Eberhard Weber
The mysterious and ethereal sound of Eberhard Weber's "underwater" bass playing first came to my attention in 1978 when a local radio station in my university town kept playing songs from The Following Morning on their late night programming. Afraid that nothing could ever compare to the transportive music of Side One of that album, I was very hesitant to make any further purchases into his burgeoning catalogue of music, but I could not help but notice his presence on several other non-Weber albums that I purchased (Pat Metheny, Gary Burton). Also, I was inhibited by the illusion that Eberhard's magic could only happen in the company/collaboration of another sensitive pianist like Rainer Brüninghaus. Plus, I had tried a few other ECM records and had less success connecting with those albums than I wanted or expected. (The Manfred Eicher touch seemed to provide starkly spacious music of impeccable sound clarity and musicianship but at compositional sophistication levels that my puny little brain was not yet ready for. I mean, for example: I could not [and still cannot] find any connection with Keith Jarrett's massively popular Köln Concert.) The next album I purchased wasn't until 1982 when I saw his album Later That Evening included Paul McCandless as a collaborator, and yet I couldn't even connect with this album. At the same time, I have delighted with great joy and interest in the long-time collaboration with Kate Bush that Eberhard maintained through the 1980s.
Line-up / Musicians:
- Wolfgang Dauner / piano
- Eberhard Weber / bass
- Roland Wittich / drums
A2. "The Things We Did Last Summer" (4:35) slowing things down to a romantic ballad-like format in which melody is more important as if the piano is singing the words. For the first minute Eberhard and Roland are almost invisible to me as their quiet play is easily overshadowed by Wolfgang's clean, crisp piano (including his left hand). Both band mates exert themselves a little more in the second minute before backing off again while M. Daunter really shows off! Wow! What a great show this guy must've put on! (And what great, clean sound they're able to get at those MPS studios!) My other top three song. (9.333/10)
A3. "Diäthylaminoäthyl" (5:30) such a long, unusual intro for a hard bop song! There are percussive things going on here that feel more than either bass, drums, or piano could be doing, but once the infectious waltz-like rhythm track comes together this could be post-bop, it could be Paul Desmond/Dave Brubeck, or it could be Blood, Sweat & Tears! Such an engaging, uplifting song--with some stunningly gorgeous "My Favorite Things"-like melodies! I'm blown away! And this is the second of the three Dauner originals. Definitely a top three song. (9.75/10)
B1. "Here Come De Honey Man" (6:17) a classical, almost-cinematic opening leads into the establishment of a rich song whose melodies seem to come at you from multiple directions. In the second minute Wolfgang's right hand begins to take off into brief forays and flourishes, leaving the harmonic and rhythmic patterns to depend on Eberhard and Roland but then, in the middle of the third minute M. Daunter quiets his play, seeming to allow for more listener attention to go to the work of his drummer and bass player yet his pianissimo play is just as alluring as the dynamic "look at me" stuff up front--kind of like the style of Vince Guaraldi. Neither Eberhard or Roland really do anything extraordinary with their time in the shared light, which makes Wolfgang kind of look a bit foolish for setting back. And then he almost confesses his blunder with the silly tinkling of the ivories he does to close out the song. Interesting! (8.75/10)
It has taken me many years to deepen my knowledge and understanding of music so that I have become able to move beyond my naïve love of the extraordinary musicianship exhibited by the musicians who chose progressive rock music as their avenue of expression. Finally, with my evolution into an expanding number of preferences--out of my formerly-rather-myopic list of preferences--I am finding myself better able to accommodate more improvisational styles of musics, including Jazz. With this expanded awareness comes a whole new world of music to enjoy, the ultimate of which is Jazz. Now as I listen to the jazz, jazz rock, experimental jazz, fusion, and avant-garde musics that were saved for posterity through vinyl and tape media I find myself being blown away by how much I enjoy it.
Consequently--and quite naturally--I've been hearing numerous old albums that Eberhard Weber contributed to: many during his still formative years, several while he was trying his hand at song composition, and, of course, the many that he served up as principle composer and/or bandleader. Through albums in the early 1970s, I'm discovering how capable a bass player he was--in an unexpectedly wide range and variety of styles--and that he didn't always (or only) play that aqueous, pitch-eccentric play that has become his signatory sound; I found out that he was capable of rock, country, folk, funk/R&B, groove, and staccato speed playing as well. As a result I have been able to go back into the significant studio albums that he released as apprentice and journeyman and then the solo albums and other stable groups which he helped found or lead.
The following written material hopes to cover the most significant albums to which Eberhard contributed in the 1960s and 70s.
WOLFGANG DAUNER TRIO Music Zounds (1970)
Recorded at MPS-Studios, Villingen, Deutschland, in February 1970 for MPS Records.Line-up / Musicians:
- Wolfgang Dauner / piano
- Eberhard Weber / bass
- Roland Wittich / drums
A1. "Leap Tick" (4:03) some very clean, crisp, and dynamic piano chords on this Dauner original set up a stride-like blues-rock motif (one that reminds me a bit of Jerry Lee Lewis) for the rest of the band to easily fall into. Though drummer Roland Wittich is active and creative, it is M. Dauner who commands all of the listener's attention. The dude can play! And what astounding chord choices in the bridges! I love it! Eberhard is well disciplined to hold time and keep up with the others. A top three song! What a start! (9.25/10)
A2. "The Things We Did Last Summer" (4:35) slowing things down to a romantic ballad-like format in which melody is more important as if the piano is singing the words. For the first minute Eberhard and Roland are almost invisible to me as their quiet play is easily overshadowed by Wolfgang's clean, crisp piano (including his left hand). Both band mates exert themselves a little more in the second minute before backing off again while M. Daunter really shows off! Wow! What a great show this guy must've put on! (And what great, clean sound they're able to get at those MPS studios!) My other top three song. (9.333/10)
A3. "Diäthylaminoäthyl" (5:30) such a long, unusual intro for a hard bop song! There are percussive things going on here that feel more than either bass, drums, or piano could be doing, but once the infectious waltz-like rhythm track comes together this could be post-bop, it could be Paul Desmond/Dave Brubeck, or it could be Blood, Sweat & Tears! Such an engaging, uplifting song--with some stunningly gorgeous "My Favorite Things"-like melodies! I'm blown away! And this is the second of the three Dauner originals. Definitely a top three song. (9.75/10)
A4. "Es Läuft" (3:45) the band stretches out as Wolfgang scat-sings over and with his piano. Eberhard's bass play is rather basic walking the neck as if his job is to keep time. M. Dauner is quite the technically-skilled pianist: everything coming across so cleanly and crisply and Roland Wittich is no slacker with his active, dynamic drumming. The Shoo-bi-doo-bi" stuff at the end reminds me a lot of the stylings and tones used by Demetrios Stratos in the band AREA. This third Dauner composition leaves me awed for this gentleman's creativity. (9/10)
B1. "Here Come De Honey Man" (6:17) a classical, almost-cinematic opening leads into the establishment of a rich song whose melodies seem to come at you from multiple directions. In the second minute Wolfgang's right hand begins to take off into brief forays and flourishes, leaving the harmonic and rhythmic patterns to depend on Eberhard and Roland but then, in the middle of the third minute M. Daunter quiets his play, seeming to allow for more listener attention to go to the work of his drummer and bass player yet his pianissimo play is just as alluring as the dynamic "look at me" stuff up front--kind of like the style of Vince Guaraldi. Neither Eberhard or Roland really do anything extraordinary with their time in the shared light, which makes Wolfgang kind of look a bit foolish for setting back. And then he almost confesses his blunder with the silly tinkling of the ivories he does to close out the song. Interesting! (8.75/10)
B2. "Blue Light" (7:48) this one opens like some grandiose Gershwin song even though it's composed by Hans-Georg Brunner-Schwer. (Interesting that it was the previous song that was a George Gershwin composition.) The bass walking and fairly standard drum support (as well as left hand chord play) all help maintain the support for the dynamic and, at the same time, very melodic chord play from Wolfgang's right hand. Brilliant piano playing! (13.75/15)
B3. "Golden Green" (6:05) here Wolfgang and company cover a Jean-Luc Ponty composition(!) It swings and rolls and sways and from the roots up with just enough syncopation to leave the listener (dancer) admiring the perfect placements of the pauses for ones pivots and twirls. This is the only song on the album in which the piano is the least interesting aspect: it's the song's unusual rhythm that Roland, Eberhard, and Wolfgang's left hand unveil with such effortless elegance that carries the day. (9.125/10)
Total time: 38:03
Total time: 38:03
This is a pianist's pianist--and it's a pianist's album--and the highlight songs are not the brilliant covers of other classic tunes but Wolfgang's own three stupendously-original compositions.
91.94 on the Fishscales = A-/five stars; a minor masterpiece of virtuosic and imaginative piano play with bass and drum support. I love this!
Line-up / Musicians:
- Joe Pass / guitar
- Eberhard Weber / bass
- Kenny Clare / drums
A1. "Chloe" (5:24)
A2. "Meditation" (5:25)
A3. "I Cover The Waterfront" (4:15)
A4. "I Love You" (5:00)
A5. "Stompin' At The Savoy" (4:15)
B1. "Watch What Happens" (5:25)
B2. "Joe's Blues" (6:00)
B3. "El Gento" (4:03)
B4. "Ode To Billy Joe" (3:30)
B5. "Lil' Darlin'" (3:45)
Total Time: 47:13
JOE PASS Intercontinental (1971)
Recorded June 1970 at MPS-Tonstudio, Villingen, for MPS Records.Line-up / Musicians:
- Joe Pass / guitar
- Eberhard Weber / bass
- Kenny Clare / drums
A1. "Chloe" (5:24)
A2. "Meditation" (5:25)
A3. "I Cover The Waterfront" (4:15)
A4. "I Love You" (5:00)
A5. "Stompin' At The Savoy" (4:15)
B1. "Watch What Happens" (5:25)
B2. "Joe's Blues" (6:00)
B3. "El Gento" (4:03)
B4. "Ode To Billy Joe" (3:30)
B5. "Lil' Darlin'" (3:45)
Total Time: 47:13
I've not yet been able to figure out why but, other than saxophone (especially soprano saxophone), jazz guitar is probably my least favorite instrument--especially when it is the lead instrument--when the music is all about featuring the jazz guitar work. Joe Pass may be phenomenal, he may be a master or virtuoso of his instrument, but it is (thus far) lost on me as to why. Perhaps my Soul/R&B, rock 'n' roll, and prog rock roots have stilted me from appreciating the dull, uniform, and boring sounds emanating from these hollow-body guitars and relatively-untreated sounds, but I'd much rather hear acoustic guitar or heavily-distorted and/or sustained noteplay from a Stratocaster or Telecaster any day than the boring uniformity of a Gibson ES-175-D, ES-355, L-5, Johnny Smith, or even a Gibson Les Paul.
Eberhard performs ably within the pressurized trio format though he is given very little room or opportunity to shine or show off--which is to expected for an up-and-coming artist.
Line-up / Musicians:
- Art Van Damme / accordion
- Eberhard Weber / bass
- Kenny Clare / drums
- Joe Pass / guitar
- Heribert Thusek / vibraphone
THE ART VAN DAMME QUINTET Keep Going (1971)
Recorded November 1970 at MPS-Tonstudio/Villingen for MPS Records.Line-up / Musicians:
- Art Van Damme / accordion
- Eberhard Weber / bass
- Kenny Clare / drums
- Joe Pass / guitar
- Heribert Thusek / vibraphone
A1. "Turnabout" (2:22)
A2. "Sunday Kind Of Love" (2:03)
A3. "I Want To Be Happy" (2:12)
A4. "Tenderly" (3:18)
A5. "Gone With The Wind" (3:22)
A6. "Everything I've Got" (2:20)
B1. "Let Yourself Down" (2:00)
B2. "Green Dolphin Street" (3:41)
B3. "I Saw Stars" (2:17)
B4. "Small World" (2:15)
B5. "It's Easy To Reemember" (2:57)
B6. "The Man I Love" (2:08)
Total time: 30:55
A2. "Sunday Kind Of Love" (2:03)
A3. "I Want To Be Happy" (2:12)
A4. "Tenderly" (3:18)
A5. "Gone With The Wind" (3:22)
A6. "Everything I've Got" (2:20)
B1. "Let Yourself Down" (2:00)
B2. "Green Dolphin Street" (3:41)
B3. "I Saw Stars" (2:17)
B4. "Small World" (2:15)
B5. "It's Easy To Reemember" (2:57)
B6. "The Man I Love" (2:08)
Total time: 30:55
I know that the accordion was an instrument that had been legitimized in European music for some time--and that it had even etched a small place in the world of Jazz, albeit kind of on the fringe. I have to admit that I feel like I've heard it more deserving of those achievements in work by artists like Astor Piazzolla, that the music published on this album support a more pop-side of easy listening adult-oriented jazz, despite the lineup of stellar jazz musicians in support of this accordion virtuoso. Many of these songs just feel like melodic fodder served up for popular consumption. Even though Art Van Damme had been touring in a quintet format for a couple of decades, it seems that the way that he had been able to forge his popularity (and, thus, make a living) was through playing schlocky, romantic instrumental covers of pop tunes, and this album, unfortunately, sounds no different.
As far as Eberhard is concerned, this gig seems like the kind of experience that any young musician has to go through in order to reach the "big leagues": you have to put in your time in the minor leagues where you hone your chops, fine tune your skills, get comfortable with improvisational music, and distinguish your individual sound. Eberhard's performance here is little more than the acting bass player, helping anchor the pace and melody down within each song's rhythm section. He is rarely given the freedom to enhance or embellish his rather-standard bass lines much less any solo time. He does, however, get to work with some polished masters of their craft, which is always a boon for a young and up-comer--and his performance shows that he is up for the challenge.
Japan only, by Japo Records.
Total time: 40:43
Nice ECM Jazz-Rock Fusion with Eberhard Weber playing electric bass like he's coming from Miles Davis' Kind of Blue sessions, Jimmy Jackson and Mal Waldron fully exploring the chordal extensions of the music with their respective keyboards--often at the same time!
MICHAEL NAURA QUARTETT Call (1971)
A2. "Hills" (2:40) Wow! What an opus extraordinaire for bassist Eberhard Weber! He and Joe Nay are flying through their lines while Wolfgang and Michael offer the support of a nice cushion of harmonic and melodic regularity. (9.25/10)
A3. "Baboon" (3:17) it does sound like a lumbering, slothful old baboon! At least for the minute--before the younguns start running around creating havoc! This Joe Nay guy just keeps impressing the hell out of me (as does Eberhard). Then he joins the circus where he's remanded to boring processionals in front of the crowds. (9/10)
Total time: 37:03
Line-up / Musicians:
- Volker Kriegel / electric guitar, acoustic guitar, octave guitar
A2. "The "E" Again" (6:36) tediously repetitious rhythm track over which everybody seems to get a turn to solo (except the bass and drummer). The loose, laid-back feeling coming from all of the song's performers is kind of cool, but then, after six minutes it proves to be overdone. (8.70/10)
MAL WALDRON The Call (1971)
How exciting to see the unusual combination of instruments represented in this quartet: drums, bass, electric piano, and organ! The album was recorded on February 1, 1971, at Tonstudio Bauer Ludwigsburg by Manfred Eicher for his new ECM Records but never released by ECM; it was released, instead, inJapan only, by Japo Records.
