Tim Berne’s third ECM album, You’ve Been Watching Me, sees the saxophonist-composer again leading his dynamic New York band Snakeoil, but with the quartet now a quintet with the arrival of guitarist Ryan Ferreira, whose sound adds textural allure. The group’s 2013 release, Shadow Man, garnered Berne some of the highest praise of his career as a composer and bandleader. DownBeat said: “This music rocks and thinks, explores, deconstructs, and swings, in its own identifiably angular, Berne-ian way.” If Berne has hit a new peak with his writing on You’ve Been Watching Me, his band has reached a heightened state of collective interaction.. Snakeoil can still be bracingly kinetic. But there is new space in these compositions and more lyrical focus to the improvisations, leading to a dramatic, even cinematic experience in such tracks as “Embraceable Me.” Berne’s music has never been richer or more arresting.
You've Been Watching Me
Tim Berne's Snakeoil
Auch auf seinem dritten ECM-Album You’ve Been Watching Me ist der Saxophonist und Komponist Tim Berne wieder als Leader seiner dynamischen New Yorker Band Snakeoil zu hören, die er mit dem Gitarristen Ryan Ferreira zum Quintett erweitert – damit verleiht er dem Klang von Snakeoil zusätzliche Nuancen. Das 2013 veröffentlichte Album Shadow Man brachte Berne die bisher größte Anerkennung in seiner Karriere als Saxophonist und Bandleader. DownBeat befand: “This music rocks and thinks, explores, deconstructs, and swings, in its own identifiably angular, Berne-ian way.” Hat Berne auf You’ve Been Watching Me vor allem einen neuen Höhepunkt als Komponist erreicht, so ist seine Band zweifellos auf einem neuen Level im kollektiven Zusammenspiel angekommen. Die Musik von Snakeoil kann nach wie vor äußerst kinetisch klingen. Gleichzeitig öffnen sich in den Kompositionen neue Klangräume, die Improvisationen geraten lyrischer, was in Stücken wie „Embraceable Me” zu dramatischen, nahezu cineastischen Hörerlebnissen führt. Bernes Musik war nie reichhaltiger oder fesselnder.
- 1Lost In Redding
06:58 - 2Small World In A Small Town
18:26 - 3Embraceable Me
14:12 - 4Angles
02:26 - 5You've Been Watching Me
01:46 - 6Semi-Self Detached
10:23 - 7False Impressions
13:22
His current band, Snakeoil, is, without question, one of his best in what is now a long performing life. After two previous discs on ECM – the eponymous group debut called ‘Snakeoil’ and ‘Shadow Man’ - this is alternately startling, challenging, gorgeous and thrilling by equal measure. […] The atonality and dissonance of modern classical music are pervasive here (don’t expect the Great American Songbook). But the variety of responses elicited by this music is truly immense, from tender regard for some of the music’s sweetness and innocence to something like terror at its juggernautic power.
Jeff Simon, Buffalo News
Tim Berne and his ensemble Snakeoil are entering a phase of full-flower. That is on the new album ‘You've Been Watching Me’. The ensemble engages in a musical direction that's been implied and partly realized in their very worthy previous albums. But it seems that the implications have moved forward to a fruition that places them in a stylistic zone very characteristic of Tim Berne's musical tendencies but now squarely situated in very much their own space. The band consists of Tim Berne, alto saxophone, Oscar Noriega, bass and b-flat clarinets, Ryan Ferreira, electric and acoustic guitars, Matt Mitchell, piano and electronics, and Ches Smith, drums, vibraphone, percussion, timpani. Each group member has a specific set of roles to play in the very integrated compositional-improvisational event horizons. […] All the artists contribute their very personal sound signatures in the best ways while doing something always within the original world of Berne's Snakeoil. That is a group-concept accomplishment worthy of the highest praise and of course not often the rule in the jazz world except when the melding of artist and group reach a symbiotic stage - Duke's bands, Miles, Trane all come to mind as the most enduringly successful music mind melds. Snakeoil has reached something of that stage. Now of course we will look forward to how that can proceed, continue, develop even further. But all that is secondary to the sheer mental-emotional pleasure one feels once one has gotten inside this music. It's pretty seminal!
