Eberhard Weber — Encore
••• A prodigiously talented and highly innovative German bassist.
••• I’m vain enough to say that when I'm forced to do something, I’m sure that I will find something. I’ve no idea what that something will be. I still believe in myself. As long as I can still think and talk, there will be something to come.
Notable instruments: Custom 5–string electric upright bass
Born: January 22, 1940 in Stuttgart, Germany
Location: Raguhn–Jeßnitz, Sachsen–Anhalt, Germany
Album release: February 23, 2015
Record Label: ECM
Duration: 45:18
Tracks:
01 Frankfurt 2:48
02 Konstanz 3:17
03 Cambridge 4:16
04 Rankweil 4:14
05 Langenhagen 3:53
06 Granada 2:57
07 Sevilla 4:30
08 London 3:00
09 Klagenfurt 3:41
10 Bradford 3:55
11 Edinburgh 2:06
12 Hannover 3:24
13 Pamplona 3:17
Personnel:
••• Eberhard Weber electric double bass, keyboards
••• Ack van Rooyen flugelhorn
• Recorded November 2014
• Made By • EDC, Germany
• Mixed At • Studios La Buissonne
• Edited At • Studios La Buissonne
Credits
• Design • Sascha Kleis
• Double Bass [Electric Double Bass], Keyboards • Eberhard Weber
• Engineer [Recordings] • Gert Rickmann–Wunderlich, Walter Speckmann
• Flugelhorn • Ack van Rooyen
• Liner Notes [German] [Interviewee] • Eberhard Weber
• Liner Notes [German] [Interviewer] • Karl Lippegaus
• Liner Notes [Translation (English)] • J. Bradford Robinson
• Mixed By [Assistant Engineer], Edited By [Assistant Engineer] • Nicolas Baillard
• Mixed By, Edited By • Gérard de Haro, Sun Chung
• Music By • Eberhard Weber
• Painting [Cover Painting] • Eberhard Ross
• Photography By [Liner Photos] • Sun Chung
• Producer [Album Produced By] • Manfred Eicher
Notes
• Live recordings 1990–2007
• Mixed and edited at Studios La Buissonne, Pernes–les–Fontaines
• ECM 2439
• Encore is a companion volume to Résumé the widely–praised solo album issued in 2011. Eberhard Weber returns once more to the many live recordings of his tenure with the Jan Garbarek Group, isolating his bass solos and reworking them into new pieces with the addition of his own keyboard parts. “I became what you might call a composer of New Music,” says Weber, “with the proviso that I make use of old things.” This season’s special guest is veteran Dutch flugelhorn player Ack van Rooyen. Van Rooyen, who played on Weber’s ECM leader date, The Colours of Chloë more than 40 years ago now adds his own subtle colours to Weber’s contemporary sound–montages. The bass solos were recorded between 1990 and 2007, in thirteen European cities, from Edinburgh to Seville, and the music was mixed and edited at Studios La Buissonne in the South of France in November 2014.
I became what you might call a composer of ‘new music’ — with the proviso that I make use of ‘old’ things.
Eberhard Weber
• “Encore” follows up the musical directions Eberhard Weber explored on his critically–acclaimed “Resumé” album of 2012. The source material here is comprised of more of the unique electric bass solos Weber played in performances with the Jan Garbarek Group between 1990 and 2007. Track titles derive from tour itineraries of the period. • Here are pieces recorded in Frankfurt, Cambridge, Rankweil, Bradford, London, Klagenfurt, Granada, Edinburgh, Konstanz, Seville, Hannover, Langenhagen and Pamplona — none of them sounding as they did on the night. Now the solos are meticulously edited, rearranged and modified with additional keyboard parts played by Weber. In November 2014 he put the finishing touches to the material at Studios La Buissonne in southern France, joined by an old friend, veteran Dutch trumpeter and flugelhorn player Ack van Rooyen (who appeared on Weber’s “The Colours of Chloë”, forty–two years ago): “Van Rooyen played on my debut, and now he’s on what may be my last album. I can’t really say whether I’ll turn out anything after ‘Encore’.”