Lineup / Musicians:
- Mal Waldron / electric piano
- Jimmy Jackson / organ
- Fred Braceful / drums
- Eberhard Weber / bass
A."The Call" (18:53) two chords of two-note bass line played off of by drummer Fred Braceful's cymbol play expands as Mal's electric piano joins in: both Fred and Eberhard becoming much more adventurous while Mal settles into variations of a five-chord progression so that his right hand can go off on the song's first real solo on his "Popcorn"-sounding electric piano. It really sounds as if Fred and Eberhard are having the most fun on this one as Mal remains quite dedicated to the patterns (and variations) that he established for his left hand in that second and third minutes. Some of Mal's high notes sound like guitar plucks and "Popcorn" notes. At the six-minute mark Mal steps back to let Jimmy enter and shine. By this point Eberhard has really gotten confident and perhaps a bit cocky but Jimmy might be feeding a bit off the bass (or Eberhard feeding off of the spirited dynamics of the whole thing). I love the full chord strains that Jimmy launches into near the end of his solo. Then it's Eberhard's turn (as if he wasn't showing off before). This passage sounds quite a bit like a preview of the Stanley Clarke solo in the middle of Deodato's "Also Sprach Zarathustra." And then everybody but Fred's hi-hat steps out to let Eberhard's bass really bellow. Then it's Fred's turn to solo for a couple of minutes. Toward the end of Fred's solo Mal rejoins with a whole set of chord playing until the song suddenly and almost mysteriously gets interrupted: it peters out! It just ends with Mal's descending chord progression and Fred's hi-hat tribbles and kick drum punctuation marks! A cool song--especially for Eberhard's energetic involvement and Jimmy Jackson's progressively ramping up solo. (36.6667/40)
B. "Thoughts" (21:50) the song starts slowly, the quartet gradually filling the sound space to the point of achieving a fairly standard flow with Mal taking the first extended solo before giving way to Jimmy in the mid-section. Eberhard and Fred are fairly sedate throughout the first two-thirds of this--especially when comparing their performances to those in the previous song. I love the interplay of Jimmy's organ and Mal's electric piano in the 6th through 12th and 13th minutes, but not so much Eberhard's foray into experimental sound-making in the 15th through 20th while Fred seems to be practicing tuning his drums and playing some military timings to fill the spaces around Eberhard's bass solo. Luckily there is a return to keyboard land for the finish--and the finish isn't quite so odd as that of the previous song.
The tense keyboard interplay in the middle is definitely the highlight--all eight minutes of it and I should credit Fred for stepping up to provide some excellent accents to Jimmy and Mal's keyboard exploits. (39.375/45)
Total time: 40:43
Nice ECM Jazz-Rock Fusion with Eberhard Weber playing electric bass like he's coming from Miles Davis' Kind of Blue sessions, Jimmy Jackson and Mal Waldron fully exploring the chordal extensions of the music with their respective keyboards--often at the same time!
89.46 on the Fishscales = B+/4.5 stars; a near-masterpiece of refreshing and pretty entertaining early Jazz-Rock Fusion.
MICHAEL NAURA QUARTETT Call (1971)
German/European music legend Michael Naura is back after his bout with polyserositis--and he's picked up the Fender Rhodes electric piano.
Line-up / Musicians:
- Michael Naura / electric piano [Fender Rhodes], composer
A1. "Soledad De Murcia" (5:57) like most of the songs on this album this one starts out and continues to develop as if it's a cover of some other familiar pop song ("Hurts so Good") with some really cool STEVE JANSEN-like drumming, but it's not: like all of the songs on this album, this is supposedly an original composition from band leader Michael Naura. At the same time it makes for one of the amazingly soothing/comforting songs that help make this album so dear to me. The interplay of the four musicians is so warm and supportive--and yet creative and professional. Drummer Joe Nay is especially impressive as is bandleader/composer Michael Naura's generosity in giving so much shine to the other three musicians (while taking very little for himself). Yet the rich, thick vibrato of his electric piano provides all of the comfort and support necessary for his band mates to fly. And I love how we're hearing the beginnings of Eberhard Weber's fluid "underwater" sound coming from his bass playing. I love it! (9.75/10)
A2. "M.O.C." (3:37) upbeat and uptempo feel good danceable jazz with some great, active threads woven together from all four musicians. This one is more impressive for its individual performances fitting so well together into one weave without all of the nostalgic warmth of the opener. (9.125/10)
A3. "Forgotten Garden" (5:53) slow and steady, everything is spaced so far apart and yet the long-held notes reverberating from the Rhodes, Wolfgang's vibraphone, Eberhard's tonally-fluid bass, and even Joe Nay's delicate cymbal play. The main star, of course, is Wolfgan Schlüter, but it's the complete sonosphere of the whole that really carries me off to other worlds! Beautiful! And so serene. (9.25/10)
B2. "Don't Stop" (4:56) this one feels like a hard bop/blues-rock cover of a classic tune. Both Joe and Eberhard really shine on this one despite Michael and Wolfgang's command of the spotlight. (8.875/10)
B4. "Call" (5:03) like most of the songs on this album this one starts out and continues to develop as if it's a cover of some other familiar pop song, but it's not: like all of the songs on this album, this is supposedly an original composition from band leader Michael Naura--and it may just be the best, most cohesive whole-band collaboration on the album. Wolfgang Schlüter is remarkable on the vibraphone, Michael really engaged with his Rhodes support, and Eberhard and Joe seem so relaxed into the groove: it's as if they're all totally entrained to the groove. (9.125/10)
A1. "Sailfish" (7:04) a super cool, definitely-experimental foray into Jazz-Rock Fusion in which vibraphone, electric piano, cymbals, and aqueous bass slowly form like a small boat making its way through softly curling waves at the shoreline beach out into more active, turgid waters. With the wild dynamics of the song's second half, one might even say that the little craft carrying our intrepid crew had to pass through quite some tumultuous open waters in order reach their next safe harbor. (14/15)
A2. "Turtle Bay" (4:40) is this a concept album? Is it a single journey Michael and company are leading us through? Is Michael, too, inspired by the "underwater" imagery that Eberhard's bass playing conjures up? The album's song titles might suggest as much. Turtle Bay must be a pretty laid back, free-and easy place as each of the musicians feel very loosely associated--as if they've been given shore leave with which to rest and recuperate from the arduous conditions they had to work through on "Sailfish." Again it feels as if it is Wolfgang Schlüter's vibraphone that leads the band with Michael, Jay, and Eberhard more responding in support of their careful leader. (8.75/10)
B2. "Watamu" (2:19) heavily reverberating Fender Rhodes chords with sparsely-applied bubbly bass notes from Eberhard coming from both the high and low ends of the neck of his bass. Just weirdness. (4.25/5)
MICHAEL NAURA QUINTET Vanessa (1974)
Line-up / Musicians:
- Michael Naura / electric piano [Fender Rhodes], composer
- Wolfgang Schlüter / vibraphone
- Eberhard Weber / bass
- Joe Nay / drums
A1. "Soledad De Murcia" (5:57) like most of the songs on this album this one starts out and continues to develop as if it's a cover of some other familiar pop song ("Hurts so Good") with some really cool STEVE JANSEN-like drumming, but it's not: like all of the songs on this album, this is supposedly an original composition from band leader Michael Naura. At the same time it makes for one of the amazingly soothing/comforting songs that help make this album so dear to me. The interplay of the four musicians is so warm and supportive--and yet creative and professional. Drummer Joe Nay is especially impressive as is bandleader/composer Michael Naura's generosity in giving so much shine to the other three musicians (while taking very little for himself). Yet the rich, thick vibrato of his electric piano provides all of the comfort and support necessary for his band mates to fly. And I love how we're hearing the beginnings of Eberhard Weber's fluid "underwater" sound coming from his bass playing. I love it! (9.75/10)
A2. "M.O.C." (3:37) upbeat and uptempo feel good danceable jazz with some great, active threads woven together from all four musicians. This one is more impressive for its individual performances fitting so well together into one weave without all of the nostalgic warmth of the opener. (9.125/10)
A3. "Forgotten Garden" (5:53) slow and steady, everything is spaced so far apart and yet the long-held notes reverberating from the Rhodes, Wolfgang's vibraphone, Eberhard's tonally-fluid bass, and even Joe Nay's delicate cymbal play. The main star, of course, is Wolfgan Schlüter, but it's the complete sonosphere of the whole that really carries me off to other worlds! Beautiful! And so serene. (9.25/10)
A4. "Take Us Down To The River" (3:58) a saturated sound palette that will eventually become derided for its posh hippy associations, I can't help but think of this as fresh and refreshing even now, 55+ years after the Fender Rhodes, electric bass, and vibraphone made their way into jazz and pop music. A little cheesy, yes, but still forward-thinking for its time. (8.875/10)
B1. "Why Is Mary So Nervous?" (5:28) an interesting song for the two different rhythm speeds the band moves back and forth between; it really does convey the kind of inconsistency that denotes nervousness. Nice drum solo from Joe in the fourth minute. Overall I think it a little odd, even weird, but definitely interesting--and well-performed with the final minute being the best of it. (9/10)
B2. "Don't Stop" (4:56) this one feels like a hard bop/blues-rock cover of a classic tune. Both Joe and Eberhard really shine on this one despite Michael and Wolfgang's command of the spotlight. (8.875/10)
B3. "Miriam" (11:05) dreamy, impressionistic, mostly vibraphone, Fender Rhodes, and bass interplay that, I have to say it, sounds a lot like some of the background music I used to hear on Mr. Rogers' Neighborhood back in the day--which is meant as no disrespect to the great jazz pianist Johnny Costa that Fred Rogers employed as music director for his show. My comment is only meant to note from where my feeling of "familiarity" comes. There are some nice solos given (and taken) by Eberhard (in the eighth and ninth minutes) as well as to Joe--plus the shut-down at the nine-minute mark to finish is really cool. (17.5/20)
B4. "Call" (5:03) like most of the songs on this album this one starts out and continues to develop as if it's a cover of some other familiar pop song, but it's not: like all of the songs on this album, this is supposedly an original composition from band leader Michael Naura--and it may just be the best, most cohesive whole-band collaboration on the album. Wolfgang Schlüter is remarkable on the vibraphone, Michael really engaged with his Rhodes support, and Eberhard and Joe seem so relaxed into the groove: it's as if they're all totally entrained to the groove. (9.125/10)
Total time: 39:00
90.56 on the Fishscales = A-/five stars; a minor masterpiece of wonderful Rhodes-and-vibe-driven Jazz-Rock Fusion.
MICHAEL NAURA QUARTET Rainbow Runner (1972)
Recorded at Windrose-Dumont-Time, Hamburg.Line-up / Musicians:
- Michael Naura / piano, electric piano, accordion (B2), composer
- Michael Naura / piano, electric piano, accordion (B2), composer
- Wolfgang Schlüter / vibraphone, marimba, percussion
- Eberhard Weber / bass
- Joe Nay / drums
A1. "Sailfish" (7:04) a super cool, definitely-experimental foray into Jazz-Rock Fusion in which vibraphone, electric piano, cymbals, and aqueous bass slowly form like a small boat making its way through softly curling waves at the shoreline beach out into more active, turgid waters. With the wild dynamics of the song's second half, one might even say that the little craft carrying our intrepid crew had to pass through quite some tumultuous open waters in order reach their next safe harbor. (14/15)
A2. "Turtle Bay" (4:40) is this a concept album? Is it a single journey Michael and company are leading us through? Is Michael, too, inspired by the "underwater" imagery that Eberhard's bass playing conjures up? The album's song titles might suggest as much. Turtle Bay must be a pretty laid back, free-and easy place as each of the musicians feel very loosely associated--as if they've been given shore leave with which to rest and recuperate from the arduous conditions they had to work through on "Sailfish." Again it feels as if it is Wolfgang Schlüter's vibraphone that leads the band with Michael, Jay, and Eberhard more responding in support of their careful leader. (8.75/10)
A3. "Rainbow Runner" (7:30) opening with an extended solo given to Eberhard is the first time we've been given clear access to the young bass player's talent and ideas. The other musicians begin adding their nuanced flourishes in the second minute and then, by the end of the second minute, have gelled into a cohesive until, finally, at 2:40 they begin offering melodies to the listener--but, interestingly, they come in overlapping waves as each individual instrument seems to flood the sonic seascape all at the same time and almost in a random dis-/un-organized fashion. The deluge of overlapping waves continues until 5:30, almost overwhelming the listener, before things calm down into a very spacious and quiet section that is, for a time, led by Michael's electric piano but then transferred to Eberhard's bass for the song's peaceful finish. Very interesting, conceptually, but not my favorite. (13.25/15)
B1. "Black Marlin" (7:42) a bit of a darker theme--and one that is more repetitive and hypnotic (especially from Eberhard) despite the thrashing around of wave-crasher and big roller Joe Nay and frenetic vibraphone play from Wolfgang. There is a chunk of the song in the frenetic middle in which I cannot discern the presence of Michael's Fender Rhodes at all: it's just mesmer Weber and the drummer and vibes player exerting their wildman chaos. Michael and Eberhard start to get sucked into the frenetic chaos in the seventh minute with the song ending with continued wildness and some dissonance. Great performances from Wolfgang and Jay but, again, not my favorite. (13.25/15)
B2. "Watamu" (2:19) heavily reverberating Fender Rhodes chords with sparsely-applied bubbly bass notes from Eberhard coming from both the high and low ends of the neck of his bass. Just weirdness. (4.25/5)
B3. "Wahoo" (5:35) another emanation from the darker depths of the sea of consciousness as minor chords and more plodding and pensive chords, notes, and riffs are played from the Fender Rhodes and fretless bass. Meanwhile, operating on a different level of the sea, Wolfgang and Jay are happily flourishing around on the surface. Interestingly, even the sound mix has the deep, dark duo mixed into a different sector of the sonic field: it feels like the vibraphone and drums are mixed into the back using less effects and/or filters on the tracks while the bass and Rhodes are forward, thickly drenched in reverb and volume. Cool effects and overall effect but not your catchy earworm of a song. (8.875/10)
B4. "Barrakuda" (4:23) in some respects this feels like a distorted mirror of the album's opening song: this time with only Wolfgang's vibes and Michael's Rhodes working off one another as if in their own sacred universe. It's pretty and keeps getting more and more gorgeous as it moves into the third and fourth minutes as Michael settles into two quick-chords to support Wolfgang's soloing. Neither Jay or Eberhard make a single note in contribution to this lovely little duet. (9.333/10)
Total time: 39:13
89.64 on the Fishscales = B+/4.5 stars; a near-masterpiece of experimental Jazz-Rock Fusion.
Recorded September 1974 at Windrose Studios, Hamburg, for ECM Records and then published early in 1975.