Grego Applegate Edwards, Gapplegate Music Review
Natürlich ist Berne mit jedem einsetzenden Thema sofort zu erkennen. Nicht umsonst bescheinigte ihm die ‚New York Times‘, einer der wenigen Jazzer der letzten drei Jahrzehnte zu sein, der ein so prägnantes Idiom entwickelt habe. […] Eine wichtige CD mit einer eigenen Sprache.
Tilman Urbach, Stereo
Intensely theatrical yet deliberate, New York-based alto saxophonist Tim Berne’s third ECM album runs quite the emotional and compositional gamut. It spans the clang and sweep of ‘Embraceable Me’, the oddly groove-rich ‘Small World In A Small Town’ and the querulous ‘Semi-Self Detached’, and it’s largely a testament – an excellent one – to the long form.[…] This is a quintet of huge ambition and power that punches way above its weight.
Carlo Wolff, DownBeat
Ferreira zieht eine neue akustische Wand ein, an der sich die Akkorde und Sounds des Pianisten und Keyboarders Matt Mitchell brechen. Im Zentrum des Klangspektrum steht eine weitere Gegenüberstellung: Hier finden die geschwungenen Linien Tim Bernes im beweglichen, manchmal weichen und dann fast zu Eis erstarrenden Ton des Klarinettisten Oscar Noriega einen Widerhall, an dem sie sich mit Kraft und Dringlichkeit aufladen. Tim Berne's Snakeoil zählte bereits zu den Eckpfeilern der unternehmungslustigen New Yorker Szene. Mit ‚You've Been Watching Me‘ wurde die Intensität ein weiteres Mal gesteigert.
Stefan Hentz, Neue Zürcher Zeitung
Alto saxophonist Berne expands the group to a quintet and introduces electric elements to the mix, expanding the textures and possibilities of this already virtuosic group. Electronics are introduced by way of pianist Matt Mitchell, whose new sounds can be heard as the album begins, and by Ryan Ferreira, who comes to Snakeoil with electric guitar and a bag of effects. His distorted textural guitar playing underscores the group work on 'Lost in Reading' and helps take the tune from the slow build to its climax. None of this takes away from the acoustic sounds of Berne's keening alto and Oscar Noriega's bass clarinet as they traverse the intricate arrangements. Percussionist Ches Smith plays a pivotal role as well, and on a track like 'Small World in a Small Town' the absence of his drums is counterbalanced by his judicious use of the vibraphone. Compared to earlier output, You've Been Watching Me is an evolution in the group's sound […]It’s tempting to think that Berne has reached his peak with Snakeoil, but then again work from his previous groups like Big Satan and Bloodcount (just to randomly pick two others) were also career highlights, which suggests You've Been Watching Me is most likely just a new high.
Paul Acquaro, Free Jazz Blog
Wer sich einmal auf die freie, wilde, komplexe, poetische, nötigende und schillernde Musik des Altsaxofonisten Tim Berne und seiner Gruppe Snakeoil eingelassen hat, kommt von ihr so schnell nicht mehr los. Berne baut scharf verwinkelte Labyrinthe, in die ihm der Zuhörer – hat er erst einmal den ersten Schritt getan – folgt, bis er dem Minotaurus ins dunkle Auge sieht. Oder bis er nach sich auftürmenden Kollektivimprovisationen (die so etwas sind wie ein überbordendes New-New-Orleans-Furioso auf der Basis von gefinkeltem Zwölftonmaterial) oder nach in scharfer Reibung oder pathetisch unisono und fortissimo geführten Bläserpassagen über gehämmerten Pianoblöcken unversehens in weite Klangflächen entlassen wird, in Hallräume, die hauptsächlich dem neuen Mann im Ensemble zu verdanken sind, dem Gitarristen Ryan Ferreira, dem Vibrafon von Drummer Ches Smith oder der sparsamen Elektronik des Pianisten Matt Mitchell. Zuweilen steigt auch Klarinettist Oscar Noriega in einem lyrischen Intermezzo unversehens aus dem Vulkangebrodel wie der Hirt auf dem Felsen. […] eine der aufregendsten, vielseitigsten Jazzproduktionen seit langem.