• Weber discusses the album’s genesis in a liner note interview with Karl Lippegaus: “I listen to a lot of music and I listen very precisely. It took me a year to find out what I could do with this material. Those bass solos with the Garbarek Group functioned as transitions between two large blocks of sound in the concerts. Usually they were completely spontaneous, roughly six to ten minutes long. I lit on the idea of adding something to them myself. Since I’m no longer able to play bass, I have to plough my way with one hand on keyboard or piano. Here I could decide where I wanted a piano part and when to stop, something that’s almost never possible on stage, even out of courtesy to the others... Spontaneity is very important. I could make use of solos from almost two decades of work.” Now, Weber says, he must address his earlier spontaneity from another perspective, becoming his own producer and critic. • The process of remoulding solos from the past to make music in the present is an unconventional one but its potential was evident already on “Résumé”. In Jazz Journal Michael Tucker described that disc as “music of dark and deep yet also rhythmically engaging, at times even playful substance. Featuring judicious use of digital delay and loops, and with diversely unfolding and layered pizzicato and arco motifs offering what registers throughout as mythopoetically–charged melody, the meta–music that is ‘Résumé’ is perhaps the most thoroughly arresting of all the albums Weber has made.” “Encore” carries its momentum forward.
• “Encore” is issued in Eberhard Weber’s 75th year, his birthday celebrated in January with sold–out concerts in Stuttgart, the town where he was born, with performances of Weber’s music and new work dedicated to him, featuring Jan Garbarek, Ralph Towner, Gary Burton, Pat Metheny, Danny Gottlieb, Scott Colley, Michael Gibbs , Paul McCandless and the SWR Big Band.
• Eberhard Weber’s autobiography Résumé: Eine deutsche Jazz–Geschichte is imminent from German publishers Sagas Edition.
• In January Eberhard Weber received a lifetime achievement award, the newly created Landes–Jazzpreis Baden Württemberg, honoring his artistic work and influence on musicians worldwide.
Label: http://ecmrecords.com/
MySpace: https://myspace.com/hardwarper
By John Kelman, February 4, 2013
:: http://www.allaboutjazz.com/eberhard-weber-positive-pragmatism-eberhard-weber-by-john-kelman.php
Artist Biography by Ron Wynn
••• Though not strictly a jazz bassist and certainly one of the least flamboyant improvisers, Eberhard Weber is among Europe’s finest bassists. His style doesn’t embrace either a bluesy orientation or an animated, energetic approach. Weber's influences are primarily European, notably contemporary classical and new music. His technique of using contrasting ostinato patterns in different voices was taken from composer Steve Reich. He's also made innovations in bass design. Weber added an extra string to his electric bass at the top in the early ‘70s; this extended its range and gave it a deeper, more striking sound. He added yet another string above that in the late ‘70s. Weber once doubled on cello but dropped it to concentrate on acoustic and electric bass. Weber’s father taught him cello at six, and he began to play bass at 16. He worked in school orchestras, dance bands, and local jazz groups. He met Wolfgang Dauner while participating in the Dusseldorf Amateur Jazz Festival in the early ‘60s; they worked together over the next eight years, both as a duo and in the group Et Cetera. Weber worked with Dave Pike in the early ‘70s, and co–led the band Spectrum with Volker Kriegel. His early–‘70s album The Colours of Chloe was one of ECM’s most acclaimed. He formed the group Colours in 1974 and toured America in 1976, 1978, and 1979, heading it until 1981. Weber also played from the mid–‘70s to the early '80s with the United Jazz and Rock Ensemble. During the ‘80s, Weber worked and recorded with Jan Garbarek and also wrote film scores and gave solo concerts. He continued recording with ECM, both with his group and with other musicians such as Gary Burton. Weber has several ECM titles available on CD, including 1993’s Pendulum, 2001’s Endless Days, and 2007s Stages of a Long Journey. As a longstanding member of Garbarek’s touring group, Weber was often given his own segment in concerts to perform spontaneous compositions (rather than simply bass solos). He kept tapes of these performances between 1990 and 2007. He revisited those tapes and reworked them into a new album with its own sense of narration, featuring Garbarek and drummer/percussionist Michael DiPasqua. The album was released as Resume in 2012.
As leader:
• The Colours of Chloë (1973)
• Yellow Fields (1975)
• The Following Morning (1976)
• Silent Feet (1977)
• Fluid Rustle (1978)
• Little Movements (1980)
• Later That Evening (1982)
• Chorus (1984)
• Orchestra (1988)
• Pendulum (1993)
• Endless Days (2001)
• Stages of a Long Journey (2007)
• Résumé (2012)
• Encore (2015)
_____________________________________________________________
••• A prodigiously talented and highly innovative German bassist.