Line-up / Musicians:
- Michael Naura / piano, electric piano, composer
- Michael Naura / piano, electric piano, composer
- Klaus Thunemann / bassoon
- Eberhard Weber / bass
- Eberhard Weber / bass
- Wolfgang Schlüter / vibraphone, marimba, percussion
- Joe Nay / drumsA1. "Salvatore" 11:38) opening with a hypnotic Chick Corea-like three-chord progression around which Eberhard Weber and Klaus Thunemann dance excitedly around on their fretless bass and bassoon, respectively while the other three remain firmly entrenched into maintaining the three-chord circle of hypnosis (though, admittedly, Jay's bass drum and occasional snare flourishes seem to cross over into active interaction with the lead dancers). Wolfgang Schlüter steps up, playing a marimba, in the second half of the fifth minute as Klaus backs out. Jay also steps up a little before backing down again to cushion Wolfgang's play. Meanwhile, Michael is a constant though syncopated supporter of the foundational weave with his accordion-like chord play and Eberhard remains fast and fluid slip-sliding around the length of his fingerboard--until, that is, the eighth minute when everybody quiets down. This patch of pregnant observation seems rife with tension but also with fear of stepping forward to expose one's deficiencies or shortcomings. Klaus and Wolfgang do a little trepidatious testing of the waters, and a little from Jay, but Eberhard and Michael just seem to watch from the sidelines: either with maturity and detachment or with until at the ten-minute mark they begin to reinstitute the three-chord cycle and the others feel pacified enough to return to playing yet nobody with the amount of verve and reckless abandon that they expressed in the first third. Very interesting song! (19/20)
A2. "Hills" (2:40) Wow! What an opus extraordinaire for bassist Eberhard Weber! He and Joe Nay are flying through their lines while Wolfgang and Michael offer the support of a nice cushion of harmonic and melodic regularity. (9.25/10)
A3. "Baboon" (3:17) it does sound like a lumbering, slothful old baboon! At least for the minute--before the younguns start running around creating havoc! This Joe Nay guy just keeps impressing the hell out of me (as does Eberhard). Then he joins the circus where he's remanded to boring processionals in front of the crowds. (9/10)
B1. "Vanessa" (5:55) back to Fender Rhodes and vibraphone forming the foundational sound blend and chord progressions for the others to jump on board with. At the end of the third minute of this duet the duo seem as if they might enter into a new motif but they don't, just keep it smooth and intimate, like a good-night/bed time conversation between loved ones. (8.875/10)
B2. "Listen To Me" (6:33) but then surprisingly turns into a soulful funk tune in the second minute. While Wolfgang vibraphone play and Joe Nay's drumming sound pretty white, Eberhard's bass play definitely sounds Black. The dude has such empathy, such flexible fluidity! No wonder he's one of my favorites of all-time. (9/10)
B3. "Black Pigeon" (6:50) maybe the best song on the album! The funk groove is just so engaging and everybody seems of one spirit the whole way through. Though it starts out with a curious solo by an all-alone Klaus Thunemann, his bassoon shows immediate pacification when the comforting-though spacious chords of the Fender Rhodes and vibraphone and long-held bass notes show up at the end of the first minute. The support is firm but drone like over the next minute as Klaus seems to be finding his legs, flourishing his wings as he finishes his morning preening and pectoral warm-ups. The two-minute mark, then, sees the band launching into a great motif that seems to support the now-confident pigeon into morning flight. The sights--as exhibited through the rest of the band--are quite routine and mundane but highly comfortable to the pigeon. Wolfgang's vibes take the lead over the awesome funky, long, five-chord groove. Klaus returns in the sixth minute sounding almost like a saxophone, communicating in a confident and full-spectrum display of skills while remaining centered in the key and melodies supported by the funk groove. Awesome song! (14.333/15)
Total time: 37:03
I love how original many of Michael's ideas are--and how able his collaborators are in stepping up to the responsibility of accommodating them. Also, it is remarkable how little the band leader feels a need to step into the spotlight: he leads through his incredible and unshakable support.
92.61 on the Fishscales = A/five stars; a masterpiece of fully-fledged Jazz-Rock Fusion which exhibits a posse of fully-fledged musicians, young and old. One of my new favorite Second Wave Jazz-Rock Fusion albums.
VOLKER KRIEGEL Inside: Missing Link (1972)
The sophomore album release by the German guitar genius. Missing Link was recorded as a double album between March 20-23. 1972, at Waldorf Studio, Mörfelden-Walldorf (near Frankfurt/Main), Germany, with two lineups: one for the first two days and a slightly different one for the final two days. It was then published by MPS Records with the help and backing of BASF Records later in the year. All tracks are Volker Kriegel compositions except where noted.
Line-up / Musicians:
- Volker Kriegel / electric guitar, acoustic guitar, octave guitar
- John Taylor / electric piano
- Eberhard Weber / bass, cello
- Cees See / percussion, voice, flutes, effects
- John Marshall / drums (Disk One)
- Peter Baumeister / drums (Disk Two)- Cees See / percussion, voice, flutes, effects
- John Marshall / drums (Disk One)
- Albert Mangelsdorff / trombone (A1&2, B1&2)
- Alan Skidmore / soprano saxophone, tenor saxophone (A1&2, B1&2)
- Heinz Sauer / tenor saxophone (A1&2, B1&2)
- Alan Skidmore / soprano saxophone, tenor saxophone (A1&2, B1&2)
- Heinz Sauer / tenor saxophone (A1&2, B1&2)
A1. "Slums on Wheels" (13:24) John Marshall is a beast on the drums from the get go on this J-RF rocker. Guitarist and band leader Volker Kriegel uses a DANNY KORTCHMAR "It's Too Late, Baby" style acoustic guitar solo in the Alan Skidmore's soprano sax play in the second movement is so dynamic and exciting! And let's not forget the extraordinary drum playing of Nucleus' own John Marshall!
Eberhard Weber's bass play is fairly standard until the seventh minute when the band clears out and he's given solo time--then you know this is the one and only Eberhard Weber--two minutes he's given before the band slowly re-matriculates. The section that follows the bass solo is a bit odd--feeling meandering and out of place, and then Heinz Sauer's saxophone solo feels like it goes nowhere and never gels with the rest of the band, but at 12:15 there's a bit of a restart that helps the band to get back on track for the final minute. A truly remarkable multi-part song (or suite)! (28/30)
A2. "The "E" Again" (6:36) tediously repetitious rhythm track over which everybody seems to get a turn to solo (except the bass and drummer). The loose, laid-back feeling coming from all of the song's performers is kind of cool, but then, after six minutes it proves to be overdone. (8.70/10)
B1. "Zanzibar" (10:22) penned by Edu Lobo, this is a very catchy, melodic song that feels as if it's led by the big band-like horns. Great jazz funk bass play (in a style that I've never heard before from Eberhard) leads in over John Marshall's solid drumming over which Volker, then, takes the first extended solo on his jazz guitar. It's very GEROGE BENSON and Wes MONTGOMERY-like. From the 3:00 mark two tenor saxophones trade off the next solos. Again, these guys are very engaging and compelling (which is exceedingly rare for me: I am not nor have I ever been a fan of the saxophone). The grooving JAMES BROWN-like high-energy R&B jazz-rock fusion is so infectious! Amazing performances top to bottom! (19/20)
B2. "Missing Link" (12:03) some wild and crazy sounds being emitted here from all the band members but I ultimately reject this song for its overly-repeated foundation and 1960s-sounding guitar solo. Great, creative performances on top, but way too simplistic and repetitive--even in the suite's different motifs. (21.75/25)
C1. "Für Hector" (5:45) another hard-drivin' song based on a fairly rudimentary JAMES BROWN-like rhythm track (and "Shaft"-like introductory hi-hat play) that somehow inspires stellar performances from all soloists as well as the rhythm-makers. It's like they're pretending to be the JBs only at 45rpm speed instead of 33! Has there ever been a rhythm section as tight as these guys? Eberhard Weber and John Marshall are extraordinary! (9.25/10)
C2. "Remis" (4:26) a more Latin-based song that feels as if it came out of the Latin/Caribbean-crazed 1960s: 1960s hippie game show music! But so tightly performed! Very smooth, fluid jazz guitar play over acoustic rhythm section (and electric piano). (9/10)
C3. "Tarang" (10:00) a composition credited to Eberhard Weber, it opens up sounding like something from the Far East (not quite Indian, perhaps SouthEast Asian). The sound palette is very cool; not what one would expect on an album that presented those first six very Western songs. It's not until the second half of the third minute that we begin to hear any instruments familiar to the Western ear: double bass, drums, acoustic guitar, and electric piano. The sixth and seventh minutes present a long nearly-alone Eberhard Weber solo with clay hand drums before Fender Rhodes and drums start to reinforce both the pace and the harmonic structure. Interesting and definitely engaging despite a kind of lack of melody and harmony. I like it! (17.75/20)
D1. "Lastic Plemon" (5:21) another rampant-flowing R&B-based song in the James Brown tradition that flies along with everyone playing their 1960s parts. Well-orchestrated impeccably-performed song that never really grabs me. (8.875/10)
D2. "Janellas Abertas" (4:09) a short little four-part Caetano Veloso composition with double bass and symphonic percussion beneath Volker's extraordinary Spanish-style nylon-string acoustic guitar play. John Taylor also gets some time in the spotlight with his electric piano in the third movement, but everything returns to Volker's lap for the final beautiful section. (8.875/10)
D3. "Plonk Whenever" (4:06) another song that sends the musicians off to the races from the very start, arranged in some very complex "old jazz" forms and streams, sounding a lot like pre- or proto-Fusion Herbie, Wayne, Miles, Johnny Mac, and Tony. (8.875/10)
D4. "Definitely Suspicious" (5:55) acoustic guitar and gang come up with a rock/pop like construct with a bit of Latin and psych flavor over which Volker's simple rock/psychedelic electric and acoustic guitars take turns soloing for the first three minutes. The styles seem to move fairly cleanly between rock, psych-rock, and blues-rock. Fender Rhodes solo from John Taylor in the fourth minute before we return to Eberhard excels in a Danny Thompson kind of way while this song makes it clear that John Marshall is really meant to be a Jazz-Rock Fusion guitarist (not pop or jazz). Catchy enough melodies that I could see this getting some radio air time (back in the day). (9/10)
D5. "Finale" (0:10) Volker's cartoonish finish.
Total Time: 81:77
Total Time: 81:77
A much more jazz- and jazz-rock representative. The question is: How much of this album's superlatives are due to the guitarist, composer, and band leader and how much to the amazing all-star lineup he's enlisted in support? I mean, these collaborators keep performing at such a high level throughout the album (despite some weaker song foundations) that it's hard not to credit them, but could it also be the band leader's brilliant instruction and inspiring example motivating these amazing performances? Also, I must mention and commend the great sound the engineers and producers got out of this album. Also, I'm very much appreciative for this opportunity of seeing/hearing bass virtuoso Eberhard Weber in a far different light than anything I'd ever heard from him.
90.95 on the Fishscales = A-/five stars; a minor masterpiece of eclectic jazz, R&B, and Jazz-Rock Fusion pieces from a band of multiple virtuosi.
BADEN POWELL Canto on Guitar (1973)
Eberhard contributed to seven songs on Disc of this MPS Records release.
BADEN POWELL Solitude on Guitar (1973)
Eberhard contributed his bass playing to two songs on this excellent album from CBS Records.
Line-up / Musicians:
- Volker Kriegel / electric guitar, acoustic guitar
- Stan Sulzman / soprano saxophone, flute
- Zbigniew Seifert / electric violin
- John Taylor / electric piano
- Eberhard Weber / bass, cello, electric bass, bass guitar, ocarina (6)
- Cees See / percussion
- John Marshall / drums
1. "Lift!" (6:54) a mellow song to open the album leaves me curious about Volker's intentions here in 1973. There are some elements of this countrified song that feel inspired by some of the other softer Jazz-Rock Fusion masterpieces already floating around in the Jazz-Rock Fusion world--most specifically those of Chris Hinze and Michal Urbaniak. Nice melody expressed by Zbigniew Seifert at the end of the second minute before giving way to Volker's acoustic guitar solo. There is also a spirit of American jam band in this song--like something from the Grateful Dead or the Allman Brothers, even the Ozark Mountain Daredevils, but mostly Michal Urbaniak (minus Ula's vocalese). The band speeds up the tempo for the closing as the song is faded out as if through a building's air ventilation pipe system. (13.25/15)
2. "Three Or Two In One" (6:07) bearing some melodic similarities to some of the smoother songs of the early J-R F masterpieces: like Weather Report, Mahavishnu Orchestra, Michal Urbaniak, Caravan, and Hatfield and The North, the stripped down and laid back conga foundation and Eberhard Weber bass play give this a quite accessible feel despite its harmonic and chordal intricacies and jazzy electric guitar and electric piano performances. John Taylor's electric piano performance is akin to something Herbie or Chick might accomplish at this stage of their development (and sound palette explorations) and Zbigniew and Stan Seifert's play also definitely put them into the jazz department despite the easy listening friendliness of this music. (8.875/10)
90.53 on the Fishscales = A-/five stars; an excellent if slightly mellow minor masterpiece of gorgeous Jazz-Rock Fusion collaborative work. I love the way the spotlight is shared and how the quality and accessibility of the overall song is the top priority of each song outcome.
Line-up / Musicians:
- Eberhard Weber / double bass, cello, ocarina, vocals (choir)
With:
- Rainer Brüninghaus / piano, synth
- Ack van Rooyen / flugelhorn
- Südfunk Symphony Orchestra, Stuttgart / cello
- Peter Giger / drums, percussion
- Ralf Hübner / drums (2)
- Gisela Schäuble / vocals (choir)
1. "More Colours" (6:40) the minimalist orchestrated music with Eberhard's inventive "piccolo" bass techniques and Rainer Brünignhaus' piano ministrations, all of which they would perfect for Side One of The Following Morning but here only sound weird, separated, and not very melodic or pretty. (13.125/10)
2. "The Colours of Chloë" (7:45) cello, piano, and sounding like the inspiration for Brian Eno's first two or three Ambient Music records--until 1:40, that is, when cymbals, bass, and synth take over with a truly Jazz-Rock Fusion motif (despite having very little rhythm base--future Pat Metheny-like stuff). Then, at the end of the third minute piano and, later, bowed strings, provide a floating fabric for Eberhard to play his echoing double bass. Beautiful stuff that turns jazzier when Eberhard and Ralf Hübner's drums start playing a more traditional jazz rhythm track for Rainer to really go to work with some stunning modern jazz piano playing. A very cool and innovative song--both in structure and sound palette execution. Manfred Eicher's touch definitely counts for something, as well. (14/15)
3. "An Evening with Vincent van Ritz" (5:46) two minutes of moody bass and mid-range strings taking us through a repeated slow progression of four chords, over and over, as Gisela Schäube sings choir-like wordless vocalese over(within) the weave--until the two-minute mark when a dynamic jazz combo of Latin-infused drumming, wild-walking bass, and chord-hopping Fender Rhodes sets a motif up beneath the trumpet soloing of Ack van Rooyen. Though coordinated and together, each of the four musicians are quite adventurous and expressive in their performances, start to finish, but then at 5:08 we're cut back into the opening motif as if the middle jazz combo section never happened. Weird. One song inside another. (8.875/10)
4. "No Motion Picture" (19:56) opens as if Eberhard and Rainer had been a part of Terry Riley's 1960s experimental adventures into what we now call Minimalism. A minute is given to each round of the presented motif and then it's like they just push the reset/restart button--until 2:30 when everybody takes a sudden left turn into a plodding Fender Rhodes chord progression beneath which Peter Giger provides wave-like cymbal crashes and some kind of flute/recorder sound (it's Eberhard's ocarina!) generates an airy near-droning lead melody up top. At 3:45 Eberhard is let out of his cage while the others stop to rest (and observe) as the composer explores his new freedom over the fretboard of his double bass. What did Eberhard use to create this distinctive, perhaps unique, sound that now becomes his signature? By the end of the sixth minute we've shifted back to some variations on the opening two themes (the Terry Riley minimalism and the plodding ocarina motif). Nice, engaging slow descending chord progressions carry this forward until Rainer's Fender Rhodes (and the ECM engineers) sweetly bridges us into a motif with piano and electric piano making harmonizing arpeggi in the upper registers. I like this section, all piano, very much. (I've always like Rainer Brüninghaus' piano play: his melodic choices have a real deep and profound connection to my soul!) In the 12th minute it feels as if he's starting to climb out of it: so cool! So beautiful. Again, I can see where Brian Eno and Harold Budd (and maybe Philip Glass) got some of their inspiration. The Terry Riley/Soft Machine "Out-Bloody-Rageous" section that ensues is pretty cool, and then it's followed by a sparse drum and percussion solo section that sounds greatly inspired by African and Caribbean instrument sounds and stylings--for a bout two minutes--before revolving back to the Terry Riley/Soft Machine-like motif. Marimba leads the next percussion section starting at 14:30 and then once more back to the Riley-Softs motif with bass, horn, and synths now participating in the weave--before yet another unexpected return to the ploddingly-slow ocarina motif at 16:05. More varied and developed recapitulations of previously exposed themes carry the tune to its end. Wow! What an odd, unusual ride!
