Member:
Chuck AzEee!
(Profile)
(All Album Reviews by Chuck AzEee!)
Date:
1/23/2005
Format:
CD (Album)
Eberhard Weber-Bass
Rainer Bruninghaus-Piano, Synthesizer
Charlie Mariano-Soprano Saxaphone, Flutes
John Marshall-Drums
During the Seventies, the electric bass was evolving from it's role as a "bottom feeder", with the likes of brilliant bassists whom would elevate the instrument's status amongst the elite.
In the jazz world, most bassists were still playing the upright counterpart, but a few visionaries like Steve Swallow, Ron Carter, Monk Montgomery were doubling and playing the electric bass on a few recordings during the mid sixties, but it was not until the Seventies where jazz would catch up with their rock brethren.
A young musician from Germany was coming onto the scene, gaining experience with jazz trios and psychedelic bands, but in 1972 decided it was time for him to go solo. Signing with ECM Records, Eberhard was one of the more significant signings on ECM, in which Eberhard was amongst many kindred spirits on the label, most of the musicians were known for being more experimental and more Classical and Ethnic based, than the other jazz bands on other music labels.
Eberhard Weber is amongst the greatest and most innovative bassists that appeared on the jazz scene during the Seventies. Known for his clear tone, and fluid lines, Eberhard was the European answer to Jaco Pastorius. Eberhard helped design an electric bodiless upright, which whom the design was taken from an old Italian electric.
The music that Eberhard produced was more in tune with the country's progressive musicians than the Jazz side, being that Eberhard's music was more composed on melodic mood passages, than the US influenced swing style.
The best example of Eberhard's genius is the pseudo-classical Colours of Chloë which is one of the great ethnic based jazz recordings of the Seventies.
One of Eberhard's more jazz influenced recordings, is his remarkable Silent Feet released in 1977, featuring long time collaborator Rainer Bruninghaus on keyboards, the great Charlie Mariano on Reeds and ex-Soft Machine drummer John Marshall.
Jazz critics at the time welcomed the full band employed by Eberhard as they felt the previous recordings were bogged down by being "too airy" and lacked any emotive swing. Eberhard rectified any misgiving towards the critics by producing three solid pieces worthy of highly recommended praise.
The melodic, classical style of Eberhard Weber's music might not be everyone's cup of tea, but the excellent Silent Feet is a lovely introduction to one of Europe's best bassists being accompanied by three extraordinary musicians, who would go on to make this recording one of the best albums of the era.
Charles
|
|
|