••• I’m vain enough to say that when I'm forced to do something, I’m sure that I will find something. I’ve no idea what that something will be. I still believe in myself. As long as I can still think and talk, there will be something to come.
Notable instruments: Custom 5–string electric upright bass
Born: January 22, 1940 in Stuttgart, Germany
Location: Raguhn–Jeßnitz, Sachsen–Anhalt, Germany
Album release: February 23, 2015
Record Label: ECM
Duration: 45:18
Tracks:
01 Frankfurt 2:48
02 Konstanz 3:17
03 Cambridge 4:16
04 Rankweil 4:14
05 Langenhagen 3:53
06 Granada 2:57
07 Sevilla 4:30
08 London 3:00
09 Klagenfurt 3:41
10 Bradford 3:55
11 Edinburgh 2:06
12 Hannover 3:24
13 Pamplona 3:17
Personnel:
••• Eberhard Weber electric double bass, keyboards
••• Ack van Rooyen flugelhorn
• Recorded November 2014
• Made By • EDC, Germany
• Mixed At • Studios La Buissonne
• Edited At • Studios La Buissonne
Credits
• Design • Sascha Kleis
• Double Bass [Electric Double Bass], Keyboards • Eberhard Weber
• Engineer [Recordings] • Gert Rickmann–Wunderlich, Walter Speckmann
• Flugelhorn • Ack van Rooyen
• Liner Notes [German] [Interviewee] • Eberhard Weber
• Liner Notes [German] [Interviewer] • Karl Lippegaus
• Liner Notes [Translation (English)] • J. Bradford Robinson
• Mixed By [Assistant Engineer], Edited By [Assistant Engineer] • Nicolas Baillard
• Mixed By, Edited By • Gérard de Haro, Sun Chung
• Music By • Eberhard Weber
• Painting [Cover Painting] • Eberhard Ross
• Photography By [Liner Photos] • Sun Chung
• Producer [Album Produced By] • Manfred Eicher
Notes
• Live recordings 1990–2007
• Mixed and edited at Studios La Buissonne, Pernes–les–Fontaines
• ECM 2439
• Encore is a companion volume to Résumé the widely–praised solo album issued in 2011. Eberhard Weber returns once more to the many live recordings of his tenure with the Jan Garbarek Group, isolating his bass solos and reworking them into new pieces with the addition of his own keyboard parts. “I became what you might call a composer of New Music,” says Weber, “with the proviso that I make use of old things.” This season’s special guest is veteran Dutch flugelhorn player Ack van Rooyen. Van Rooyen, who played on Weber’s ECM leader date, The Colours of Chloë more than 40 years ago now adds his own subtle colours to Weber’s contemporary sound–montages. The bass solos were recorded between 1990 and 2007, in thirteen European cities, from Edinburgh to Seville, and the music was mixed and edited at Studios La Buissonne in the South of France in November 2014.
I became what you might call a composer of ‘new music’ — with the proviso that I make use of ‘old’ things.
Eberhard Weber
• “Encore” follows up the musical directions Eberhard Weber explored on his critically–acclaimed “Resumé” album of 2012. The source material here is comprised of more of the unique electric bass solos Weber played in performances with the Jan Garbarek Group between 1990 and 2007. Track titles derive from tour itineraries of the period. • Here are pieces recorded in Frankfurt, Cambridge, Rankweil, Bradford, London, Klagenfurt, Granada, Edinburgh, Konstanz, Seville, Hannover, Langenhagen and Pamplona — none of them sounding as they did on the night. Now the solos are meticulously edited, rearranged and modified with additional keyboard parts played by Weber. In November 2014 he put the finishing touches to the material at Studios La Buissonne in southern France, joined by an old friend, veteran Dutch trumpeter and flugelhorn player Ack van Rooyen (who appeared on Weber’s “The Colours of Chloë”, forty–two years ago): “Van Rooyen played on my debut, and now he’s on what may be my last album. I can’t really say whether I’ll turn out anything after ‘Encore’.”
