ECM Bass Summit: Eberhard Weber & Miroslav Vitous

C. Michael Bailey By

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It is considered bad critical form to focus on a particular record label in a review, but it is difficult to discuss ECM artists and the "ECM sound without mentioning ECM and its svengali, Manfred Eicher. No recording company since Blue Note in the 1950s and 1960s can boast as distinctive a sound and eclectic a roster of players as ECM. Alchemist Eicher deftly blends and promotes jazz, world and classical music, creating an immediately identifiable ethos in notes that seem to float above the staff, regardless of the performer. In the "jazz arena, Eicher and ECM take great glee in concentrating on the fluid border between harmonically defined and freely improvised music. ECM certainly did not invent this focus but it has gone a long way toward perfecting it.

There is something deconstructive about allowing the two performance phases of harmonically established composition and free improvisation to intermingle at the two immiscibles' interface. Extending this fluid mechanics metaphor, a natural equilibrium, based on the collective artists performing, emerges where a creative tension is formed via the ebb and flow between composition and improvisation resulting in an overall domination of neither.

Conveniently, this post-modern approach is amply illustrated on a pair of bassist-led recordings by two musicians with lengthy ECM recording histories, Eberhard Weber and Miroslav Vitous. Being bassists and recording for the same label are not the only things the two men have in common on these releases. The year 2007 has marked significant birthdays for both, Weber's 65th (celebrated in live performance on Stages Of A Long Journey) and Vitous' 60th birthday.

Eberhard Weber
Stages Of A Long Journey
ECM Records

Stages Of A Long Journey was recorded in Eberhard Weber's home of Stuttgart in March this year, employing the local SWR Radio Symphony Orchestra and a host of soloists familiar to Weber throughout his almost 40-year career. Perfectly conceived, even in its title, Stages Of A Long Journey casts well-known Weber compositions in new arrangements, against a symphonic wall-of-sound not unlike Joe Zawinul employed with his Weather Report corpus and the WDR Big Band Köln on Brown Street.

Beautifully, the opening "Silent Feet, from Weber's 1977 release of the same name, illustrates this approach. The composition is floated by the symphony orchestra while being propelled by Weber, with his custom five-string, upright "electrobass, and his long-time collaborators, the most in evidence here being soprano saxophonist Jan Garbarek and vibraphonist Gary Burton, who weave in and out of the closely structured composition. Garbarek and Burton's solos provide the "stretch in "Silent Feet.

More in keeping with the freer side of composing is Weber's cover of Carla Bley's "Syndrome." The band introduces the familiar theme before breaking into separate free and 4/4 solo sections. In the latter, Weber's bass is featured prominently speed walking, while Rainer Bruninghaus solos effectively on piano. During the freer sections Gary Burton is given reign to display his pioneering four-mallet vibes technique. Jan Garbarek breaks out the tenor for perfectly formed, muscular solos. "Seven Movements" is a splendid duet for the bassist and Garbarek's soprano instrument. The performance is taut and sinewy without a single wasted note by either musician.

The concert is anchored by the appropriate "Birthday Suite, employing both orchestra and core band in a seamless performance. Piano and drums transitions between formal movements give the sum a late Romantic tone poem feel. Weber is way out front, celebrating his milestone with his friends and colleagues of many years. This suite is followed by the exquisitely percussive "Hang Around propelled by Reto Weber's vocal gymnastics (that should be the envy of any hip-hop artist trying to emulate vocal percussion). Reto Weber demonstrates how it is done. Weber closes his birthday celebration with the aptly chosen "The Last Stage Of A Long Journey, where the bassist brings together all of the elements of the concert into a satisfying symmetry leaving the listener wanting more of this kind of music.

Visit Eberhard Weber on the web.

Miroslav Vitous
Universal Syncopations II
ECM Records

In comparison with Stages Of A Long Journey, Universal Syncopations II is less rigorously composed, boasting a freer performance approach. Miroslav Vitous also chooses a less rhythmic, more free approach to his bass playing, often approximating Charlie Haden and Scott LaFaro's approaches on Ornette Coleman's ground-breaking Free Jazz (Atlantic, 1961), though in a manner decidedly more well-behaved and accessible.

Like the earlier Universal Syncopations and the above mentioned Stages Of A Long Journey, Universal Syncopations II is a star-studded affair, sporting the likes of reedman Bob Mintzer, trumpeter Randy Brecker (listen to this disc and imagine what the late Michael Brecker would have brought to it), and drummer Adam Nussbaum. It should, however, be noted that regarding personnel, the only player Universal Syncopations and its progeny have in common is Vitous. Like Weber, Vitous employs orchestral touches to this disc, providing a contrasting composed layer to the improvisational core.

The organic nature of this disc is fully realized with the opening composition "Opera, where Vitous approximates the between-aria banter with a collection of shouts and laughter punctuating the music. Here, like the remainder of the recording, the barest compositional framework is erected to display the improvisational whims of the soloists. This is in stark contrast to Weber's release in the respect that Universal Syncopations II is more in the vein of "conventional" progressive-going-on-free jazz. Syncopations will appeal immediately to the free jazz enthusiast while Stages Of A Long Journey will appeal to those listeners requiring more compositional control in their free jazz ciaos.

Both Stages Of A Long Journey and Universal Syncopations II are music of the highest order. With a marketplace so saturated with product, much of which is quite good, sometimes it becomes difficult to differentiate the "good from the "exceptional or "great. These recordings belong to the latter and we should be grateful.

Visit Miroslav Vitous on the web.

Tracks and Personnel

Stages Of A Long Journey

Tracks: Silent Feet: Syndrome; Yesterdays; Seven Movements; Birthday Suite: The Colours Of Chloë, Piano Transition, Maurizius, Percussion Transition, Yellow Fields; Hang Around; The Last Stage Of A Long Journey; Air.

Personnel: Eberhard Weber: electrobass (1,2,4-12), double bass (3); Gary Burton: vibraphone (1,2,5-9,11); Jan Garbarek: soprano saxophone (1,4-9,11), tenor saxophone (2,5-9); Rainer Bruninghaus: piano (1,2,5-9,11); Marilyn Mazur: percussion (1,2,5-9,11); SWR Radio Symphony Orchestra Stuttgart, Roland Kluttig conductor: (1,5-9,11); Wolfgang Dauner: piano (3); Nino G: beatbox (10); Reto Weber: hang (10).

Universal Syncopations II

Tracks: Opera; Breakthrough; The Prayer; Solar Giant Mediterranean Love; Gmoong; Universal Evolution; Moment.

Personnel: Miroslav Vitous: double bass; Bob Mintzer: tenor saxophone (1,6,7), bass clarinet (7); Gary Campbell: soprano saxophone (1,2,4,5,7), tenor saxophone (3); Randy Brecker: trumpet (1,6); Adam Nussbaum: drums (1); Gerald Cleaver: drums (2-5,7); Daniele Di Bonaventura: bandoneon (5); Bob Malach: tenor saxophone (8); Vesna VaÅ¡ko-Cáceres: voice (8).


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