Total time 40:07
While I am greatly appreciative of the creative sound and structural designs of Eberhard and, to a lesser extent, Manfred Eicher (I actually think his and engineers Martin Wieland and Kurt Rapp's editing is one of the more disappointing and detracting elements of these songs: they are no Teo Maceros), I do find the music of his successive albums, Yellow Fields, The Following Morning, and Fluid Rustle far more accessible and enjoyable. Still, Eberhard was 34-years old at the time of making this album: mature enough to know what he liked, as well as to compose some well-thought-out creations. This would be only the beginning of his peak period of masterful creations.
Recorded by Manfred Eicher for ECM Records on July 23-24 1974 at Studio Bauer, Ludwigsburg. I'm excited to hear what two bass players and two guitarists will bring to Gary's sonosphere.
A2. "Unfinished Sympathy" (3:03) a rather monotonous weave that starts out with some energy and fire as if promising a Mahvishnu-like "Meeting of Spirits" event. It's just not the right instrumental palette despite Gary, Mick, and Bob's best attempts: they're just not loud and/or fiery enough! (8.875/10)
A3. "Tunnel Of Love" (5:30) after a long introductory period of slightly discordant arpeggio playing from everybody individually, it comes as a bit of a shock to see/hear that Eberhard is given the second solo: for the final two minutes! The first one is all Gary but his solo fits in so well with the weave of the other musicians that you barely discern or differentiate. I really appreciate and like the extra accent work effort put in by Bob: the only support instrument that feels alive. (8.75/10)
A4. "Intrude" (4:47) the only song without Eberhard and Mick; hearing that it's a nearly-five-minute drum solo makes this make sense. It is, interestingly, a very "elegant" drum solo: never trying to impress with power, speed, or super-syncopation. It's just smooth and . . . elegant! (9.125/10)
B1. "Silent Spring" (10:37) a rather droning, plodding foundation is given to Eberhard to solo over the minimalist support on this Carla Bley composition. His now-trademark "underwater bass" is on full display while Gary, Steve, Pat, and Mick robot-walk through the one-chord support accompaniment for seven minutes until the crew stops to watch the UFO in the distance hover and fade away for a minute. Then the two guitarists re-enter for a bit before backing out to allow Eberhard pure solo time. He is a fine bassist, even managing to find interesting melodies and interesting uses of his echoey space, but really the song is nothing to write home about. Gary and the crew return in a minimal capacity at 9:30 to take us home using Eberhard's melody and minimalist chord structure. (The best part of the song.) (17.375/20)
B2. "The Colours Of Chloë" (7:12) Eberhard's lone contribution to the album may, in fact, be its crowning achievement. (Gary must have thought as much as the composer himself had built an entire solo album around it in recording sessions that occurred in the same studio at the end of the previous year!) As reviewed for the The Colours of Chloë album (above), the song starts out like something from a Brian Eno Ambient Music album--until, that is, 1:15 when the rest of the band jumps in with the immediate establishment of a very nicely-woven sprint out of the tunnel-gate. Great two-chord structure propelled by some great melodies and driving drum play. But it only lasts for 30-seconds before ceasing its sprint, resting with Gary and the guitars arpeggiating gently before the two basses jump in with their dual-combined presentation of the bass melody. In the fourth minute everybody settles back into a very pleasant, vibrant and melodic whole-band weave over which Gary solos. His solo is so perfect! So masterful and never ostentatious or flamboyant. At 4:30 the basses reiterate their main melody before allowing guitarist to launch into a solo. Excellent! Another dual bass bridge at 6:15 to segue into a gentle, dreamy motif of disintegration to finish it off. Excellent rendition of an already great song! The main difference between this one and Eberhard's original is the role given to the guitarists to replace the keyboards and Eberhard's bass being doubled up and not being bowed in the first section. Also, I like Bob Moses' drumming much better than that of Ralf Hübner and the rich vibrato filler that Gary's vibraphone renders in place of Rainer Brüninghaus' piano. (14.5/15)
Recorded in December of 1974 in Oslo's Arne Bendiksen Studio with Jan Erik Kongshaug sitting behind the engineering console, it was released during the following year by ECM--perhaps as late as September. Many consider this album as a defining moment--even one the crowning achievements--of Manfred Eicher's ECM label.
A1. "Oceanus" (10:58) a very cool, very fresh sound with Jon Christensen and Ralph Towner keeping busy on their respective instruments while Eberhard Weber almost drones away on his bowed electric bass (or cello) and Jan Garbarek fills the front with periodic exhalations from his sonorous tenor sax. The quartet amps up the intensity and volume a bit in the fifth minute before Ralph enters into a jazzy 12-string solo. I'm hard pressed to tell you whether or not the syncopated rhythm 12-string work is the same track with Ralph playing it all at once or whether there is a completely separate track dedicated explicitly to each (lead and rhythm). Jon Christensen's infinitely-nuanced cymbal and snare work is so patiently deployed, responding to Ralph's guitar work that it almost feels as if the two were joined at the brain. And Jan and Eberhard's contributions are so respectful, so reactive and ego-less. (I think that would be the quality I can claim to like best with regards to Jan's saxophone playing: his patient response to both external and internal "calls to action.") Brilliant and enjoyable song despite lacking much in the way of melody. (Weird to think that Eberhard's drone-like bass notes may have been the most melodic in the song--at least in terms of a Western sensibility of what is "melodic.") (18/20)
A2. "Visitation" (2:32) an exercise in Nature and primordial recreation. (4.333/5)
A3. "Drifting Petals" (6:56) Ralph on solo piano playing a playful, gentle, introspective pastoral tune is joined in the second minute by Jan's flute. In the third minute, drums, reverberated fretless electrified bass, and Ralph's 12-string guitar step forward to creepy-crawl an exercise in hypervigilance--one that each of these ECM masters are completely up to task. The whole-band dynamic interplay in the fifth minute--both loud and soft--provides a real emotional peak. And the return to gentle piano arpeggi and guitar flute for the final minute is a display of sheer perfection in symmetry. (13.75/15)
B2. "Winter Solstice" (3:58) Ralph playing near-Spanish style classical guitar with Jan meeting and matching him all along the way with his soprano sax. Man! These two are so in sync--so attuned! And both are definitely putting their full virtuosity on full display. Though I'm not such a fan of the melodies chosen/played by the two, I am so incredibly impressed by their astonishing timing in conveying them that I can't help but be won over. Standing ovations for this one! (9.75/10)
Total Time: 40:57
Line-up / Musicians:
- Eberhard Weber / double bass
- Charlie Mariano / soprano saxophone, flute
- Rainer Brüninghaus / piano, synthesizer
- John Marshall / drums
1. "Seriously Deep" (17:47) besides benefitting from the amazing talents of Eberhard and John Marshall in the rhythm section, Rainer Brüninghaus' performance is one of his finest--not only in support of Charlie Mariano's beautiful and fluid saxophone soloing, but in his solo as well. (It is probably important to point out at this juncture that the man was only in his late 20s at the time of these sessions.) The melodic choices of the chord progression and soloists' themes throughout the middle section of this (Rainer and Eberhard, predominantly) are so gorgeous that I find myself fighting to hold back the flow of my tears. And it just keeps building and building as John's drumming becomes more and more animated, as Charlie rejoins and starts to soar into the stratosphere with his wonderful melodies and style. I wish this section never had to end! (I never thought I'd ever be able to like soprano saxophone ) The insistent play of John and Eberhard continue to remain at a high output level while Rainer and Charlie trade solos, finally turning into a duel--an all out war--in the 14th and 15th minutes, only starting to peter out in the sixteenth (though John shows no signs of tiring) and then settling down into a soft, gentle afterglow for the 17th and 18th, slowly taking us out to its compositional end. (33/35)
2. "Silent Feet" (12:10) the song starts out slowly, with contemplative Eberhard and Rainer each soloing off of one another. The conversation seems to become more delicate for a bit while John steps in to play his supportive cymbals after the first two minutes. Then, as Rainer seems to be carving out some momentum with his piano melodies, John begins to lay down some very jazzed up rock drumming. Rainer's piano phrasing and chord selection seem so much more dynamic and confident than he did two years before. And Charlie Mariano seems to effortlessly carve out such (to me) beautiful, upbeat and positve melodies, that I find myself brimming with emotion (and my eyes with tears) as I listen and re-listen to this song. And then there's the amazing repeat-glitch motif that starts at the eight-minute mark--which John Marshall eventually takes advantage to add his creative cymbal play. But, disappointingly, in the 11th minute it develops into something more plodding, militaristic, and simplistic--almost pop musical like. The final minute is occupied with further development of this Mr. Rogers Neighborhood/"pop" theme by Rainer and Eberhard before drawing delicately to a close. (22.5/25)
Line-up / Musicians:
- Eberhard Weber / double bass
With:
- Rainer Brüninghaus / piano
- Philharmonic Orchestra, Oslo / French horn, oboe, cello
1. "T. On A White Horse" (10:52) (20/20)
2. "Moana I" (10:10) (20/20)
3. "The Following Morning" (12:04) far more spacious and less melodic and less flowing that the previous two rather lush and sweeping song. The piano and double bass are more bare and authentic sounding--more jazzy--and less processed and engineered--the very thing that makes the album's sound feel like proggy fusion. I have, however, grown to like this one. Rated down for so much "empty" space. (21.875/25)
4. "Moana II" (7:42) this one is just a weird variation of the other Moana--with Rainer doing things that make him sound bored and Eberhard sounding as if he's just trying anything that comes to mind--like the first practice session out which "Moana I" came. Kind of unpofessional sounding filler. (12.25/15)
Total time 40:48
The arrival of this music--including Side One, a "perfect" side (an all-too-rare feat)--caused a profound awakening, such a dramatic transformation in my listening adventures and tastes, that I will forever be indebted to Eberhard and Rainer. Side Two is, unfortunately, far below the level of breathtaking beauty and much more experimental with 'soundscapes' than Side Two. Otherwise, this would be one of my favorite albums of all-time.
Wait a minute! It still is! I just turn it off after "Moana I"!
NO DRUMS! What a joy! What a revelation: that music doesn't have to have a 'beat'--or that it doesn't have to be provided by a standard drum kit. Hail to Brian Eno for turning off the drums! Hail Peter Gabriel and his WOMAD! Hail to Bill Bruford and his Simmons electronic drum kit! Hail to Zakir Hussein and his non-Western percussion! Hail to Mickey Hart and his ethnic musicology! Hail to Glen Velez and his hand drums!
If you want a trip to some of the most beautiful, peaceful inner mindscapes you could ever imagine, program "T. on a White Horse" and "Moana I" to play and repeat, over and over and over. I call this blissful place heaven!
I also love the orchestral support throughout the first two songs (something sadly lacking on Side Two's offerings). I'm really having trouble giving this album less than five stars, for it is such an unusual music listening experience, yet, the third and fourth songs, as mentioned, are far less appealing and engaging than the transportive first two. "T. on a White Horse" and "Moana I" are, IMHO, an essential experience of the mastery of truly 'progressive' music. This will be one of those rare times when the pieces of an album will earn the album a high rating despite the true 'adjusted rating' of the whole.
Line-up / Musicians:
- Pat Metheny / 6- & 12-string electric guitars, 15-string harp guitar
With:
- Lyle Mays / piano
- Eberhard Weber / bass
- Danny Gottlieb / drums
1. "Watercolors" (6:30) thus begins Pat's settling into the guitar sounds and group soundscapes that have become signatory to him and his collaborations. Take this song to the 1987, 1997, or 2007 "Group" and they'd all say, "Yep. This is our sound." After only knowing Eberhard Weber for his underwater electric bass sounds for 40 years, I find it such a pleasure to hear him playing within the "confines" and expectations of a standard jazz combo. And here we have a nice introduction to Pat's life-long collaborating companion, the great Lyle Mays--here only on piano but what a great start! The melodies, skills, jazzy phrasings, and clarity of sound are such a delight to hear. While I find absolutely no fault with this song, it does not reach out and grab my heart the way many of Pat and Lyle's future tunes will. (9.333/10)
2. "Icefire" (6:08) solo Pat on his 15-string harp guitar, offering a glimpse into the eternally-curious sound-pioneering side of one of Jazz, Jazz-Rock Fusion, and progressive rock's most adventurous, creative, well-rounded, and skilled musicians. The strums of the harp chords get a little boring (thank goodness he takes a break from them in the mid-section of this), but the melody lines created by Pat's main fretboard are spellbinding and gorgeous--sometimes soul-crushingly so. (9.25/10)
4. "Lakes" (4:46) a nice, melodic jazz piece that previews many future masterpieces (as well as Bob James' work for Touchdown and "Angela"). The cohesion and timing of the whole quartet is actually quite remarkable and should be duly recognized. Lyle's piano solo in the middle is, unfortunately, the only detractor from such a whole-group achievement as his role within the mix seems much more important than the expression of his own melodic ideas, and, thereafter, the band never really re-congeals as it had for the first two minutes while Pat finishes the song in the spotlight. Too bad. Those first two minutes were quite magical. (9/10)
Recorded at Studio Barbarossa, Munich, May 25 & 26, 1976.
A2. "Estrelle" (9:51) a 90 second intro of descending double-steps from both Eberhard and Siggi set up Lala for a hard driving rhythm track over which Benny performs strongly as if he's channeling Freddie Hubbard! I guess he can play! Eberhard, Lala, and Siggi are all over the place in a really cool motif supporting Benny's long solo. At the four-minute mark Benny finally yields, to Siggi, who plays a fairly standard slightly-flanged jazz guitar solo. This dude is talented! Meanwhile, there is no rest for Eberhard and Lala as they continue to play beneath--until a quieter sixth minute when there is a subtle hand-off to Eberhard for his turn in the limelight. I like Siggi's Jan Akkerman-like rhythm support! All this while Benny must've gone out for a smoke cuz he doesn't return until the eight-minute mark when he steps back into the lead to take the song to its conclusion over the rhythm section's Disco beat. (18.3333/20)
Recorded February 1976 at Studio Barbarossa, München, Deutschland.
