1 Archived Comments


  • Winson Hinkle wrote on December 04, 2007 report

    I started listening to Weber when I was in school at North Texas State in the early 70's. He served then (and now) as a palatte-clensing dope-smoking type of music, and I say that in a good way. Colors Of Chloe, Yellow Fields, and the sides with Jan Garbarak are great musicical sojurns into a different, un-worldly plane.

    His comments:
    "For example, this wonderful Keith Jarrett Trio with Jack DeJohnette and Gary Peacock. Wonderful trio. But poor Gary—he has to play a solo every piece! It’s simply boring! It’s always the same procedure: Keith plays a nice theme, then this and this and that, and then in comes Gary, “ba-doop, ba-doop-doop, ba-doop.” It’s like, “What the hell is this going on?” Then he has to play the chords here. Now comes the bridge, so everybody knows, “Ah, here’s the bridge,” and then the theme. It’s the jazz routine, which is nice to a certain extent, but [laughing] I’m fed up with it."

    This reflection is something I made, then, about jazz, and still do. Weber's music help me define the musical direction I wanted to take in jazz as well as reinforce some of the my continued "jam session etiquet" concerns. We jazzers just have to learn to sit-back and make some music, not constantly bang our heads againist the same walls, that we build for ourselves. Weber's music help me define the type of music I really like to be immersed in - Bill Evans, solo and trios. It has been a life long goal to find like-minded musicians and make music in the way Bill did - a very lofty ambition indeed and something I will probably never achieve, but it has been(and is)fun trying.

    Thanks for the great, comprehensive article.

    Win Hinkle, bloging at