The Colors of Chloë

from Wikipedia, the free encyclopedia
The Colors of Chloë
Studio album by Eberhard Weber

Publication
(s)

April 1, 1974

admission

December 1973

Label (s) ECM

Format (s)

LP, CD

Genre (s)

jazz

Title (number)

4th

running time

40:07

occupation
  • Eberhard Weber - bass, cello, ocarina, vocals
  • Rainer Brüninghaus - piano, synthesizer
  • Peter Giger - drums, percussion
  • Ralf Hübner - drums (title 2)
  • Ack van Rooyen - Flugelhorn
  • Gisela Schäuble - vocals
  • Members of the Südfunk Symphony Orchestra Stuttgart - cello

production

Manfred Eicher

Studio (s)

Recording studio Bauer

Location (s)

Ludwigsburg

chronology
- The Colors of Chloë Yellow Fields

(1976)

Eberhard Weber (2005)

The Colors of Chloë is the debut album by the German jazz bassist and composer Eberhard Weber , which he recorded together with Rainer Brüninghaus , Peter Giger , Ralf Hübner , Ack van Rooyen , Gisela Schäuble and the cellists of the Südfunk Symphony Orchestra Stuttgart.

album

Recording and publication

The album was recorded in December 1973 in the Bauer recording studio in Ludwigsburg and released on April 1, 1974 by ECM Records as a long-playing record . All compositions on the album are by Eberhard Weber. The republication on CD by ECM took place in 1994.

background

Before Eberhard Weber recorded his first album as a band leader , he had already made a name for himself within the European jazz scene as a sideman with " Wolfgang Dauner , Volker Kriegel and the Dave Pike Set ...". He was "one of the best and most experienced bassists in Europe." who could move equally easily in very different varieties - walking bass , free jazz , jazz-rock ". At the beginning of the seventies “his development towards an innovative stylist and a central personality with his own musical identity and individual sound began. ... He found access to this new identity through the sound of his instrument, which he developed himself and called the 'electric bass'. He worked on an old Italian electric bass with a long neck and a small, rectangular body that looked more like an acoustic bass without a body. With the help of instrument makers and electronics experts, he developed ... a five-string version of the instrument, which now had completely new qualities: a larger range and more overtones, which made the sound sharper, i.e. more concise and expressive and had more sustain , i.e. the tones sounded longer on their own. With this sound he made his first album as a leader, The Colors of Chloe .... ”Eberhard Weber said the following about the recordings for his album:

“My arrival at ECM was like a dream ... Today young musicians would consider themselves happy if they didn't clean the handles of the record companies and have to offer themselves. In 1972 it was still different: Manfred Eicher, whom I had known for a while and who had often met at concerts and festivals in southern Germany (after all, he was still an active bass player at the time), asked me if I could write an album for his relatively new record company want to record. ... Just the composition of the same name, which is probably my best known, had to be recorded in two stages. It took me six months to find a format that worked. "

- Eberhard Weber 2004, quoted from www.jazzecho.de

Weber's debut album “made people aware of this exceptional musician ... in the USA too. And this although he did not record the album with an American star cast, but exclusively with European musicians: the then still unknown, only 24-year-old pianist and synthesizer player Rainer Brüninghaus, the Dutch flugelhorn is Ack van Rooyen, the two drummers Peter Giger and Ralf Hübner and the cellists of the Stuttgart Südfunk-Sinfonieorchester. "

The title track of the album was "recorded by vibraphonist Gary Burton ... seven months later with Weber, Pat Metheny, Mick Goodrick, Steve Swallow and Bob Moses for his ECM album 'Ring' (ECM 1051)."

In 1975 The Colors Of Chloë was awarded the Great German Record Prize.

Track list

  • Eberhard Weber: The Colors of Chloë (ECM 1042)
  1. More Colors - 6:40
  2. The Colors of Chloë - 7:45
  3. An Evening With Vincent Van Ritz - 5:46
  4. No Motion Picture - 19:56

Contributors

Musicians and their instruments

  • Eberhard Weber - bass , cello , ocarina , vocals
  • Rainer Brüninghaus - piano , synthesizer
  • Peter Giger - drums, percussion
  • Ralf Hübner - drums (for title 2)
  • Ack van Rooyen - Flugelhorn
  • Gisela Schäuble - vocals
  • Members of the Südfunk Symphony Orchestra Stuttgart - cello

Production staff

  • K. Rapp - sound engineer
  • M. Wieland - sound engineer
  • Maja Weber - Design
  • B & B Wojirsch - layout
  • Kira Tolkmitt - Photography
  • Manfred Eicher - producer

reception

The Allmusic review by David R. Adler rated the album with 4½ out of 5 stars and stated: “Eberhard Weber's first music album remains his best known and most influential. An ambitious work of what can be called symphonic jazz, The Colors of Chloë helped establish the ECM sound - picturesque, romantic, sometimes intricately rhythmic, other times minimalist and harmonically tangled ... People will disagree in their assessment of whether The Colors of Chloë stood the test of time, but Weber's aesthetic played a prominent role in the creative music of the 1970s and found numerous imitators. "

The Rolling Stone Jazz Record Guide awarded 4 out of 5 stars.