A2. "Fatima" (7:05) opens with Eberhard's bass exaggerating his fretless pitch-variance and some Middle Eastern percussion instruments (clay drums, big djembe-like drum) and saz (or oud) which evolves into more of a Middle Eastern jam (sans bass) in the middle. Eberhard returns toward the end, first as fretless bass player, then as neck-squeaker while the Arabic jam session intensifies and crescendos at the end. I love it! (13.75/15)
B2. "Thanks for Being Being" (5:05) more beauty and height-seeking emotion being led by Chris' flute and amply supported (and perhaps grounded a bit) by the others. The problem with this song is that it never really goes anywhere--never really achieves Nirvana. (8.875/10)
B3. "Do It Nice for Me" (5:35) a much more normal, if laid back Soul-Jazz piece that has some really comforting African-American textures, harmonic elements, and other tricks to make it sound like a seductive walk through late night Atlanta or something but then it goes into more rock 'n' roll jamming for the second half. I find myself thinking/feeling of the jazzy, late night smooth jazz side of Kool & The Gang, The Brothers Johnson as well as a jazzy jam by War. Inviting ambiance. Nice. (9/10)
B2. "A Pale Smile" (9:06) massive vibrato is applied to the opening sounds coming from Eberhard's bowed bass, Gary's vibraphone notes as well as Bill's guitar pickings. At 1:45 Bonnie and Norma's angelic "ah"s enter in chorded bursts that sound like the product of the future sampling of a Fairlight CMI. Then things empty out so that there is only Gary's vibraphone and Eberhard's bass. Aqueous bass and discordant vibraphone notes and chords are met by occasional notes from Bill but then everybody vacates to watch and listen to the maestro, Gary Burton, play tout seul on his plaintive vibes. At 6:12 Eberhard and Bill rejoin, Bill playing volume-controlled chords while Eberhard seems to wander to the harmonic edges of Gary's uinverse. The girls return with their pulsating vocal "ah"s tamped down a bit, eventually coaxing Gary and Bill back into the universe of that motif proffered in the second minute. The final 30 seconds sees a lovely little Celtic triangle of a melodic weave from bass and two voices. That was so cool! (18.25/20)
B3. "Visible Thoughts" (5:00) on this song the trio of outside-the-box thinkers just flit and float about as if they're each on their own private acid trip (though something in my gut leads me to suspect that none of the three were ever prone to drug or other mind-altering substance use or experimentation). At 2:45 the ladies return, singing cohesively in a way that mirrors some of the note and melody play of Gary's vibes but using the ethereal "ah" singing I usually associate with likes of Richard Wileman's KARDA ESTRA (Ileesha Bailey's Gothic-ghostly voicings). The trio then gather up in a really bizarre, almost nightmarish pattern for the final 75 seconds. Interesting! The weirdest and, perhaps, least accessible song on the album it is still quite fascinating. (8.875/10)
Total Time: 39:10
VOLKER KRIEGEL (and FRIENDS) Lift! (1973)
Recorded in March of 1973 (5th through 10th) and then released in June by MPS (advertised as "Most Perfect Sound" but actually an acronym for "Musik Produktion Schwarzwald" [due to its location in Villingen], Germany's premier producer of jazz music--comparable to the USA's Blue Note label). Despite band leader and chief composer Volker Kriegel's name atop the marquee, the album turns out to be a collaborative effort between an international lineup of superstars, with representatives from the UK, Poland, and Germany.
- Volker Kriegel / electric guitar, acoustic guitar
- Stan Sulzman / soprano saxophone, flute
- Zbigniew Seifert / electric violin
- John Taylor / electric piano
- Eberhard Weber / bass, cello, electric bass, bass guitar, ocarina (6)
- Cees See / percussion
- John Marshall / drums
1. "Lift!" (6:54) a mellow song to open the album leaves me curious about Volker's intentions here in 1973. There are some elements of this countrified song that feel inspired by some of the other softer Jazz-Rock Fusion masterpieces already floating around in the Jazz-Rock Fusion world--most specifically those of Chris Hinze and Michal Urbaniak. Nice melody expressed by Zbigniew Seifert at the end of the second minute before giving way to Volker's acoustic guitar solo. There is also a spirit of American jam band in this song--like something from the Grateful Dead or the Allman Brothers, even the Ozark Mountain Daredevils, but mostly Michal Urbaniak (minus Ula's vocalese). The band speeds up the tempo for the closing as the song is faded out as if through a building's air ventilation pipe system. (13.25/15)
2. "Three Or Two In One" (6:07) bearing some melodic similarities to some of the smoother songs of the early J-R F masterpieces: like Weather Report, Mahavishnu Orchestra, Michal Urbaniak, Caravan, and Hatfield and The North, the stripped down and laid back conga foundation and Eberhard Weber bass play give this a quite accessible feel despite its harmonic and chordal intricacies and jazzy electric guitar and electric piano performances. John Taylor's electric piano performance is akin to something Herbie or Chick might accomplish at this stage of their development (and sound palette explorations) and Zbigniew and Stan Seifert's play also definitely put them into the jazz department despite the easy listening friendliness of this music. (8.875/10)
3. "Forty Colours" (3:26) the first of three compositions attributed to Eberhard Weber (who plays a beautiful bowed cello as well as the electric bass on this), it opens with Volker's acoustic guitar and Zbigniew Siefert performing a plaintive melody together over John Taylor's soothing electric piano and John Marshall's delicate cymbal work. Volker is quite impressive with his speed runs on the acoustic as I hear a lot of similarities to songs by Michal Urbaniak and Jean-Luc Ponty. (9/10)
4. "A Piece With A Chord From A Yorkshire Terrier" (6:05) a cookin' if slightly mellow instrumental palette definitely qualifies as ramped up post bop with Eberhard's jazz virtuosic double bass play, John Marshall's solid drumming and John Taylor's space-filling electric piano work. Volker is really bringing it with those speedy blues runs in the first half with Stan Sulzman's sax and Zbigniew's violin providing main melody check ins every so often, and then Eberhard's amazing bass solo in the second half. What a great Jazz-Rock Fusion piece! (9/10)
5. "Electric Blue" (8:55) Eberhard's second song contribution makes me wonder, Which came first: this album and song or Italian band AREA's Arbeit Macht Frei? (The latter didn't come out until September--which means the Volker & Company's influences had to come from another funky source--perhaps Michal Urbaniak.) The best, funkiest, hardest rocking, most Power Jazz-Rock Fusion song on the album. Everybody is giving their absolute all to this one--especially Eberhard, John, and Stan. Great jazz musicianship! (19/20)
6. "The Lame Donkey" (2:40) the final composition credited to Volker's bassist, this is pretty much a little comfort piece involving bass guitar, gentle piano chords, and acoustic guitar playing beneath a repeating melody coming from what sounds like a synthesizer (which is uncredited but probably coming from John Taylor's right hand). (It turns out it's Eberhard playing an ocarina through some kind of reverb effect.) Volker's acoustic guitar lead work is rather sublime: so smooth and fluid. (9.125/10)
7. "Between The Seasons" (4:38) back to the gentle side of song construction with a palette of instrumental sounds that could easily spawn a BOB JAMES or Smooth Jazz album. Nice, enjoyable, if surprisingly easy and rather simplistic. (8.875/10)
8. "Blue Titmouse" (3:55) exploiting a couple of very 1960s pop rhythm tracks (think The Mamas & The Papas and The Carpenters), here everybody gets to lay it out like an instrumental practice for a Motown or soft R&B hit, especially Stan, Zbigniew, Eberhard, and Volker. Volker's Motown-like rhythm guitar is impressive for fitting this type of song in a "Shaft" and Junior Walker & The All-Stars kind of way. Eberhard can play some great Soul/R&B bass, Volker some cool, melodic and unobtrusive lead guitar. If John Marshall's drums were recorded better I might also enjoy his input. (8.875/10)
Total Time: 42:40
Total Time: 42:40
It turns out that this collection of songs is far more collaborative than some of Volker's more dynamic guitar-centric albums (thus the addition of the "and Friends" in the title--as noted on the album's own liner notes) which makes for some interesting, more spread out and "full" music palettes and outcomes.
90.53 on the Fishscales = A-/five stars; an excellent if slightly mellow minor masterpiece of gorgeous Jazz-Rock Fusion collaborative work. I love the way the spotlight is shared and how the quality and accessibility of the overall song is the top priority of each song outcome.
BADEN POWELL Grandezza on Guitar (1974)
Baden Powell de Aquino (1937-2000) was a Brasilian guitarist who is widely regarded as one of the, if not the, finest guitarists in Brasilian history. From 1968 to 1990 Baden lived in Europe, much of that time in the south of France in semi-retirement due to recurring health problems. This did not, obviously, prevent him from recording, as the prolific composer published no less than 35 albums during that period of his life. The Afro-Latin blend of musical styles that he pioneered and championed in the 1960s made him a perfect collaborator for many young and upcoming jazz and fusion musicians to learn from, thus Eberhard's participation on several of the albums that Baden recorded in Germany for CBS records. Of the four bassa nova-based Baden Powell albums that Eberhard contributed his acoustic double bass to, this one is both the one on which his participation is the most extensive as well as the one that shows the young bass player's confidence in adapting to a wide range of diversity. Almost all of the music on this lovely album remind me of Consuelo Velazquez' classic bolero song, "Bésame Mucho."
EBERHARD WEBER The Colours of Chloë (1974)
After a decade of learning and growing under the guidance and support of artists like Wolfgang Dauner, George Gruntz, Baden Powell, Art Van Damme, Stéphane Grappelli, Rolf Kuhn, Michael Naura, and Volker Kriegel, one of the jazz's most unique, most creative bass players in history finally strikes out on his own. Praise be ECM Records, Eberhard's new and now-forever label. The material for the album was recorded at the end of December, 1973, at Tonstudio Bauer in Ludwigsburg, specifically on December 31.
Line-up / Musicians:
- Eberhard Weber / double bass, cello, ocarina, vocals (choir)
With:
- Rainer Brüninghaus / piano, synth
- Ack van Rooyen / flugelhorn
- Südfunk Symphony Orchestra, Stuttgart / cello
- Peter Giger / drums, percussion
- Ralf Hübner / drums (2)
- Gisela Schäuble / vocals (choir)
1. "More Colours" (6:40) the minimalist orchestrated music with Eberhard's inventive "piccolo" bass techniques and Rainer Brünignhaus' piano ministrations, all of which they would perfect for Side One of The Following Morning but here only sound weird, separated, and not very melodic or pretty. (13.125/10)
2. "The Colours of Chloë" (7:45) cello, piano, and sounding like the inspiration for Brian Eno's first two or three Ambient Music records--until 1:40, that is, when cymbals, bass, and synth take over with a truly Jazz-Rock Fusion motif (despite having very little rhythm base--future Pat Metheny-like stuff). Then, at the end of the third minute piano and, later, bowed strings, provide a floating fabric for Eberhard to play his echoing double bass. Beautiful stuff that turns jazzier when Eberhard and Ralf Hübner's drums start playing a more traditional jazz rhythm track for Rainer to really go to work with some stunning modern jazz piano playing. A very cool and innovative song--both in structure and sound palette execution. Manfred Eicher's touch definitely counts for something, as well. (14/15)
3. "An Evening with Vincent van Ritz" (5:46) two minutes of moody bass and mid-range strings taking us through a repeated slow progression of four chords, over and over, as Gisela Schäube sings choir-like wordless vocalese over(within) the weave--until the two-minute mark when a dynamic jazz combo of Latin-infused drumming, wild-walking bass, and chord-hopping Fender Rhodes sets a motif up beneath the trumpet soloing of Ack van Rooyen. Though coordinated and together, each of the four musicians are quite adventurous and expressive in their performances, start to finish, but then at 5:08 we're cut back into the opening motif as if the middle jazz combo section never happened. Weird. One song inside another. (8.875/10)
4. "No Motion Picture" (19:56) opens as if Eberhard and Rainer had been a part of Terry Riley's 1960s experimental adventures into what we now call Minimalism. A minute is given to each round of the presented motif and then it's like they just push the reset/restart button--until 2:30 when everybody takes a sudden left turn into a plodding Fender Rhodes chord progression beneath which Peter Giger provides wave-like cymbal crashes and some kind of flute/recorder sound (it's Eberhard's ocarina!) generates an airy near-droning lead melody up top. At 3:45 Eberhard is let out of his cage while the others stop to rest (and observe) as the composer explores his new freedom over the fretboard of his double bass. What did Eberhard use to create this distinctive, perhaps unique, sound that now becomes his signature? By the end of the sixth minute we've shifted back to some variations on the opening two themes (the Terry Riley minimalism and the plodding ocarina motif). Nice, engaging slow descending chord progressions carry this forward until Rainer's Fender Rhodes (and the ECM engineers) sweetly bridges us into a motif with piano and electric piano making harmonizing arpeggi in the upper registers. I like this section, all piano, very much. (I've always like Rainer Brüninghaus' piano play: his melodic choices have a real deep and profound connection to my soul!) In the 12th minute it feels as if he's starting to climb out of it: so cool! So beautiful. Again, I can see where Brian Eno and Harold Budd (and maybe Philip Glass) got some of their inspiration. The Terry Riley/Soft Machine "Out-Bloody-Rageous" section that ensues is pretty cool, and then it's followed by a sparse drum and percussion solo section that sounds greatly inspired by African and Caribbean instrument sounds and stylings--for a bout two minutes--before revolving back to the Terry Riley/Soft Machine-like motif. Marimba leads the next percussion section starting at 14:30 and then once more back to the Riley-Softs motif with bass, horn, and synths now participating in the weave--before yet another unexpected return to the ploddingly-slow ocarina motif at 16:05. More varied and developed recapitulations of previously exposed themes carry the tune to its end. Wow! What an odd, unusual ride!
The most striking thing about this 20-minute song is how odd and hodge-podged all of the various expositions, developments, and recapitulations of the movements are; it's just like a symphony, only a weird one! I like it--very much--though I think they could have improved a few parts (why ocarina?) My favorite movement is, however, the five minutes in the middle (~7:00 to 12:00) when Rainer Brüninghaus is alone (with himself). (36.75/40)
Total time 40:07
While I am greatly appreciative of the creative sound and structural designs of Eberhard and, to a lesser extent, Manfred Eicher (I actually think his and engineers Martin Wieland and Kurt Rapp's editing is one of the more disappointing and detracting elements of these songs: they are no Teo Maceros), I do find the music of his successive albums, Yellow Fields, The Following Morning, and Fluid Rustle far more accessible and enjoyable. Still, Eberhard was 34-years old at the time of making this album: mature enough to know what he liked, as well as to compose some well-thought-out creations. This would be only the beginning of his peak period of masterful creations.
90.333 on the Fishscales = A-/4.5 stars; a minor masterpiece of boundary-pushing Jazz-Rock Fusion. The Colours of Chloë is one of my 100 favorite Jazz-Rock Fusion albums of the "Classic Era."
THE GARY BURTON QUINTET WITH EBERHARD WEBER Ring (1974)
Recorded by Manfred Eicher for ECM Records on July 23-24 1974 at Studio Bauer, Ludwigsburg. I'm excited to hear what two bass players and two guitarists will bring to Gary's sonosphere.