Peter Rüedi, Die Weltwoche
Tim Berne’s third ECM album, You’ve Been Watching Me, sees the saxophonist-composer again leading his dynamic New York band Snakeoil, but with the quartet now a quintet with the addition of guitarist Ryan Ferreira. The group’s 2013 release, Shadow Man, garnered Berne some of the highest praise of his career as a composer and bandleader, with The Guardian praising the album for its “unrelenting eventfulness” and JazzTimes marveling over how the leader’s music has grown “wilder and deeper.” DownBeat put it this way: “This music rocks and thinks, explores, deconstructs and, yes, it swings, in its own identifiably angular, Berne-ian way.” With You’ve Been Watching Me, Berne has hit a new pinnacle with his writing just as his band has reached a heightened state of collective interaction. Snakeoil – with the leader on alto sax alongside Matt Mitchell (piano and electronics), Oscar Noriega (various clarinets), Ches Smith (all manner of percussion) and Ferreira (electric and acoustic guitars) – can still be bracingly kinetic. But there is new space in these compositions and more lyrical focus to the improvisations, leading to a dramatic, even cinematic experience in such tracks as “Embraceable Me.”
Snakeoil, from 2012, was Berne’s first studio album after nearly a decade of live recordings; the music represented not only a new band but an exciting new era in the leader’s work, more harmonically rich and detail-conscious. Shadow Man, released the following year, aimed to document the powerful dynamics of the confident, road-honed Snakeoil band, virtually live in the studio. You’ve Been Watching Me – recorded, like Shadow Man, at the Clubhouse in upstate New York, with production and mixing by ECM veteran David Torn – documents a further evolutionary leap. “I look at studio records as like little movies,” Berne says. “And rather than make a sequel, I’d always rather make an entirely new movie.”
Instrumentally, what’s new about the Snakeoil of You’ve Been Watching Me is not only Ferreira’s guitars – atmospheric and incisive by turns – but also Mitchell adding ambient electronics to the mix, along with his acoustic piano. And Smith plays vibes as often as he does drums on the album, leading to even more harmonic resonance in the swirl of sound. “I picture it as Ryan, Matt and Ches creating a kind of ‘U’ shape that Oscar and I fit into,” Berne says. “The band sounds more transparent, even though we’ve added an instrument – it’s a sort of subtraction by addition. This is a real band record, too, with a lot of listening and laying out. There’s less soloistic improvising, more duos and trios – the approach is more collective. And everyone really had to be on their toes, because the music was new and Ryan’s sound was new – we had only played a few gigs with him before going into the studio. But Torn strategized closely with Ryan in the studio, bringing in amps and working on how he fit into the sonic picture.”
Torn – a long-time Berne confrere, as well as an ECM recording artist in his own right – hears You’ve Been Watching Me as a new landmark for the veteran saxophonist. “I think Tim has been really inspired by this band,” the producer says. “The music on the new album is intense, as we expect it to be with a Tim Berne record. The dynamic range of this band is off the charts, so it’s not just loud – though this group can get super loud – but very quiet, too. Yet there’s this new spaciousness to the music. As he has increasingly added space to his compositional palette, the improvisations are responding to that – the space has become an important part of the improvising. The arrangements have opened up, and there are new sounds. Ryan’s guitar often functions like a giant reverb machine, and it gives everyone in the band a lot to play off of.”
Berne has long been drawn to guitar in his music, as associations with such six-string aces as Torn, Nels Cline, Marc Ducret and Bill Frisell underscore. “I’ve always loved guitar players and the texture of the alto with a guitar,” Berne says. “Ryan doesn’t solo as much as he orchestrates. But like Torn or Frisell, he doesn’t have to solo to be present. He makes everyone else sound great, always adding interesting counterpoint.” Spotlighting Ferreira, the title track of You’ve Been Watching Me is a beautiful, fully composed interlude for solo acoustic guitar. It’s music that, for many, will reveal another side of Berne the composer.
