Eberhard Weber - Stages Of A Long Journey (2005)

Eberhard Weber 2005 - Stages Of A Long Journey

jazz, classical | 1cd | eac-flac-cue-log-cover | 390MB

ECM

Allmusic:
Stages of a Long Journey was recorded in Stuttgart in March of 2005, as part of a celebration of both the 20th anniversary of the Theaterhaus Jazzstage festival and as a 65th birthday celebration for bassist Eberhard Weber. Weber was asked to pick a number of his own compositions, rearrange them by writing new charts for the Stuttgart Radio Symphony Orchestra, and select his own band as well. Weber picked on former and current bandmates such as Gary Burton, Jan Garbarek, Rainer Bruninghaus, Marilyn Mazur, Wolfgang Dauner, Reto Weber, and human beatbox Nino G., and carefully chose material from his own catalog and pieces he had performed on in their initial recordings, such as Bruninghaus's "Piano Transition," Jerome Kern's "Yesterdays," Mazur's "Percussion Transition," and Carla Bley's "Syndrome." Those wondering if there is any actual "jazz" on this record need look no further than the gorgeous version of Bley's tune here, where Burton, Garbarek, and the bassist all shine. Another consideration for the listener is in Weber's beautiful, inventive, rhythmic charts for the orchestra (under the direction of Roland Kluttig). "Silent Feet," which opens the set, is one such exercise. What begins as a slow bowed bassline is colored and enlarged by the orchestra entering gradually, tensely, and dramatically, as grey dawn emerges from the night sky. A pulse begins just after Mazur's percussion entry, the band plays these intricate rhythmic phrases, and the orchestra adds genuine color, texture, and depth. They follow rhythmic signature perfectly, allowing the tune to evolve and bring its delightfully understated melodic frame (which is not inseparable from the pulse) to the fore. By the time Garbarek takes his solo and Weber plays double time behind him, the big brassy horns are ready to push and drop out only as Burton enters with a truly lovely and poetic solo.
There are a fine pair of duets played here as well, between Dauner on piano and Weber's bass on the lovely Kern number, and also "Seven Movements," shared by the bassist and Garbarek. They set the stage for what follows, the elongated "Birthday Suite" that encompasses five pieces -- bookended by gorgeous readings of two of Weber's best-known pieces, "The Colours of Cloë" and "Yellow Fields." On "Hang Around," a trio of Nino G., Weber's downright funky acoustic bass, and the self-designed percussion instrument played by Reto Weber (no relation) called the "hang," are in deep intuitive interplay. The work by G. is not a novelty, but something inventive, utterly fresh, and full of the energy -- especially in G.'s solo. The final two pieces of the evening are in many ways the most satisfying. The full band returns on "The Last Stage of a Long Journey," where the orchestra introduces the brooding and melancholy composition. Strings and the deep brass of tuba and euphonium gradually bring up the tempo and introduce the lithe melody, as Weber brings his bass up from the ether. When Bruninghaus restates the theme on the piano and Weber is allowed free play inside the rhythm, Burton begins to color it. When Garbarek's icy soprano saxophone cries out, it is arresting and rings true. The concert ends with a brief bass solo by Weber on "Air." In just over three minutes, the great bassist is not remotely interested in showing his chops but in playing this bittersweet little song as a folk tune. This is a watershed moment in Weber's recorded output, because it reveals his collective gifts as a musician, which, even when understated, are shining examples of the European jazz, folk, classical, and new music he has forged these last 40 years as a leader and as a valued sideman and composer.

Tracks
-01. "Silent Feet" - 7:37
-02. "Syndrome" - 7:44
-03. "Yesterdays" - 5:03
-04. "Seven Movements / Birthday Suite" - 5:54
-05. "Colours of Chloe" - 7:19
-06. "Piano Transitino" - 4:11
-07. "Maurizius" - 7:04
-08. "Percussion transition" - 3:03
-09. "Yellow Fields" - 7:01
-10. "Hang Around" - 4:17
-11. "Last Stage of a Long Journey" - 11:06
-12. "Air" - 3:10

