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Eberhard Weber: Pendulum

 A l b u m   D e t a i l s


Label: ECM Records
Released: 1993
Time:
 53:29
Category: Jazz
Producer(s): Eberhard Weber
Rating:
Media type: CD
Web address: www.ecmrecords.com
Appears with: Jan Garbarek
Purchase date: 2015
Price in €: 1,00





 S o n g s ,   T r a c k s


[1] Bird Out of Cage (E.Weber) - 5:04
[2] Notes After an Evening (E.Weber) - 4:15
[3] Delirium (E.Weber) - 5:20
[4] Children's Song No. 1 (E.Weber) - 5:41
[5] Street Scenes (E.Weber) - 5:26
[6] Silent for a While (E.Weber) - 7:42
[7] Pendulum (E.Weber) - 8:41
[8] Unfinished Self-Portrait (E.Weber) - 4:34
[9] Closing Scene (E.Weber) - 6:36

 A r t i s t s ,   P e r s o n n e l


Eberhard Weber - Bass, Liner Notes, Producer

Jochen Scheffter - Engineer
Dieter Bonhorst - Cover Design
Maja Weber - Cover Design
Roberto Masotti - Photography
Maria Pelikan - Liner Notes Translation

 C o m m e n t s ,   N o t e s


1993 CD ECM Records - ECM519
1993 CD POCJ-1203 (Japan)

Recorded Spring 1993 Munchen



Eberhard Weber, perhaps best known as bassist for the Jan Garbarek Group, in addition to his own string of classic ECM albums as leader throughout the 1970s and 80s, brings his 5-string electric upright into a more focused spotlight with Pendulum. This solo date from 1993 marks yet another evolutionary step in this unmistakable musician, whose wings discover fresh space in which to flap in “Bird Out Of Cage.” Through its menagerie of overdubs and loops, Weber navigates the pops and jagged peaks of spontaneous creation. Yet despite its skyward beginnings, Pendulum tells an earthbound story that turns in its own cycle of life. Maternal shores skirt paternal oceans in “Notes After An Evening,” while in “Delirium” Weber unfurls visceral diversions against a droning canvas. “Children’s Song No. 1” picks up the thread, swaying to the rhythm of a playground swing, and continues to spin it into “Street Scenes.” Playful harmonics carry over into the meditative “Silent For A While,” reaching out to the birds that brought us here. The title track hones a robust thematic edge, dancing its slow dance across a hundred dreams and lifetimes, leaving “Unfinished Self-Portrait” to drip equal parts whimsy and grandiosity into the comforting “Closing Scene,” tingling with the taste of destiny.

With unerring delicacy yet with a weightiness that oozes security, Weber treats his bass at times pianistically, at times chorally, and often as both at once on an album that offers an intimate look at his compositional sensitivity. One of his absolute triumphs in that quiescent, fluid way he has.

ECM Records



Although this is essentially a solo bass date, Eberhard Weber's use of overdubbing and an echo unit turns his bass into an orchestra of sorts. Since he is a strong composer, covering a wide span of moods during this set of melodic originals and avoiding the use of his effects as gimmickry, Weber creates an introverted but accessible program whose appeal should stretch beyond just lovers of bass solos.

Scott Yanow - All Music Guide



Der singende, wunderbar schwebende Ton seines körperlosen Instruments blieb ebenso unberührt wie seine Vorliebe für melancholische Melodien im Kon- trast mit minimalistischen Wiederholungsfi- guren und beschwingte Tempi. Er ist eben einer der wenigen, bei denen nüchterne Elek- tronik arm und herzlich klingt.

W. Stiefele - Audio 12/93
 

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