Eberhard Weber played hundreds of concerts in his time as a member of the Jan Garbarek Group, and each of them included an extended feature for the bassist alone, often effectively a spontaneous composition rather than a ‘bass solo’ in strict jazz sense. For “Résumé” Weber has returned to recordings of these solo sequences and reworked them into an album with its own sense of flow. The unique sound of Eberhard’s customised electric bass is heard here mostly in the context of his own keyboard settings and treatments, but also augmented by the saxophones and overtone flute of Jan Garbarek (on three tracks) and by the percussion of Michael DiPasqua. Based on live recordings made between 1990 and 2007 at locations from Karlsruhe to Santiago, the album was mixed in the South of France by Weber, Manfred Eicher, Michael di Pasqua and Gérard de Haro in 2011.
Résumé
Eberhard Weber
Eberhard Weber hat Hunderte von Konzerten als Mitglied der Jan Garbarek Group bestritten – jedes von ihnen enthielt eine ausgedehnte Solo-Sequenz für den Bassisten. Häufig waren das eher Spontankompositionen denn Bass-Soli im herkömmlichen Jazz-Sinne. Für "Resumé" hat sich Weber Aufnahmen dieser Solo-Sequenzen vorgenommen und sie in ein Album mit einer ganz eigenen Art von Flow umgearbeitet. Der unverwechselbare Klang von Eberhards elektrischem Bass, einer Spezialanfertigung, ist hier vor allem im Kontext von Webers eigenen Keyboardklängen zu hören, mitunter wird er aber auch von Jan Garbarek an Saxophonen und Obertonflöte und der Percussion von Michael DiPasqua ergänzt. Basierend auf Livemitschnitten aus den Jahren zwischen 1990 und 2007, wurde das Album 2011 in Südfrankreich von Weber, Manfred Eicher, Michael di Pasqua und Gérard de Haro abgemischt.
- 1Liezen
02:45 - 2Karlsruhe
02:25 - 3Heidenheim
05:42 - 4Santiago
03:53 - 5Wolfsburg
03:27 - 6Amsterdam
04:20 - 7Marburg
04:08 - 8Tübingen
04:04 - 9Bochum
02:51 - 10Bath
04:33 - 11Lazise
04:09 - 12Grenoble
05:01
“Résumé” is a ‘live album’ with a difference. The twelve concert recordings include here, made at locations from Amsterdam to Santiago, provide the source material from which Eberhard Weber has sculpted something new. The innovative bassist played more than a thousand concerts while a member of the Jan Garbarek Group, and each of them included an extended feature for him alone, characteristically transcending jazz definitions of the bass solo. For “Résumé”, he has returned to recordings of these solo sequences and reworked them into a unique album with its own sense of flow.
Originally the unaccompanied solos had a double function. As Weber recalls in his liner notes, “they were conceived as transitions to join two compositional blocks of various keys, colours and tempi as the group’s programme progressed. They were also intended to add another colour to the multifarious ones in the programme – a personal one, as it were: my own. The plan was to be inventive after leaving the key of the initial piece, to lead into the next one after an extended number of minutes enriched by my own ideas...” For the needs of “Résumé”, the pragmatic ‘transitional’ elements were eliminated, replaced by “aphorisms, small surprises and colours with the addition of other instruments.”
There are guest appearances by two old friends. We hear Jan Garbarek then and now, playing selje overtone flute on “Bath” back in the day and adding contemporary saxophone overdubs to “Amsterdam” and “Bochum” (all tunes being named after respective original recording locations). Michael DiPasqua (who previously partnered Weber in an early 80s Garbarek Group - see “Wayfarer” and “It’s OK To Listen To The Gray Voice” – and played on Eberhard’s own projects including “Later That Evening” and “Endless Days”) contributes drums and percussion to “Bochum” and “Lazise”. Mostly, however, we hear the unmistakable sound of Weber’s customized electrobass:
“Those who have been following my activities over the years are aware that I used a delay, an echo device, to obtain a larger colour palette for the solo bass playing. I used the “reverb unit” to record my bass live, to reproduce it, to create my own spontaneous playback, so to speak, over which I could play solo improvisations. Those playback loops could not be stored in my effects device; thus they applied for one spontaneous solo, at one concert, for those few minutes.”
“My special instrument, a five-string electric double bass, is capable of striking sonic effects, which happily can be further enriched by such additional reduplication; that was the only way I could successfully sustain long solo recitals. I am not concerned about whether what I originally played is still recognisable – using the delay effect already produced astonishing overlays per se. Now, after completing the individual solo excerpts, not even I can always spontaneously hear what I originally played and what I added later on. Wracking my brain about which (jazz) pigeonhole fits this type of music-making has always been an alien concept to me.”
Based on live recordings made between 1990 and 2007, “Résumé” was mixed at Studios La Buissonne in the South of France by Weber, Manfred Eicher, Michael DiPasqua and Gérard de Haro in 2011.
Originally the unaccompanied solos had a double function. As Weber recalls in his liner notes, “they were conceived as transitions to join two compositional blocks of various keys, colours and tempi as the group’s programme progressed. They were also intended to add another colour to the multifarious ones in the programme – a personal one, as it were: my own. The plan was to be inventive after leaving the key of the initial piece, to lead into the next one after an extended number of minutes enriched by my own ideas...” For the needs of “Résumé”, the pragmatic ‘transitional’ elements were eliminated, replaced by “aphorisms, small surprises and colours with the addition of other instruments.”
There are guest appearances by two old friends. We hear Jan Garbarek then and now, playing selje overtone flute on “Bath” back in the day and adding contemporary saxophone overdubs to “Amsterdam” and “Bochum” (all tunes being named after respective original recording locations). Michael DiPasqua (who previously partnered Weber in an early 80s Garbarek Group - see “Wayfarer” and “It’s OK To Listen To The Gray Voice” – and played on Eberhard’s own projects including “Later That Evening” and “Endless Days”) contributes drums and percussion to “Bochum” and “Lazise”. Mostly, however, we hear the unmistakable sound of Weber’s customized electrobass:
“Those who have been following my activities over the years are aware that I used a delay, an echo device, to obtain a larger colour palette for the solo bass playing. I used the “reverb unit” to record my bass live, to reproduce it, to create my own spontaneous playback, so to speak, over which I could play solo improvisations. Those playback loops could not be stored in my effects device; thus they applied for one spontaneous solo, at one concert, for those few minutes.”
“My special instrument, a five-string electric double bass, is capable of striking sonic effects, which happily can be further enriched by such additional reduplication; that was the only way I could successfully sustain long solo recitals. I am not concerned about whether what I originally played is still recognisable – using the delay effect already produced astonishing overlays per se. Now, after completing the individual solo excerpts, not even I can always spontaneously hear what I originally played and what I added later on. Wracking my brain about which (jazz) pigeonhole fits this type of music-making has always been an alien concept to me.”
Based on live recordings made between 1990 and 2007, “Résumé” was mixed at Studios La Buissonne in the South of France by Weber, Manfred Eicher, Michael DiPasqua and Gérard de Haro in 2011.
