If you're familiar with All About Jazz, you know that we've dedicated over two decades to supporting jazz as an art form, and more importantly, the creative musicians who make it. Our enduring commitment has made All About Jazz one of the most culturally important websites of its kind in the world reaching hundreds of thousands of readers every month. However, to expand our offerings and develop new means to foster jazz discovery we need your help.
You can become a sustaining member for a modest $20 and in return, we'll immediately hide those pesky Google ads PLUS deliver exclusive content and provide access to future articles for a full year! This combination will not only improve your AAJ experience, it will allow us to continue to rigorously build on the great work we first started in 1995. Read on to view our project ideas...
After checking my LP collection, I learn that I have seven Eberhard Weber albums from 1973 through 1980. I'm pretty sure that Colours of Chloë was the very first ECM album that I purchased, and it was simply on an aesthetic basis. The album was a complete tabula rasa with clean yet austere packaging, unknown musicians and the promise of a new musical experience. All of the above clicked and I was a stalwart fan of ECM for many years afterwards.
Bassist Eberhard Weber is a musician who might have gone on to become a valued member of a jazz group and perform with them for years without any public recognition. He seemed like a true team player in that sense. However, his association with some of the most influential musicians in the latter half of the 20th century ensured his success. This collection, chosen by Weber, represents his recordings from 1974-2000.
He appears as a leader and, on some tracks, a member of groups led by Gary Burton, Jan Garbarek and Pat Metheny. Although there is a difference between the respective groups the only real departure from this is the recording, "Closing Scene" in a bass solo performance from Pendulum in 1993. Weber worked effectively with soprano sax and the difference between the cooler, new-agey Paul McCandless or the more heated style of Jan Garbarek or Charlie Mariano produced quite a different result.
His work with guitarists Ralph Towner and Pat Metheny always seemed to draw the best out of both artists. Metheny's 1976 "The Whopper" seemed to herald the arrival of a new guitarist that challenged anyone else of that day. My own preference for the Gary Burton group performances on his Passengers or on Weber's Fluid Rustle still hold up today. On the latter, Norma Winstone and Bonnie Herman offer an ethereal vocalese that adds to the mystical quality of the title track. Another engaging performance is "Her Wild Ways" from a 1998 Garbarek album, Rites.
An appreciation of Eberhard Weber based on these ten selections is a reminder of the haunting beauty that he has created as a composer, performer and bandleader.
Track Listing: Nimbus, The Whopper, Oasis, Silent Feet, Fluid Rustle, Maurizius, Gesture, Closing Scene, Her Wild Ways, French Diary.
Personnel: Aggregate Personnel:Eberhard Weber,bass,cello; Ralph Towner,12 string guitar; Jan Garbarek, tenor and soprano sax,flute; Jon Christensen, Dan Gottlieb, John Marshall or Marilyn Mazur,drums; Michael DiPasqua,drums,percussion; Bill Frisell or Pat Metheny,guitar; Gary Burton,vibraphone,marimba; Steve Swallow,bass; Rainer Bruninghaus, piano,keyboards; Charlie Mariano,soprano sax; Paul McCandless,soprano sax, English Horn;Lyle Mays,piano; Bonnie Herman, Norma Winstone,voice.
I love jazz because it takes my mind away and is very relaxing.
I was first exposed to jazz by my older brother every morning while eating breakfast before school he would play Hiroshima One which I hated but after he moved away to college and I moved to Miami I fell in love with jazz music.