The Canadian jazz magazine Coda commented on Eberhard Weber's debut album in 1975 with the following words: “This is an extremely fine, moving album, a record that sounds above all different from all the others currently out.”

And the magazine HiFiVision said in 1988: “Although Eberhard Weber's first production for the ECM record company is already 14 years old, it still radiates an irresistible magic due to its extraordinary instrumentation. Especially the ocarina, a vessel flute in the shape of a goose egg, determines the mysterious character with its gentle, floating tone. "

The British music magazine Jazzwise took Colors of Chloë 2006 in its list " The 100 Jazz Albums That Shook the World " and wrote: "Eberhard Weber's debut album was one of the most important opening templates from ECM after their arrival in the jazz world as arbiter of modern taste. Completely devoid of any fashionable Americanisms of the day, his music was full of light and color, derived from European modernist classical and film traditions. As such, it offered a completely unspent pool of pleasures to fish in. Using his supple bass technique to articulate melodies in a way that nobody had done before, Weber switched between lush and strong string accompaniment and small keyboard and percussion patterns with a great atmospheric effect. "

In its Eberhard Weber retrospective, published in 2009, the magazine Jazzecho describes the album as “a classic that fell out of the ordinary” and one of the “absolute classics of the entire ECM catalog”.

Martin Kunzler characterizes Weber's music in his jazz lexicon as follows: “In his poetic music, widely known since the success of his debut album 'The Colors of Chloe', which was awarded the Great German Record Prize in 1975, stands for the composer and leader Weber less the will for individual expression so pronounced in jazz than the sound and the attempt at integrating the personal possibilities of jazz musicians. He defines his atmospheric group music, which is characterized by pastel-like sounds, as a 'synthesis between rhythm, which originally comes from jazz, with sound forms and sound ideas that are at home in classical music.' "

And the jazz critics Joachim-Ernst Behrend and Günter Huesmann say: “Eberhard Weber developed a singing, 'humane' way of playing electric bass in the seventies - independently of Jaco Pastorius . Its penetrating, warm sound floats with the ease of an imaginary angel choir. Weber is a very intuitive, beautifully sounding player who combines dreamy, elegiac melodies with agile, lively rhythms on his 5-string upright bass. "

literature

Web links

Individual evidence

  1. ↑ The Colors of Chloë at www.ecmrecords.com. Retrieved September 2, 2017 .
  2. ↑ a b c d e The Colors Of Chloë at www.discogs.com. Retrieved September 2, 2017 .
  3. ↑ a b c d e The Colors Of Chloë at www.jazzecho.de. Retrieved September 2, 2017 .
  4. ^ A b Ian Carr, Digby Fairweather, Brian Priestley: Rough Guide Jazz. The ultimate guide to jazz music. 1700 artists and bands from the beginning until today. Metzler, Stuttgart / Weimar 1999, ISBN 3-476-01584-X , p. 681.
  5. ↑ Awards: Bassist Weber: “Defend jazz music as long as I can” at www.focus.de. Retrieved September 12, 2017 .
  6. ↑ The Colors of Chloë at www.allmusic.com. Retrieved on August 2, 2017 (English): “Eberhard Weber's first record remains his most well-known and influential. An ambitious work of what might be called symphonic jazz, The Colors of Chloë helped to define the ECM sound - picturesque, romantic, at times rhythmically involved, at others minimalistic and harmonically abstruse. ... People will disagree about whether The Colors of Chloë stands the test of time, but Weber's aesthetic played a significant role in the creative music of the '70s, attracting a fair share of emulators. "
  7. ^ J. Swenson: The Rolling Stone Jazz Record Guide . Random House / Rolling Stone, 1985, ISBN 0-394-72643-X , pp. 205 .
  8. ↑ Coda magazine about The Colors of Chloe, quoted from www.Jazzecho.de. Retrieved September 11, 2017 .
  9. ↑ Colors Of Chloë at www.jpc.de. Retrieved September 2, 2017 .
  10. ↑ The Colors of Chloë at www.jazzwisemagazine.com. Retrieved on September 2, 2017 (English): “Eberhard Weber's debut album was one of the most significant opening volleys of ECM's arrival in the jazz world as an arbiter of modern taste. Completely devoid of any of the fashionable Americanisms of the day, its music was full of light and color derived from European modernist classical and film traditions. As such, it offered a completely fresh pool of delights to fish in. Using his sinuous bass technique to articulate melody as no-one else had before, Weber alternated a sumptuously severe string backing with little keyboard and percussion patterns to huge atmospheric effect. "
  11. ↑ Martin Kunzler: Jazz Lexicon. Volume 2 . Rowohlt Verlag, Reinbek near Hamburg 1988, ISBN 3-499-16513-9 , p. 1451 .
  12. ↑ Joachim-Ernst Behrend, Günther Huesmann: Das Jazzbuch . 7th edition. S. Fischer Verlag, Frankfurt am Main 2005, ISBN 3-596-15964-4 , pp. 591 .