Line-up / Musicians:
- Gary Burton / vibraphone
- Steve Swallow / bass
- Pat Metheny / guitar
- Bob Moses / percussion (drums)
With:
- Eberhard Weber / bass (tracks: A1 to A3, B1, B2)
- Mick Goodrick / guitar (tracks: A1 to A3, B1, B2)
A1. "Mevlevia" (6:01) this one starts with a weave of gently-played instrumentalists sounding as if they're presenting some background music for one of Mr. Roger's skits with King Friday. At 0:50 it evolves into something a bit more sophisticated with some great interplay between Eberhard and Steve, between Gary and the two guitarists. Song composer Mick Goodrick's solo in the fourth minute is nice. (8.7510)
A2. "Unfinished Sympathy" (3:03) a rather monotonous weave that starts out with some energy and fire as if promising a Mahvishnu-like "Meeting of Spirits" event. It's just not the right instrumental palette despite Gary, Mick, and Bob's best attempts: they're just not loud and/or fiery enough! (8.875/10)
A3. "Tunnel Of Love" (5:30) after a long introductory period of slightly discordant arpeggio playing from everybody individually, it comes as a bit of a shock to see/hear that Eberhard is given the second solo: for the final two minutes! The first one is all Gary but his solo fits in so well with the weave of the other musicians that you barely discern or differentiate. I really appreciate and like the extra accent work effort put in by Bob: the only support instrument that feels alive. (8.75/10)
A4. "Intrude" (4:47) the only song without Eberhard and Mick; hearing that it's a nearly-five-minute drum solo makes this make sense. It is, interestingly, a very "elegant" drum solo: never trying to impress with power, speed, or super-syncopation. It's just smooth and . . . elegant! (9.125/10)
B1. "Silent Spring" (10:37) a rather droning, plodding foundation is given to Eberhard to solo over the minimalist support on this Carla Bley composition. His now-trademark "underwater bass" is on full display while Gary, Steve, Pat, and Mick robot-walk through the one-chord support accompaniment for seven minutes until the crew stops to watch the UFO in the distance hover and fade away for a minute. Then the two guitarists re-enter for a bit before backing out to allow Eberhard pure solo time. He is a fine bassist, even managing to find interesting melodies and interesting uses of his echoey space, but really the song is nothing to write home about. Gary and the crew return in a minimal capacity at 9:30 to take us home using Eberhard's melody and minimalist chord structure. (The best part of the song.) (17.375/20)
B2. "The Colours Of Chloë" (7:12) Eberhard's lone contribution to the album may, in fact, be its crowning achievement. (Gary must have thought as much as the composer himself had built an entire solo album around it in recording sessions that occurred in the same studio at the end of the previous year!) As reviewed for the The Colours of Chloë album (above), the song starts out like something from a Brian Eno Ambient Music album--until, that is, 1:15 when the rest of the band jumps in with the immediate establishment of a very nicely-woven sprint out of the tunnel-gate. Great two-chord structure propelled by some great melodies and driving drum play. But it only lasts for 30-seconds before ceasing its sprint, resting with Gary and the guitars arpeggiating gently before the two basses jump in with their dual-combined presentation of the bass melody. In the fourth minute everybody settles back into a very pleasant, vibrant and melodic whole-band weave over which Gary solos. His solo is so perfect! So masterful and never ostentatious or flamboyant. At 4:30 the basses reiterate their main melody before allowing guitarist to launch into a solo. Excellent! Another dual bass bridge at 6:15 to segue into a gentle, dreamy motif of disintegration to finish it off. Excellent rendition of an already great song! The main difference between this one and Eberhard's original is the role given to the guitarists to replace the keyboards and Eberhard's bass being doubled up and not being bowed in the first section. Also, I like Bob Moses' drumming much better than that of Ralf Hübner and the rich vibrato filler that Gary's vibraphone renders in place of Rainer Brüninghaus' piano. (14.5/15)
Total time: 37:10
I will commend band leader Burton for his composure and command: he leads with confidence and simplicity, needing no flare or panache to make his statements; he's just there, ubiquitous and detached to the competitive urges of his youthful collaborators. A great master and mentor. The fact of the compositional credits for three of the songs going to Gary's great friend and collaborator, conductor/composer Michael Gibbs helps explain the full-spectrum orchestra-like soundscapes achieved by the Quintet + one. (With six musicians contributing to every song but Bob Moses' solo drum tune, "Intrude," I'm not quite sure who exactly is in the "quintet.")
89. 8333 on the Fishscales = B+/4.5 stars; a near-masterpiece of exploratory Jazz-Rock Fusion that could've been better with a little more dynamic variety and enthusiasm on the front end. The cover of Eberhard's own composition, "The Colours of Spring," is, however, be worth the time and listen.
RALPH TOWNER Solstice (1975)
Recorded in December of 1974 in Oslo's Arne Bendiksen Studio with Jan Erik Kongshaug sitting behind the engineering console, it was released during the following year by ECM--perhaps as late as September. Many consider this album as a defining moment--even one the crowning achievements--of Manfred Eicher's ECM label.
Line-up / Musicians:
- Ralph Towner / 12-string guitar, classical guitar, piano
- Eberhard Weber / cello, bass instrument
- Jan Garbarek / flute, soprano saxophone, tenor saxophone
- Jon Christensen / drums, percussion
- Eberhard Weber / cello, bass instrument
- Jan Garbarek / flute, soprano saxophone, tenor saxophone
- Jon Christensen / drums, percussion
A2. "Visitation" (2:32) an exercise in Nature and primordial recreation. (4.333/5)
A3. "Drifting Petals" (6:56) Ralph on solo piano playing a playful, gentle, introspective pastoral tune is joined in the second minute by Jan's flute. In the third minute, drums, reverberated fretless electrified bass, and Ralph's 12-string guitar step forward to creepy-crawl an exercise in hypervigilance--one that each of these ECM masters are completely up to task. The whole-band dynamic interplay in the fifth minute--both loud and soft--provides a real emotional peak. And the return to gentle piano arpeggi and guitar flute for the final minute is a display of sheer perfection in symmetry. (13.75/15)
B1. "Nimbus" (6:25) here is where I see fodder and inspiration for Pat Metheny's own solo acoustic guitar work. My favorite song on the album: it's absolutely gorgeous music. After 2:30 of exquisite solo acoustic guitar work the band is slowly coaxed into joining Ralph: first Jan's flute, then a slow entry of Jon' beautifully nuanced drumming, along with more tracks of Ralph's guitars and two tracks of Eberhard: one on bowed cello and one on upright double bass. Once full speed has been reached Ralph's awesome 12-string play is met face-to-face with Eberhard's dynamic double bass play and the entry of Jan's perfectly-balancing tenor sax. I don't always like Jan's work (or that of any saxophonist) but this is amazing--and powerful! Great, rousing band interplay over the course of those final couple minutes. Wonderful music even acoustic musicians can make thanks to the magic of multi-tracking! (10/10)
B2. "Winter Solstice" (3:58) Ralph playing near-Spanish style classical guitar with Jan meeting and matching him all along the way with his soprano sax. Man! These two are so in sync--so attuned! And both are definitely putting their full virtuosity on full display. Though I'm not such a fan of the melodies chosen/played by the two, I am so incredibly impressed by their astonishing timing in conveying them that I can't help but be won over. Standing ovations for this one! (9.75/10)
B3. "Piscean Dance" (3:33) funk in acoustic jazz?!? Jon Christensen and Ralph are definitely trying their best to demonstrate its possibility! Definitely a song that both impresses and endears both artists to me even more. (9.3333/10)
B4. "Red And Black" (1:12) electric guitar, volume-controlled whale sounds from Eberhard's electrified bass, and Ralph's acoustic guitar explorations--all coming together as if purely intended as an exploration of a certain sound possibility. (4.375/5)
B5. "Sand" (4:07) droning (and, probably, heavily-effected) sustained bowed cello notes joined by double bass notes with soprano sax splatterings and, eventually, Jon's funky drum play and effected 12-string guitar strums and gentle pickings all come together to create a sound palette that sounds remarkably similar to that which Corrado Rustici, Elio D'Anna, Percy Jones, Renato Rosset, and Narada Michael Walden will be creating for their 1976 NOVA album, Vimana. (9.33333/10)
Total Time: 40:57
I am emotionally and mentally blown away by the music Ralph and his virtuosic friends (and Manfred Eicher's production crew at ECM) have created for this album! I'm still blown away that they could create funk music without the employment of any electronic instruments!
92.79 on the Fishscales = A/five stars; a masterpiece of some of the finest, most creative guitar-centered acoustic jazz you are likely to ever hear. Definitely one of my favorite Jazz-Rock Fusion albums from the 1970s.
2. "Sand-Glass" (15:40) with a tuned percussion melody that sounds Gamelan (and, thus, marimba), Jon, Eberhard, and Rainer create a peaceful if-oddly-melodized foundation within which bass, Fender Rhodes, soprano sax, and even Jon's cymbal work have plenty of room to add infinitely creative and never-overdone flourishes, flashes, nuances, undertones and overtones. At the end of the fifth minute Charlie switches to the nasally sound of the shehnai for his soloing for about two and a half minutes. Then it's back to his soprano sax--here doubled up--before giving way to Rainer's Fender Rhodes. The creative, fluid play of Eberhard on his underwater bass is so unusual--and yet prepares one for the sounds and stylings he dominates with on his next album, The Following Morning (my favorite of his). Jon Christensen really shines in this section of the song: truly playing off of his band mates and their own expressions of fervor and subtlety. The style subtly shifts over the course of the 12th minute as Eberhard and Jon change their approach to more of a straightforward rock-like bass-and-drum team approach while Rainer continues his almost-too-subtle/gentle Fender Rhodes play. (He really could have stepped up more--or the engineers could have mixed him in front of the cymbals, Gamelan marimba, and bass instead of burying him in the back. A pretty decent composition that shows some of the exploration Eberhard was into at the time--and which he will improve upon/perfect on future albums. (26.5/30)
GARY BURTON Passengers (1977)
A2. "Nacada" (4:11) it's nice, it's gentle, it's a Pat Metheny composition! The two bass players are prominent, getting to do their own thing, but it's just a little too soporific. (8.75/10)
A3. "The Whopper" (5:28) a song that sounds a lot like a Pat Metheny composition (because it is). I like the effort to make this one complex, sophisticated, and nuanced, with both bass players playing important roles, though Gary's vibraphone gets the lion's share of the lead time. In the fourth minute we get one of the first great Pat Metheny solos! Weird that it's opposed by Eberhard's own meanderings. (It doesn't work well; I try to block out Eberhard's work.) It does have hints of some of Pat's amazingly memorable melodies despite the syncopated sophistication. (8.875/10)
B1. "B & G (Midwestern Night's Dream)" (8:23) the third and final Pat Metheny composition is more pensive and cerebral with some pretty sophisticated (and unusual) chord progressions. I think the first solo is going to Steve Swallow, though it could be a tamed Eberhard. Pat's own solo starts in the middle of the fourth minute and it's another good one. Gary's solo comes next. He just makes it sound so easy--like he doesn't care how impressive it is so long as he feels comfortable in it. (17.75/20)
B2. "Yellow Fields" (6:58) of course a cover of an Eberhard Weber song (his last album released was titled after it), the first 2:30 is just a show for the composer but then they bust out a great smooth moving motif in which every one is involved in the fully-texturized weave. Pat gets the next solo--one of his Missouri specials with clever chord progressions mixed with unusual legato runs. A whole band bridge signals Gary's turn. Here Steve Swallow really gets to show his stuff while Pat and Danny support solidly but rather quietly. The whole band kind of takes us out by carrying the main melody to the finish. (13.25/15)
B3. "Claude and Betty" (6:16) unpredictable (perhaps mathematical) jazz chord progressions that the band expresses on this Steve Swallow composition, while Pat, Eberhard, and Gary embellish slightly over the top (as if adding a little something extra while still working from within the construct). Interesting. (8.875/10)
92.79 on the Fishscales = A/five stars; a masterpiece of some of the finest, most creative guitar-centered acoustic jazz you are likely to ever hear. Definitely one of my favorite Jazz-Rock Fusion albums from the 1970s.
EBERHARD WEBER Yellow Fields (1976)
With the creation of 1976's Yellow Fields (which was recorded in September of 1975) we find Eberhard returning to a jazz combo/quartet format for the exposition of the exploration of his rather unique musical ideas. It helps that he has chosen three of my very, very favorite European jazz and Jazz-Rock Fusion musicians as his collaborators.
Line-up / Musicians:
- Eberhard Weber / double bass
With:
- Charlie Mariano / soprano saxophone, shehnai, nadaswaram
- Rainer Brüninghaus / piano, synth
- Jon Christensen / drums
Line-up / Musicians:
- Eberhard Weber / double bass
With:
- Charlie Mariano / soprano saxophone, shehnai, nadaswaram
- Rainer Brüninghaus / piano, synth
- Jon Christensen / drums
1. "Touch" (4:58) I am not usually much of a fan of the saxophone but Charlie Mariano has a rare gift for playing with sound and style that rarely irks my sensitive nervous system. Eberhard's underwater bass is the second most attention-grabbing performer here while Rainer and Jon do excellent work holding down the rhythmic foundation of an eminently-enjoyable song. (9.3333/10)
2. "Sand-Glass" (15:40) with a tuned percussion melody that sounds Gamelan (and, thus, marimba), Jon, Eberhard, and Rainer create a peaceful if-oddly-melodized foundation within which bass, Fender Rhodes, soprano sax, and even Jon's cymbal work have plenty of room to add infinitely creative and never-overdone flourishes, flashes, nuances, undertones and overtones. At the end of the fifth minute Charlie switches to the nasally sound of the shehnai for his soloing for about two and a half minutes. Then it's back to his soprano sax--here doubled up--before giving way to Rainer's Fender Rhodes. The creative, fluid play of Eberhard on his underwater bass is so unusual--and yet prepares one for the sounds and stylings he dominates with on his next album, The Following Morning (my favorite of his). Jon Christensen really shines in this section of the song: truly playing off of his band mates and their own expressions of fervor and subtlety. The style subtly shifts over the course of the 12th minute as Eberhard and Jon change their approach to more of a straightforward rock-like bass-and-drum team approach while Rainer continues his almost-too-subtle/gentle Fender Rhodes play. (He really could have stepped up more--or the engineers could have mixed him in front of the cymbals, Gamelan marimba, and bass instead of burying him in the back. A pretty decent composition that shows some of the exploration Eberhard was into at the time--and which he will improve upon/perfect on future albums. (26.5/30)
3. "Yellow Fields" (10:05) I hear a LOT of CHICK COREA and RETURN TO FOREVER in the structure and performances of this song--especially from Rainer and Jon; Eberhard and Charlie sound more like they're from WEATHER REPORT. Therefore, I call this a clever merger of the two, something that could only be managed by four absolute virtuosos of their instruments--which we have here. The only thing really missing from this tune are hooks that anchor themselves in the listener's memory. (17.75/20)
4. "Left Lane" (13:35) with extended sections with only Rainer and Eberhard playing with and off of each other, this one really preps the listener for the duo's next album, The Following Morning on which there will be no drumming, loads of lush orchestration, as well as plenty of areas, like this, where the two are left alone in a large, starkly-empty space. Eberhard convinces Rainer to back down from an extended solo with the establishment of a structured bass line that ushers Jon and Charlie back into the jazz mix, with Charlie taking the lead with his rapid-fire spewing of notes on his soprano sax. At the ten-minute mark Charlie relinquishes the lead for Rainer's Fender Rhodes. It's a nice solo, egged on by Jon and Eberhard's flawless though relentless encouragement. Nice. Charlie returns to a subdued lead for the final ninety seconds, being joined in the last minute by tracks of his nadaswaram and shehnai until the song's slow final fadeout. (26.66667/30)
Total time 44:18
Total time 44:18
89.1667 on the Fishscales = B+/four stars; an excellent addition to any Jazz or Jazz-Rock Fusion lover's music collections. Recommended if mostly for the magnificent displays of virtuosity from all four of the contributors.
