Eberhard Weber (1940),
Wolfgang Dauner's trusted partner for many years,
never quite sounded like a jazz musician, his
lyrical and oneiric tones being more reminiscent of
classical chamber music and minimalist avantgarde music than of the jazz
The 19-minute No Motion Picture was the centerpiece of
The Colours of Chloe (december 1973),
virtually a trio with a keyboardist (Rainer Brueninghaus) and a drummer (Weber played bass, cello and ocarina),
the album that coined his "orchestral" style,
simultaneously abstract and sentimental.
Yellow Fields (september 1975), featuring soprano saxophonist Charlie Mariano, Brueninghaus and drummer Jon Christensen, was a uniform sea of languid
tones, with three main pieces
(the 15-minute Sand-Glass, the ten-minute Yellow Fields,
the 13-minute Left Lane) straddling the line between melody and hypnosis.
Continuing this trend towards ethereal atmospheres,
The Following Morning (august 1976) gave up the drums and retained only
Brueninghaus' keyboards while adding western classical instruments
(T. On A White Horse, Moana I, The Following Morning).
Colours, the quartet formed with Mariano, Brueninghaus and drummer John Marshall, recorded Silent Feet (november 1977), whose 17-minute Seriously Deep, had a jazzier feeling, and
Little Movements (july 1980), with A Dark Spell.
Other highlights of Weber's career were:
the graceful 17-minute Quiet Departures, off Fluid Rustle (january 1979), that featured guitarist Bill Frisell and vibraphonist Gary Burton and two vocalists;
the lively 16-minute Death In The Carwash, off Later That Evening (march 1982), with Frisell, pianist Lyle Mays, drummer Michael DiPasqua and Paul McCandless on soprano saxophone, oboe, English horn and bass clarinet;
the seven-movement Chorus (september 1984), with saxophonist Jan Garbarek, classical instruments and Weber on synthesizer;
the almost baroque Seven Movements for chamber ensemble (two fluegelhorns, three trombones, two French horns, tuba, bass), off Orchestra (august 1988);
the solo-bass Pendulum, off Pendulum (1993).
Weber's focus was "sound" per se, with little or no interest for musical
genres and traditions.
Endless Days (april 2000), a reunion of sorts with
McCandless, Brueninghaus and DiPasqua,
was merely formulaic.
Encore (ECM, 2015) collects live recordings of 1990/2007.
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