Personnel
* Gary Burton - vibraphone
* Jan Garbarek - soprano saxophone, tenor saxophone
* Eberhard Weber - bass instrument
* Rainer Bruninghaus - piano, keyboards
* Marilyn Mazur - drums, percussion
* Wolfgang Dauner - piano
* Nino G
* Roland Kluttig
* SWR Stuttgart Radio Symphony Orchestra

 sample & buy: Stages of a Long Journey

Gary Burton & Eberhard Weber - Passengers (1977)

Gary Burton & Eberhard Weber - Passengers (1977)

jazz | 1cd | eac-flac-cue-log-cover | 225MB

ECM

Allmusic:
Guitarist Pat Metheny was a member of vibraphonist Gary Burton's group from 1974-1976, but although he had recorded with Burton twice previously, both of those dates also included guitarist Mick Goodrick. This particular set puts more of a focus on Metheny in a quintet that also includes drummer Danny Gottlieb and both Steve Swallow and Eberhard Weber on basses. Metheny contributed three of the six selections, which are joined by a song apiece from Swallow, Weber, and Chick Corea ("Sea Journey"). Although none of the individual songs caught on, the attractive sound of the post-bop unit and an opportunity to hear Pat Metheny in his formative period make this a CD reissue worth exploring.

Tracks
1. "Sea Journey" (Chick Corea) - 9:18
2. "Nacada" - (Metheny) - 4:15
3. "The Whopper" (Metheny) - 5:32
4. "B & G (Midwestern Nights Dream)" - 8:26
5. "Yellow Fields" (Eberhard Weber) - 7:02
6. "Claude and Betty" (Steve Swallow) - 6:15
-Recorded at Talent Studio in Oslo, Norway in November 1976

Personnel
* Gary Burton — vibraphone
* Pat Metheny — electric guitar
* Steve Swallow — electric bass
* Eberhard Weber — bass
* Dan Gottlieb — drums

 sample & buy: Passengers

 

Eberhard Weber - Yellow Fields (1975)

Eberhard Weber - Yellow Fields (1975)

jazz | 1cd | eac-flac-cue-log-cover | 260MB

ECM

Progarchives:
Of all of Eberhard Weber's classic albums Yellow Fields is probably the most likely to appeal to the average prog fan. First of all because it opens with "Touch", the most "symphonic" piece Weber has ever recorded without using an actual orchestra: a lush, stately, moving instrumental ballad with gorgeous mellotron, and with the main melody played in unison by Charlie Mariano's lyrical sax, Rainer Brueninghaus's synth and Weber's own plangeant bass. "Touch" is utterly delightful, a major highlight in Weber's oeuvre.
The remainder of the album's original A-side is taken up by the fifteen-and-a-half minute "Sand-Glass", which is strongly reminiscent of mid-seventies Weather Report, especially because Brueninghaus's playing on Fender Rhodes borrows a trick or two from the late Joseph Zawinul! As the title of the piece suggests, the beat is rockier and steadier than with Weather Report (not polyrhythmic) and the main melody sounds somewhat hesitant, at least until Mariano switches from sax to an Indian wind instrument (either shenai or nagaswaram) and the piece suddenly acquires wings! It's another magic moment on a deeply satisfying album.
Yellow Fields' B-side opens with the ten-minute title track, one of the sprightliest tunes Weber has written, beautifully played by Mariano on soprano sax. The real highlight of this piece, however, is Brueninghaus's exciting Fender Rhodes solo. Together with the magisterial Weber and the energetic Jon Christensen (on drums), Brueninghaus is also the star of "Left Lane", the thirteen-and-a-half minute closing track. Once again he shines on Fender Rhodes, but the piece also contains an intriguing extended break for grand piano solo, reminiscent of Yes's "South Side of the Sky" but much better recorded and played with far greater subtlety.

Tracks
-1. "Touch" - 4:58
-2. "Sand-Glass" - 15:40
-3. "Yellow Fields" - 10:05
-4. "Left Lane" - 13:35

Personnel
* Eberhard Weber (cello)
* Jon Christensen (drums)
* Rainer Bruninghaus (keyboards)
* Charlie Mariano (saxophone, soprano saxophone)

 sample & buy: Yellow Fields