Recorded in November 1976 at Talent Studio, Oslo, by Manfred Eicher for January 1977 ECM release.
Line-up / Musicians:
- Gary Burton / vibraharp
- Pat Metheny / electric guitar
- Steve Swallow / bass guitar
- Dan Gottlieb / drums
- Eberhard Weber / bass- Pat Metheny / electric guitar
- Steve Swallow / bass guitar
- Dan Gottlieb / drums
A1. "Sea Journey" (9:15) a Chick Corea composition performed quite solidly but not quite hooking the listener into loving it. (17.75/20)
A2. "Nacada" (4:11) it's nice, it's gentle, it's a Pat Metheny composition! The two bass players are prominent, getting to do their own thing, but it's just a little too soporific. (8.75/10)
A3. "The Whopper" (5:28) a song that sounds a lot like a Pat Metheny composition (because it is). I like the effort to make this one complex, sophisticated, and nuanced, with both bass players playing important roles, though Gary's vibraphone gets the lion's share of the lead time. In the fourth minute we get one of the first great Pat Metheny solos! Weird that it's opposed by Eberhard's own meanderings. (It doesn't work well; I try to block out Eberhard's work.) It does have hints of some of Pat's amazingly memorable melodies despite the syncopated sophistication. (8.875/10)
B1. "B & G (Midwestern Night's Dream)" (8:23) the third and final Pat Metheny composition is more pensive and cerebral with some pretty sophisticated (and unusual) chord progressions. I think the first solo is going to Steve Swallow, though it could be a tamed Eberhard. Pat's own solo starts in the middle of the fourth minute and it's another good one. Gary's solo comes next. He just makes it sound so easy--like he doesn't care how impressive it is so long as he feels comfortable in it. (17.75/20)
B2. "Yellow Fields" (6:58) of course a cover of an Eberhard Weber song (his last album released was titled after it), the first 2:30 is just a show for the composer but then they bust out a great smooth moving motif in which every one is involved in the fully-texturized weave. Pat gets the next solo--one of his Missouri specials with clever chord progressions mixed with unusual legato runs. A whole band bridge signals Gary's turn. Here Steve Swallow really gets to show his stuff while Pat and Danny support solidly but rather quietly. The whole band kind of takes us out by carrying the main melody to the finish. (13.25/15)
B3. "Claude and Betty" (6:16) unpredictable (perhaps mathematical) jazz chord progressions that the band expresses on this Steve Swallow composition, while Pat, Eberhard, and Gary embellish slightly over the top (as if adding a little something extra while still working from within the construct). Interesting. (8.875/10)
Total time: 40:31
I think Pat and Eberhard are moving beyond simple melodic hooks and definitely beyond groove music: they've become fully-matured jazz musicians with fully-matured jazz minds. Thus there is a lot more challenging music in this album, less easy-listening earworms and hooks than what we've been hearing in Gary Burton Quartet music up to this point. It is, therefore, no small surprise to me that this becomes the last album to use these artists--that Pat and Danny would move off to pair up with Lyle Mays and Mark Egan while Eberhard would move more toward exploring his symphonic/concerto/sonata/chamber-like music that he explored on The Following Morning.
88.53 on the Fishscales = B/four stars; an excellent album of exceedingly cerebral jazz music that sees all of the Gary's protegés being drawn away from the more-accessible Smooth Jazz or Jazz-Rock Fusion formats that he believes in and supports. For a time they are going to move into the center of Jazz.
88.53 on the Fishscales = B/four stars; an excellent album of exceedingly cerebral jazz music that sees all of the Gary's protegés being drawn away from the more-accessible Smooth Jazz or Jazz-Rock Fusion formats that he believes in and supports. For a time they are going to move into the center of Jazz.
EBERHARD WEBER Silent Feet (1977)
A second quartet pulled together by Eberhard for some November recording dates in Ludwigsburg include previous quartet collaborators Rainer Brüninghaus and Charlie Mariano as well as Nucleus/The Soft Machine drummer John Marshall sitting in the place occupied by Jon Christensen on the previous year's Yellow Fields.
Line-up / Musicians:
- Eberhard Weber / double bass
- Charlie Mariano / soprano saxophone, flute
- Rainer Brüninghaus / piano, synthesizer
- John Marshall / drums
2. "Silent Feet" (12:10) the song starts out slowly, with contemplative Eberhard and Rainer each soloing off of one another. The conversation seems to become more delicate for a bit while John steps in to play his supportive cymbals after the first two minutes. Then, as Rainer seems to be carving out some momentum with his piano melodies, John begins to lay down some very jazzed up rock drumming. Rainer's piano phrasing and chord selection seem so much more dynamic and confident than he did two years before. And Charlie Mariano seems to effortlessly carve out such (to me) beautiful, upbeat and positve melodies, that I find myself brimming with emotion (and my eyes with tears) as I listen and re-listen to this song. And then there's the amazing repeat-glitch motif that starts at the eight-minute mark--which John Marshall eventually takes advantage to add his creative cymbal play. But, disappointingly, in the 11th minute it develops into something more plodding, militaristic, and simplistic--almost pop musical like. The final minute is occupied with further development of this Mr. Rogers Neighborhood/"pop" theme by Rainer and Eberhard before drawing delicately to a close. (22.5/25)
3. "Eyes That Can See In The Dark" (12:19) there's that ocarina again! or is it an Indian flute? Both! accompanied by percussion noises coming from scratchings inside the body of a piano as well as those from odd metal percussion before real piano, real saxophone, real bass and bowed bass, and real cymbals from a drum kit set up take over the provision of slowly-developing, slow-played melody of long-held notes and delicate cymbal play in support. Finally, at 5:20, Rainer's piano and John's cymbal pattern signal a turn into some real jazz, which is joined by Eberhard's buoyant and bubbly "underwater" fretless double bass play. Rainer's play is beautiful but it is Eberhard's unusual and unique phrasings that pull on the listener's attention. Charlie finally re-enters at the eight-minute mark with a gorgeous soprano saxophone melody that is doubled up by Rainer's piano. John's drum play--especially the snare--is a bit too rock 'n' roll for me--especially as Charlie goes soaring into the stratosphere à la Jerome Richardson on Gino Vannelli's "Storm at Sunup." I love how beautifully-melodic all of the musicians stay with and in support of Charlie's wonderful play. Now this is the kind of jazz I can get into and really enjoy! At 11:15 John cuts out and Eberhard moves to bowing technique as the band return to long-held note play to the finish. There are some real exuberant and joy-filled parts of this song--especially when Charlie is flying around on his sax--and then there are the "artful" patches of theme-suiting play that was obviously created for theatric effect (the two-minute intro). Overall, I come away with a very positive feeling--having thoroughly enjoyed the six minutes of upbeat, uptempo, beautifully-melodic in the second half--especially the Charlie Mariano-led section. My favorite piece on the album. (23/25)
Total time 42:16
Total time 42:16
It feels as if there has been significant maturation of the playing styles of Charlie, Rainer, and Eberhard in the two years since their previous quartet album, Yellow Fields, sessions. As much as I love the drumming of John Marshal with Nucleus and The Soft Machine, and as awesome as he is on the opening song, "Seriously Deep," I think Jon Christensen was a better fit for Eberhard's music. And yet, as a whole, I love the use of so many more-accessible melodies and themes on this album. I do have to add the approbatory comment that I can think of few jazz or predominantly-jazz albums that I've heard in my lifetime in which the whole-band's melodic sensibilities connects with me, personally, as well as this one. Though each long suite is jinxed by less-than-pleasing parts, the overall impression left on me after each listening of this album (or even each of its individual songs) is one of joy, excitement, and exhilaration, which says something, right? What's more, these sentiments have only increased with each and every listen to the music--with headphones and without! Could this be my favorite Eberhard Weber album of all-time? Until recently, I'd never even given much of a chance to any of Eberhard's albums because of my undying and devoted love of The Following Morning, but hearing his performances as a sideman on those
92.35 on the Fishscales = A/five stars; a masterpiece of mature and calculated Jazz-Rock Fusion that comes across as something totally fresh and unique. What a great trio are Eberhard Weber, Rainer Brüninghaus, and Charlie Mariano! True simpaticos! One of my Top 25 Jazz-Rock Fusion albums of the movement's Fourth Wave, what became known as the "Smooth Jazz" takeover.
EBERHARD WEBER The Following Morning (1977)
My first exposure to the liquid bass sound of European jazz great Eberhard Weber. Side One of this album has been a mainstay fixture in my life since 1979, harboring two absolutely perfect songs, rendering its whole as that incredibly rare phenomenon: a perfect side.
- Eberhard Weber / double bass
With:
- Rainer Brüninghaus / piano
- Philharmonic Orchestra, Oslo / French horn, oboe, cello
1. "T. On A White Horse" (10:52) (20/20)
2. "Moana I" (10:10) (20/20)
3. "The Following Morning" (12:04) far more spacious and less melodic and less flowing that the previous two rather lush and sweeping song. The piano and double bass are more bare and authentic sounding--more jazzy--and less processed and engineered--the very thing that makes the album's sound feel like proggy fusion. I have, however, grown to like this one. Rated down for so much "empty" space. (21.875/25)
4. "Moana II" (7:42) this one is just a weird variation of the other Moana--with Rainer doing things that make him sound bored and Eberhard sounding as if he's just trying anything that comes to mind--like the first practice session out which "Moana I" came. Kind of unpofessional sounding filler. (12.25/15)
Total time 40:48
The arrival of this music--including Side One, a "perfect" side (an all-too-rare feat)--caused a profound awakening, such a dramatic transformation in my listening adventures and tastes, that I will forever be indebted to Eberhard and Rainer. Side Two is, unfortunately, far below the level of breathtaking beauty and much more experimental with 'soundscapes' than Side Two. Otherwise, this would be one of my favorite albums of all-time.
Wait a minute! It still is! I just turn it off after "Moana I"!
NO DRUMS! What a joy! What a revelation: that music doesn't have to have a 'beat'--or that it doesn't have to be provided by a standard drum kit. Hail to Brian Eno for turning off the drums! Hail Peter Gabriel and his WOMAD! Hail to Bill Bruford and his Simmons electronic drum kit! Hail to Zakir Hussein and his non-Western percussion! Hail to Mickey Hart and his ethnic musicology! Hail to Glen Velez and his hand drums!
If you want a trip to some of the most beautiful, peaceful inner mindscapes you could ever imagine, program "T. on a White Horse" and "Moana I" to play and repeat, over and over and over. I call this blissful place heaven!
I also love the orchestral support throughout the first two songs (something sadly lacking on Side Two's offerings). I'm really having trouble giving this album less than five stars, for it is such an unusual music listening experience, yet, the third and fourth songs, as mentioned, are far less appealing and engaging than the transportive first two. "T. on a White Horse" and "Moana I" are, IMHO, an essential experience of the mastery of truly 'progressive' music. This will be one of those rare times when the pieces of an album will earn the album a high rating despite the true 'adjusted rating' of the whole.
91.40 on the Fishscales = A-/five stars; a minor masterpiece of pristine jazz-rock fusion. For me, The Following Morning represents the absolute peak of the wonderful Weber-Brüninghaus-ECM relationship. Yet another of my Top 25 favorite Jazz-Rock Fusion albums from the movement's Fourth Wave.
PAT METHENY Watercolors (1977)
The first glimmers of Pat Metheny Group patterns and behavior: welcome Lyle Mays and Danny Gottlieb into Pat's rather idyllic world! Welcome Pat and Lyle to the world of Manfred Eicher's ECM magic! Thank you, Eberhard for your presence and wizardry. Behold: a masterpiece of Jazz-Rock Fusion that portends a vein of the Domain that manages to remain true to the spirit of the founders and creators of the sub-genre.
- Pat Metheny / 6- & 12-string electric guitars, 15-string harp guitar
With:
- Lyle Mays / piano
- Eberhard Weber / bass
- Danny Gottlieb / drums
1. "Watercolors" (6:30) thus begins Pat's settling into the guitar sounds and group soundscapes that have become signatory to him and his collaborations. Take this song to the 1987, 1997, or 2007 "Group" and they'd all say, "Yep. This is our sound." After only knowing Eberhard Weber for his underwater electric bass sounds for 40 years, I find it such a pleasure to hear him playing within the "confines" and expectations of a standard jazz combo. And here we have a nice introduction to Pat's life-long collaborating companion, the great Lyle Mays--here only on piano but what a great start! The melodies, skills, jazzy phrasings, and clarity of sound are such a delight to hear. While I find absolutely no fault with this song, it does not reach out and grab my heart the way many of Pat and Lyle's future tunes will. (9.333/10)
2. "Icefire" (6:08) solo Pat on his 15-string harp guitar, offering a glimpse into the eternally-curious sound-pioneering side of one of Jazz, Jazz-Rock Fusion, and progressive rock's most adventurous, creative, well-rounded, and skilled musicians. The strums of the harp chords get a little boring (thank goodness he takes a break from them in the mid-section of this), but the melody lines created by Pat's main fretboard are spellbinding and gorgeous--sometimes soul-crushingly so. (9.25/10)
3. "Oasis" (4:05) Pat opens this one by creating mirage-like waves with the finger-picking arpeggios of his 12-string guitar chords while Lyle and Eberhard support from beneath with ever-so-delicate sound waves that sound like plaintive animal cries. As nature-imitative as any music you-ll ever hear: befitting of Mark Isham's Never Cry Wolf soundtrack or something to accompany any desert videography. (9.75/10)
4. "Lakes" (4:46) a nice, melodic jazz piece that previews many future masterpieces (as well as Bob James' work for Touchdown and "Angela"). The cohesion and timing of the whole quartet is actually quite remarkable and should be duly recognized. Lyle's piano solo in the middle is, unfortunately, the only detractor from such a whole-group achievement as his role within the mix seems much more important than the expression of his own melodic ideas, and, thereafter, the band never really re-congeals as it had for the first two minutes while Pat finishes the song in the spotlight. Too bad. Those first two minutes were quite magical. (9/10)
5. "River Quay" (4:57) on this tune the band feels as if they are bending to the will and expectations of external/comercially-motived forces: here creating something that feels more fitting as a radio friendly, easy listening piece. Luckily, this will rarely be the direction Pat and Lyle forge for their music in the future. But, here we have an example of the Will Boulwaire/Rainbow-"Feel Like Makin' Love"-like direction they could have gone had they chosen. So much skill! (9.125/10)
- Suite:
6. I. "Florida Greeting Song" (2:32) some more loosely-constructed jazz that portends Pat's works with both Charlie Haden and Ornette Coleman--this despite the late establishment of a more-directional motif due to Pat's fast-strumming guitar play and Danny Gottlieb's fast-driving drumming. (4.375/5)
6. I. "Florida Greeting Song" (2:32) some more loosely-constructed jazz that portends Pat's works with both Charlie Haden and Ornette Coleman--this despite the late establishment of a more-directional motif due to Pat's fast-strumming guitar play and Danny Gottlieb's fast-driving drumming. (4.375/5)
7. II. "Legend of the Fountain" (2:32) Spanish-sounding impressionistic jazz using nothing but Pat's solo guitar play. Quite lovely. I fail, however, to see the connection between the two movements of the "suite." (4.5/10)
-
8. "Sea Song" (10:18) opening with waves of Lyle's beautiful piano conjoined with Pat gentle finger picking of fairly static chords and Eberhard's gorgeous, long-sustained soft-horn-like bowed-bass notes. In the middle of the second minute Eberhard steps back, leaving lots of space for Pat to step forward--bringing Lyle with him. The two then wanders into a mid-section in which they seem to be meandering like mice over coastal grasslands--a section that lasts for over two minutes as the two weave their melodic lines over, around, and separate from one another. Then Eberhard returns with his now-signature fretless electric "underwater bass" play (as does Danny's active mostly-metal percussion play). All in all, it's quite lovely, quite evocative of a windblown Cliffs of Dover- or Carolinian Coastal-like look out over the expanse of sea. Well done, guys! Music really does not get much better than this, folks! (20/20)
Total Time: 41:48
8. "Sea Song" (10:18) opening with waves of Lyle's beautiful piano conjoined with Pat gentle finger picking of fairly static chords and Eberhard's gorgeous, long-sustained soft-horn-like bowed-bass notes. In the middle of the second minute Eberhard steps back, leaving lots of space for Pat to step forward--bringing Lyle with him. The two then wanders into a mid-section in which they seem to be meandering like mice over coastal grasslands--a section that lasts for over two minutes as the two weave their melodic lines over, around, and separate from one another. Then Eberhard returns with his now-signature fretless electric "underwater bass" play (as does Danny's active mostly-metal percussion play). All in all, it's quite lovely, quite evocative of a windblown Cliffs of Dover- or Carolinian Coastal-like look out over the expanse of sea. Well done, guys! Music really does not get much better than this, folks! (20/20)
Total Time: 41:48
The skill exhibited by these musicians throughout this album is rather astounding. Couple that with the sound that Manfred Eicher produces from his ECM recording and mastering and you get one pristine album of highly-precise and skillful rendering of exceedingly-high-quality compositions.