• Weber discusses the album’s genesis in a liner note interview with Karl Lippegaus: “I listen to a lot of music and I listen very precisely. It took me a year to find out what I could do with this material. Those bass solos with the Garbarek Group functioned as transitions between two large blocks of sound in the concerts. Usually they were completely spontaneous, roughly six to ten minutes long. I lit on the idea of adding something to them myself. Since I’m no longer able to play bass, I have to plough my way with one hand on keyboard or piano. Here I could decide where I wanted a piano part and when to stop, something that’s almost never possible on stage, even out of courtesy to the others... Spontaneity is very important. I could make use of solos from almost two decades of work.” Now, Weber says, he must address his earlier spontaneity from another perspective, becoming his own producer and critic. • The process of remoulding solos from the past to make music in the present is an unconventional one but its potential was evident already on “Résumé”. In Jazz Journal Michael Tucker described that disc as “music of dark and deep yet also rhythmically engaging, at times even playful substance. Featuring judicious use of digital delay and loops, and with diversely unfolding and layered pizzicato and arco motifs offering what registers throughout as mythopoetically–charged melody, the meta–music that is ‘Résumé’ is perhaps the most thoroughly arresting of all the albums Weber has made.” “Encore” carries its momentum forward.
• “Encore” is issued in Eberhard Weber’s 75th year, his birthday celebrated in January with sold–out concerts in Stuttgart, the town where he was born, with performances of Weber’s music and new work dedicated to him, featuring Jan Garbarek, Ralph Towner, Gary Burton, Pat Metheny, Danny Gottlieb, Scott Colley, Michael Gibbs , Paul McCandless and the SWR Big Band.
• Eberhard Weber’s autobiography Résumé: Eine deutsche Jazz–Geschichte is imminent from German publishers Sagas Edition.
• In January Eberhard Weber received a lifetime achievement award, the newly created Landes–Jazzpreis Baden Württemberg, honoring his artistic work and influence on musicians worldwide.
Label: http://ecmrecords.com/
MySpace: https://myspace.com/hardwarper
By John Kelman, February 4, 2013
:: http://www.allaboutjazz.com/eberhard-weber-positive-pragmatism-eberhard-weber-by-john-kelman.php
Artist Biography by Ron Wynn
••• Though not strictly a jazz bassist and certainly one of the least flamboyant improvisers, Eberhard Weber is among Europe’s finest bassists. His style doesn’t embrace either a bluesy orientation or an animated, energetic approach. Weber's influences are primarily European, notably contemporary classical and new music. His technique of using contrasting ostinato patterns in different voices was taken from composer Steve Reich. He's also made innovations in bass design. Weber added an extra string to his electric bass at the top in the early ‘70s; this extended its range and gave it a deeper, more striking sound. He added yet another string above that in the late ‘70s. Weber once doubled on cello but dropped it to concentrate on acoustic and electric bass. Weber’s father taught him cello at six, and he began to play bass at 16. He worked in school orchestras, dance bands, and local jazz groups. He met Wolfgang Dauner while participating in the Dusseldorf Amateur Jazz Festival in the early ‘60s; they worked together over the next eight years, both as a duo and in the group Et Cetera. Weber worked with Dave Pike in the early ‘70s, and co–led the band Spectrum with Volker Kriegel. His early–‘70s album The Colours of Chloe was one of ECM’s most acclaimed. He formed the group Colours in 1974 and toured America in 1976, 1978, and 1979, heading it until 1981. Weber also played from the mid–‘70s to the early '80s with the United Jazz and Rock Ensemble. During the ‘80s, Weber worked and recorded with Jan Garbarek and also wrote film scores and gave solo concerts. He continued recording with ECM, both with his group and with other musicians such as Gary Burton. Weber has several ECM titles available on CD, including 1993’s Pendulum, 2001’s Endless Days, and 2007s Stages of a Long Journey. As a longstanding member of Garbarek’s touring group, Weber was often given his own segment in concerts to perform spontaneous compositions (rather than simply bass solos). He kept tapes of these performances between 1990 and 2007. He revisited those tapes and reworked them into a new album with its own sense of narration, featuring Garbarek and drummer/percussionist Michael DiPasqua. The album was released as Resume in 2012.
As leader:
• The Colours of Chloë (1973)
• Yellow Fields (1975)
• The Following Morning (1976)
• Silent Feet (1977)
• Fluid Rustle (1978)
• Little Movements (1980)
• Later That Evening (1982)
• Chorus (1984)
• Orchestra (1988)
• Pendulum (1993)
• Endless Days (2001)
• Stages of a Long Journey (2007)
• Résumé (2012)
• Encore (2015)
_____________________________________________________________