Before that piece appears, though, the album kicks off with “Lost in Redding,” a headlong rhythmic dynamo in time-honored Berne tradition. At 18-minutes-plus, the disc’s longest track is “Small World in a Small Town,” the highlights of which include its swinging finish and a clarinet solo by Noriega that seems to find the roots of jazz in the art of charming snakes. Although “Angles” is less than three minutes long, its slow-burn start and high-impact end give it the feel of distance traveled. After quiet stretches of ambient rumination in “Semi-Self Detached,” the climax sees Berne’s high-energy alto squall mightily over the band’s collective tremolo. “False Impressions” includes examples of Smith’s rhythm-driven vibes and an extended piano solo by Mitchell.
Then there’s the aforementioned “Embraceable Me.” It represents a new sound for Berne and Snakeoil, one of wide-screen vista and epic lyricism – particularly in the 14-minute track’s back half, when the leader plays long-toned melody over Mitchell’s tolling piano groove, Noriega’s shadowing clarinet, Smith’s military snare and Ferreira’s vaulting, metal-sculpture guitar. Reflecting on this piece, Torn says: “I don’t think Tim gets enough due for the sheer beauty of his alto tone.”
Reflecting on You’ve Been Watching Me and Snakeoil’s evolution, Berne says: “I have a lot of trust in these guys, and their confidence has really grown over these five or six years, so I exploited that confidence in the studio by adding a new member, brand-new music, new sounds. But the chemistry is so good with this band that everything was as focused as it’s ever been on one of my records, with real intent to the improvising. Almost everything was nailed in one or two takes, though Torn put extra time into the mix to bring out all the detail and drama that was there. The album captures Snakeoil at a special point, a new peak for us.”
Tim Berne was recently named No. 7 of New York City’s “essential jazz icons” by Time Out New York and declared “a saxophonist and composer of granite conviction” by The New York Times. Acclaim for the first, eponymous ECM album from his Snakeoil band came from far and wide, with The Guardian calling it “an object lesson in balancing composition, improvisation and the tonal resources of an acoustic band.” The album made the DownBeat Critics Poll of the top 10 best releases of 2012, and New York Times critic Nate Chinen listed it as his No. 1 release of the year. With the release of Shadow Man in 2013, All About Jazz affirmed Snakeoil as “Berne’s most impressively cohesive group yet.”
In its review of Snakeoil, BBC Online praised Berne’s performances in a way that speaks to his ever-evolving career: “The longer he plays, the better he sounds.”
Snakeoil, from 2012, was Berne’s first studio album after nearly a decade of live recordings; the music represented not only a new band but an exciting new era in the leader’s work, more harmonically rich and detail-conscious. Shadow Man, released the following year, aimed to document the powerful dynamics of the confident, road-honed Snakeoil band, virtually live in the studio. You’ve Been Watching Me – recorded, like Shadow Man, at the Clubhouse in upstate New York, with production and mixing by ECM veteran David Torn – documents a further evolutionary leap. “I look at studio records as like little movies,” Berne says. “And rather than make a sequel, I’d always rather make an entirely new movie.”
Instrumentally, what’s new about the Snakeoil of You’ve Been Watching Me is not only Ferreira’s guitars – atmospheric and incisive by turns – but also Mitchell adding ambient electronics to the mix, along with his acoustic piano. And Smith plays vibes as often as he does drums on the album, leading to even more harmonic resonance in the swirl of sound. “I picture it as Ryan, Matt and Ches creating a kind of ‘U’ shape that Oscar and I fit into,” Berne says. “The band sounds more transparent, even though we’ve added an instrument – it’s a sort of subtraction by addition. This is a real band record, too, with a lot of listening and laying out. There’s less soloistic improvising, more duos and trios – the approach is more collective. And everyone really had to be on their toes, because the music was new and Ryan’s sound was new – we had only played a few gigs with him before going into the studio. But Torn strategized closely with Ryan in the studio, bringing in amps and working on how he fit into the sonic picture.”