94.51 on the Fishscales = A/five stars; a masterpiece of creative and innovative Jazz-Rock Fusion. Let the new masters and upholders of the Faith be known and worshipped! One of my Top 10 favorite albums from Jazz-Rock Fusion's Fourth Wave.
94.51 on the Fishscales = A/five stars; a masterpiece of creative and innovative Jazz-Rock Fusion. Let the new masters and upholders of the Faith be known and worshipped! One of my Top 10 favorite albums from Jazz-Rock Fusion's Fourth Wave.
BENNY BAILEY - EBERHARD WEBER - SIGI SCHWAB - LALA KOVACEV Islands (1977)
Recorded at Studio Barbarossa, Munich, May 25 & 26, 1976.
Line-up / Musicians:
- Benny Bailey / trumpet, flugelhorn
- Eberhard Weber / bass
- Lala Kovacev / drums
- Siggi Schwab / guitar, sitar
- Lala Kovacev / drums
- Siggi Schwab / guitar, sitar
A1. "So Far As I Know" (8:54) pretty straightforward jazz played with a little of Siggi's George Benson-like guitar stylings while Eberhard & Lala stay pretty straight and narrow. Benny Bailey is not a terribly impressive trumpeter to me. The song's best moments come from Siggi--both in his solo section and his rhythm support. (17.625/20)
A2. "Estrelle" (9:51) a 90 second intro of descending double-steps from both Eberhard and Siggi set up Lala for a hard driving rhythm track over which Benny performs strongly as if he's channeling Freddie Hubbard! I guess he can play! Eberhard, Lala, and Siggi are all over the place in a really cool motif supporting Benny's long solo. At the four-minute mark Benny finally yields, to Siggi, who plays a fairly standard slightly-flanged jazz guitar solo. This dude is talented! Meanwhile, there is no rest for Eberhard and Lala as they continue to play beneath--until a quieter sixth minute when there is a subtle hand-off to Eberhard for his turn in the limelight. I like Siggi's Jan Akkerman-like rhythm support! All this while Benny must've gone out for a smoke cuz he doesn't return until the eight-minute mark when he steps back into the lead to take the song to its conclusion over the rhythm section's Disco beat. (18.3333/20)
B1. "To Fly Or Not To Fly" (6:42) some serious funk over which Benny really pours out the Freddie Hubbard histrionics: just blowin' it out! The fingerboardwalkin' bass play of Eberhard and the constancy of Siggi's rhythm guitar work and Lala's tight drumming remind one of James Brown's old JB's--even when Siggi gets his solo in the fourth minute his play is so tight, so subtle and nuanced, whereas Eberhard's solo in the fifth minute is more audacious and bold. These guys are so good! (9.125/10)
B2. "One Of Those Love Songs" (4:33) dreamy, floating on top of the gently rolling Mediterranean Sea music, though Benny's trumpet solo seems to come more from a bygone era--from the Sixties. Those flange effects that it seems that all of the other instruments are being fed through are really powerfully sedating. Nice melodies from Benny but, again, he's projecting from a nostalgic place in his past whereas Eberhard and Siggi seem to be dreaming of their last August vacation in the Greek Isles. (9.25/10)
B3. "Remember The Islands" (9:11) despite the occasional presence of Benny and his muted flugelhorn this song carries so much of the feel and stylings of JAN AKKERMAN's self-titled album from earlier in the year that I can't believe that Siggi, Lala, and Eberhard hadn't been listening to it before/during these sessions OR if the recording information can be trusted, perhaps Jan and his crew had been listening to Siggi and Lala over the past year (since Jan and Kaz Lux had recorded their extraordinary Eli album) and it is they who are influenced by Benny's rhythm section. (19.25/20)
Total time: 39:21
91.98 on the Fishscales = A-/five stars; a minor masterpiece of wonderfully-eclectic and forward-looking hybrids held slightly back only by the band-leaders sometimes-"old style" horn playing.
CHRIS HINZE - SIGI SCHWAB - EBERHARD WEBER - LALA KOVACEV Wide and Blue (1978)
Recorded February 1976 at Studio Barbarossa, München, Deutschland.
Line-up / Musicians:
- Chris Hinze / flute [alto], perscussion
- Eberhard Weber / bass, fretless bass
- Lala Kovacev / drums, percussion
- Sigi Schwab / guitar, berimbau- Eberhard Weber / bass, fretless bass
- Lala Kovacev / drums, percussion
A1. "Danielle" (5:50) beautiful music with Lala Kovacev playing drums with brushes, Sigi Schwab playing electric guitar a little like George Benson, Eberhard spilling his oozing bass notes all over the mix (especially when exquisitely entwined with Sigi) and Chris Hinze leading the melody play with his lilting, soaring flute. Beautiful song! (10/10)
A2. "Fatima" (7:05) opens with Eberhard's bass exaggerating his fretless pitch-variance and some Middle Eastern percussion instruments (clay drums, big djembe-like drum) and saz (or oud) which evolves into more of a Middle Eastern jam (sans bass) in the middle. Eberhard returns toward the end, first as fretless bass player, then as neck-squeaker while the Arabic jam session intensifies and crescendos at the end. I love it! (13.75/15)
A3. "Wide and Blue" (6:25) Lala on his drum kit for 1:15 before the rest of the band join in with a staccato blues chord progression, smoothing out into some nice smooth jazz patches before falling back into staccato-land. The next slide into the smooth motif they extend it into a nice swing so that Chris' flute, Eberhard's fretless, and Sigi's Benson-like guitar can play around: first Chris, then Sigi, all the while Eberhard and Lala sneaking around behind them like restless seconds on an improv stage. The weave writhing around within Sigi's chords around the five-minute mark are so cool! Then things smooth out at the end of the sixth minute for the polished finale. Very cool and unusual jazz! (9/10)
B1. "Tales From Nowhere" (10:30) another loose jam that feels loosely-structured over another George Benson Breezin'"Masquerade"-like melody. At 2:30 the band settles into a rhythm-structured pattern that feels soulful as Chris solos on his flute but then turns funky as Eberhard and Sigi (and Lala) turn up the attitude. Very cool! Lala really takes it to another level, almost taking all the light from the rest of the band! Were it not for the amazingly cool things each and every one of the others are doing he would win! But then, at 6:25, everybody breaks it down, leaving each of the "resting" musicians to throw spits and riffs into the pond while Eberhard continues funk-loading. Gradually Eberhard leads the group out of the muck and onto some high ground to strut around and show off their new Cosby Kids clothes and hats. Great stuff! Not ever what I was expecting from this band or album. (19.25/20)
B2. "Thanks for Being Being" (5:05) more beauty and height-seeking emotion being led by Chris' flute and amply supported (and perhaps grounded a bit) by the others. The problem with this song is that it never really goes anywhere--never really achieves Nirvana. (8.875/10)
B3. "Do It Nice for Me" (5:35) a much more normal, if laid back Soul-Jazz piece that has some really comforting African-American textures, harmonic elements, and other tricks to make it sound like a seductive walk through late night Atlanta or something but then it goes into more rock 'n' roll jamming for the second half. I find myself thinking/feeling of the jazzy, late night smooth jazz side of Kool & The Gang, The Brothers Johnson as well as a jazzy jam by War. Inviting ambiance. Nice. (9/10)
Total time: 40:30
As said above: NONE of this was anywhere near what I was ever expecting to come from this quartet--even despite knowing the world music directions Chris and Lala had both chosen since their travels in the East. And the stanky funk, smooth soul, and sophisticated-yet-subtle R&B these guys can put out there is just so amazing!
93.16667 on the Fishscales = A/five stars; a masterpiece of inventive and eclectic jazz-rock fusion that tips its hat to world music, smooth jazz, jazz-funk, soul-jazz, and even Kosmische Musik.
EBERHARD WEBER Fluid Rustle (1979)
An album of all Eberhard Weber compositions that was recorded in January of 1979 at Manfred Eicher's favored Tonstudio Bauer in Ludwigsburg and then release a couple of months later.
Line-up / Musicians:
- Eberhard Weber / bass, percussion [Tarahg], composer
- Bill Frisell / guitars, balalaika
- Gary Burton / vibraphone [vibraharp], marimba
With:
- Bonnie Herman and Norma Winstone / vocals
A. "Quiet Departures" (17:24) beautiful orchestra-like texturized music using vibraphone, electric guitar, and the harmonized vocalese of Bonnie Herman and Norma Winstone to continue the format of symphonic minimalism that Eberhard began to explore with The Following Morning. When Gary's vibraphone leaps out of the beautiful ambient tapestry around 4:00 it is almost a shock because it sticks out so thoroughly. The return of the voices helps resecure it into the overall mix but the vocals don't always stay. There is something in this song that reminds me of the music POPOL VUH was doing a few years before (and could very well still be doing in 1979). Around the seven-minute mark the music switches into something more akin to Harold Budd's Pavilion of Dreams only exploring more dramatic minor chords than soul-soothing major seventh chords. This motif persists for three minutes before fading into a hole that Bill Frisell soon leaps out of while strumming his balalaika. Bonnie and Norma return in a light carefree, almost waif-like melody as bass and vibe chords help fill the sonosphere. At 12:40 the whole palette shifts again: now into marimba, fretless bass, Frisellian pitchless guitar notes, and no voices. At 14:20 there is another shift into a two-chord vamp from Gary's vibes while Eberhard soars and flies around his fingerboard and Bill flits and swoops in with pitch-bending notes here and there. The girls return at the end of the 16th minute singing a completely different melody line and then Bill rejoins with his balalaika for the final stanza, Eberhard soloing contentedly, girls singing lovely, and Gary supporting beautifully from beneath. I really like this one. It has a Pat Metheny-Lyle Mays "As Falls Wichita, So Falls Wichita Falls" like feel to it--both sonically and structurally. (33/35)
B1. "Fluid Rustle" (7:25) now here's one of Harold Budd's two-chord major-to-minor seventh chord motifs coming from a melded blend of Gary's vibraphone, Eberhard's bowed bass, and Bill's gentle guitar. At 2:20 the female vocalists burst onto the scene with some "wake up! sunshine!" vocalese before Gary and Bill (and, later, Eberhard) step forward to give more prominent voicings to their instruments. Bill, Eberhard, and Gary each take a little solo time in the fifth and sixth minutes. I find it interesting how much both Gary and Bill sound like Pat Metheny. The vocalese, however, definitely takes this more into the range of HATFIELD AND THE NORTH and/or NATIONAL HEALTH. (13.75/15)
B2. "A Pale Smile" (9:06) massive vibrato is applied to the opening sounds coming from Eberhard's bowed bass, Gary's vibraphone notes as well as Bill's guitar pickings. At 1:45 Bonnie and Norma's angelic "ah"s enter in chorded bursts that sound like the product of the future sampling of a Fairlight CMI. Then things empty out so that there is only Gary's vibraphone and Eberhard's bass. Aqueous bass and discordant vibraphone notes and chords are met by occasional notes from Bill but then everybody vacates to watch and listen to the maestro, Gary Burton, play tout seul on his plaintive vibes. At 6:12 Eberhard and Bill rejoin, Bill playing volume-controlled chords while Eberhard seems to wander to the harmonic edges of Gary's uinverse. The girls return with their pulsating vocal "ah"s tamped down a bit, eventually coaxing Gary and Bill back into the universe of that motif proffered in the second minute. The final 30 seconds sees a lovely little Celtic triangle of a melodic weave from bass and two voices. That was so cool! (18.25/20)
B3. "Visible Thoughts" (5:00) on this song the trio of outside-the-box thinkers just flit and float about as if they're each on their own private acid trip (though something in my gut leads me to suspect that none of the three were ever prone to drug or other mind-altering substance use or experimentation). At 2:45 the ladies return, singing cohesively in a way that mirrors some of the note and melody play of Gary's vibes but using the ethereal "ah" singing I usually associate with likes of Richard Wileman's KARDA ESTRA (Ileesha Bailey's Gothic-ghostly voicings). The trio then gather up in a really bizarre, almost nightmarish pattern for the final 75 seconds. Interesting! The weirdest and, perhaps, least accessible song on the album it is still quite fascinating. (8.875/10)
Total Time: 39:10
I'm really sad that for so many years I resisted listening to this album because I was really afraid that it couldn't possibly stand up to the amazing Side One of The Following Morning. How sad that we get stuck in our little comfort zones--held there by our fears of trying new things! Time to grow up!
94.85 on the Fishscales = A/five stars; a masterpiece of boundary-pushing experimental jazz that confirms the fact that these three master musicians have all left the Jazz-Rock Fusion movement behind and have joined a Kosmisches kind of path among the avant-gardists.
94.85 on the Fishscales = A/five stars; a masterpiece of boundary-pushing experimental jazz that confirms the fact that these three master musicians have all left the Jazz-Rock Fusion movement behind and have joined a Kosmisches kind of path among the avant-gardists.
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