- CD de audio (23 de enero de 2013)
- Número de discos: 3
- Formato: Audiolibro, Cofre, CD
- Sello: Ecm
- ASIN: B002Q8YBYK
- Disponible también en: CD de audio
- Valoración media de los clientes: 5.0 de un máximo de 5 estrellas Ver todas las opiniones (1 opinión de cliente)
- Clasificación en los más vendidos de Amazon: nº37.507 en Música (Ver el Top 100 en Música)
Compara Precios en Amazon
Colours Audiolibro, Cofre, CD
|Nuevo desde||Usado desde|
Los clientes que compraron este producto también compraron
Descripción del producto
Descripción del producto
Registrazioni del 1975, 1977, 1980; Re-issue di: Yellow Fields, Silent Feet, Little Movements Ebehard Weber, contrabbasso; Charlie Mariano, sassofoni; Rainer Brüninghaus, tastiere; John Marshall, percussioni; Jon Christensen, batteria
Lista de canciones:
3. Yellow Fields
4. Left Lane
1. Seriously Deep
2. Silent Feet
3. Eyes that Can See in the Dark
1. The Last Stage Of A Long Journey
3. A Dark Spell
4. Little Movements
5. "No Trees?" He said
Detalles del producto
Si eres el vendedor de este producto, ¿te gustaría sugerir ciertos cambios a través del servicio de atención al vendedor?
Listas de canciones
Opiniones de clientes
Principales opiniones de clientes
Opiniones de clientes más útiles en Amazon.com (beta)
There is one small point I found disappointing, the color sleves featuring Maya Weber's wonderful artwork should have been reproduced in miniature sleeves. Sadly those sleeves are generic like the box cover. This was presumably to keep production costs low and I get it but thinking maybe I should have purchased the mp3 version instead. There are some nice black and white stills of the band, an essay (I haven't yet read) and black and whit pictures of the cover art but, if you've seen the actual color sleeves, will no this images come nowhere near capturing that feeling that, yes even the artwork helped set the mood.
Oh well, at least we have this wonderful music that had fallen out of print and that's what matters most
All masters here. A high IQ Soft Machine.
I have been a fan of Weber's music since the 1970s and Yellow Fields is still one of my favorite albums. Weber's compositions are excellent and give the musicians something to sink their teeth into. The Penguin Guide to Jazz awarded Yellow Fields their maximum four star rating and described it as "Weber's masterpiece." Charlie Mariano plays beautifully. Before settling in Europe in the 1970s Mariano had played with Charles Mingus, Stan Kenton, and Chet Baker. Jon Christensen's drumming suited ECM's style of chamber jazz and he played on albums by Keith Jarrett, Ralph Towner, Jan Garbarek and Terje Rypdal. Weber is a great bass player with his own distinctive sound. Bruninghaus is an ECM keyboard regular and has played on many great albums, usually with Weber and Jan Garbarek.
Eberhard Weber has made a number of outstanding albums for ECM. Silent Feet and Little Movements are both very good but they lack the magic of Yellow Fields. The compositions are not as strong and the music is a little less remarkable. Christensen is replaced by John Marshall. Marshall played in Soft Machine and Nucleus and is more of a jazz-rock drummer. He is good and always busy, but some subtlety is lost. Mariano's playing is a little less inspired.
Overall this collection is great value for money. If you are new to Weber try Colors of Chloe (1973) next. That is another classic album.
The best examples of what this amazing group accomplished are on the first two cuts on Yellow Fields, the first and by far best of these three exceptional discs. On the first cut, "Touch," the drummer and pianist lay down a pulse of sound --it throbs! Weber plays a looping obbligato on his handcrafted electric bass: his bass line obliquely implies the central melody but doesn't ape it. Mariano enters on soprano sax and Bruninghausen lays down chord spreads behind him. Weber continues his oblique commentary. Christensen kicks up the pressure -same pulse, but with hard irregular cymbal splashes on top of the beat. The music flows, is intensely musical, and then Charlie Mariano enters on soprano sax. His solo is sheer bliss, long notes, lyrical keening sound. "Sand Glass" is three times as long as "Touch" at fifteen minutes: the piece is as good as anything recorded in that decade, which is saying a lot, as perfect as a piece of jazz gets.
Weber's bass never sounded like anyone else's. He only occasionally plays straight rhythm, preferring to play alt melody lines along with, over and across the music produced by the rest of the group, with relatively few notes and lots of space inside his lines. His sound reverberates! I said once, I think to my son Jeremy, that if a whale sang jazz, it would sound like Eberhard Weber does. When Weber starts to solo, it sounds like a large, slow, graceful animal keening across distance. Charlie Mariano solos very effectively on "Sand Glass" not only on soprano but using two exotic sounding oriental reeds, the shenai and the nagaraswam. My one regret is that there is no occasion on these albums for Mariano to play alto sax, the instrument with which he came to public attention as featured soloist in the Stan Kenton orchestra and then in an outstanding quartet he co-led with his then-wife pianist Toshiko Akiyoshi. His alto was probably too hot, boppish, for the cool, orchestral sound that Weber wanted to attain with Colours.
The second and third CDs, Silent Feet (1977) and Little Movements (1980), are good but no Yellow Fields. Christensen had left the group to work with Terje Rypdal and Palle Mikkelsen but Marshall was a more than competent replacement. He's more directly percussive than Christensen. (Christensen plays sotile sotile, to lift a phrase from Collodi's Pinocchio, the only book I read all the way through in Italian.) The difference: Christensen is a phenomenally inventive drummer and Marshall is simply a good one. Both albums feature long, somewhat flabby pieces (especially "Bali" in Little Movements) but the level of melodic invention and the lush sound and effects the group produced are still present and enjoyable. "Bali," released 1980, echoes Steve Reich's classical minimalism in parts, kind of a jazz version of a la Music for 18 Musicians (1974-6). Aside from the musical value of these three CDs, which is high, these albums have historical value: they highlight the half-decade career of an exceptional combo whose music offered an alternative course for that exciting improvised music called jazz. The album also points to Weber's later career, not always in jazz, in albums such as his evocative Endless Days (2000). Thank you, ECM, for releasing these fine albums again after being unavailable for so long!