Torn – a long-time Berne confrere, as well as an ECM recording artist in his own right – hears You’ve Been Watching Me as a new landmark for the veteran saxophonist. “I think Tim has been really inspired by this band,” the producer says. “The music on the new album is intense, as we expect it to be with a Tim Berne record. The dynamic range of this band is off the charts, so it’s not just loud – though this group can get super loud – but very quiet, too. Yet there’s this new spaciousness to the music. As he has increasingly added space to his compositional palette, the improvisations are responding to that – the space has become an important part of the improvising. The arrangements have opened up, and there are new sounds. Ryan’s guitar often functions like a giant reverb machine, and it gives everyone in the band a lot to play off of.”
Berne has long been drawn to guitar in his music, as associations with such six-string aces as Torn, Nels Cline, Marc Ducret and Bill Frisell underscore. “I’ve always loved guitar players and the texture of the alto with a guitar,” Berne says. “Ryan doesn’t solo as much as he orchestrates. But like Torn or Frisell, he doesn’t have to solo to be present. He makes everyone else sound great, always adding interesting counterpoint.” Spotlighting Ferreira, the title track of You’ve Been Watching Me is a beautiful, fully composed interlude for solo acoustic guitar. It’s music that, for many, will reveal another side of Berne the composer.
Before that piece appears, though, the album kicks off with “Lost in Redding,” a headlong rhythmic dynamo in time-honored Berne tradition. At 18-minutes-plus, the disc’s longest track is “Small World in a Small Town,” the highlights of which include its swinging finish and a clarinet solo by Noriega that seems to find the roots of jazz in the art of charming snakes. Although “Angles” is less than three minutes long, its slow-burn start and high-impact end give it the feel of distance traveled. After quiet stretches of ambient rumination in “Semi-Self Detached,” the climax sees Berne’s high-energy alto squall mightily over the band’s collective tremolo. “False Impressions” includes examples of Smith’s rhythm-driven vibes and an extended piano solo by Mitchell.
Then there’s the aforementioned “Embraceable Me.” It represents a new sound for Berne and Snakeoil, one of wide-screen vista and epic lyricism – particularly in the 14-minute track’s back half, when the leader plays long-toned melody over Mitchell’s tolling piano groove, Noriega’s shadowing clarinet, Smith’s military snare and Ferreira’s vaulting, metal-sculpture guitar. Reflecting on this piece, Torn says: “I don’t think Tim gets enough due for the sheer beauty of his alto tone.”
Reflecting on You’ve Been Watching Me and Snakeoil’s evolution, Berne says: “I have a lot of trust in these guys, and their confidence has really grown over these five or six years, so I exploited that confidence in the studio by adding a new member, brand-new music, new sounds. But the chemistry is so good with this band that everything was as focused as it’s ever been on one of my records, with real intent to the improvising. Almost everything was nailed in one or two takes, though Torn put extra time into the mix to bring out all the detail and drama that was there. The album captures Snakeoil at a special point, a new peak for us.”
Tim Berne was recently named No. 7 of New York City’s “essential jazz icons” by Time Out New York and declared “a saxophonist and composer of granite conviction” by The New York Times. Acclaim for the first, eponymous ECM album from his Snakeoil band came from far and wide, with The Guardian calling it “an object lesson in balancing composition, improvisation and the tonal resources of an acoustic band.” The album made the DownBeat Critics Poll of the top 10 best releases of 2012, and New York Times critic Nate Chinen listed it as his No. 1 release of the year. With the release of Shadow Man in 2013, All About Jazz affirmed Snakeoil as “Berne’s most impressively cohesive group yet.”
In its review of Snakeoil, BBC Online praised Berne’s performances in a way that speaks to his ever-evolving career: “The longer he plays, the better he sounds.”
Related Recordings
You need to load content from reCAPTCHA to submit the form. Please note that doing so will share data with third-party providers.
More InformationYou need to load content from Turnstile to submit the form. Please note that doing so will share data with third-party providers.
More InformationYou are currently viewing a placeholder content from Facebook. To access the actual content, click the button below. Please note that doing so will share data with third-party providers.
More InformationYou are currently viewing a placeholder content from Instagram. To access the actual content, click the button below. Please note that doing so will share data with third-party providers.
More InformationYou are currently viewing a placeholder content from X. To access the actual content, click the button below. Please note that doing so will share data with third-party providers.
More Information