate what he's going to play but each time it's right on the money.
For those unsure about a foray into HatArt territory, anyone with an affection for mid-60's post-bop or Coltrane, or Coleman or 'Time-no-changes' Miles should enjoy this. For shame on you, if it passes you by.
Duncan Heining Jazzwise Magazine November 2001