Stages of a Long Journey was recorded in Stuttgart in March of 2005, as part of a celebration of both the 20th anniversary of the Theaterhaus Jazzstage festival and as a 65th birthday celebration for bassist
Eberhard Weber.
Weber was asked to pick a number of his own compositions, rearrange them by writing new charts for
the Stuttgart Radio Symphony Orchestra, and select his own band as well.
Weber picked on former and current bandmates such as
Gary Burton,
Jan Garbarek,
Rainer Bruninghaus,
Marilyn Mazur,
Wolfgang Dauner,
Reto Weber, and human beatbox
Nino G., and carefully chose material from his own catalog and pieces he had performed on in their initial recordings, such as
Bruninghaus's "Piano Transition,"
Jerome Kern's "Yesterdays,"
Mazur's "Percussion Transition," and
Carla Bley's "Syndrome." Those wondering if there is any actual "jazz" on this record need look no further than the gorgeous version of
Bley's tune here, where
Burton,
Garbarek, and the bassist all shine. Another consideration for the listener is in
Weber's beautiful, inventive, rhythmic charts for the orchestra (under the direction of
Roland Kluttig). "Silent Feet," which opens the set, is one such exercise. What begins as a slow bowed bassline is colored and enlarged by the orchestra entering gradually, tensely, and dramatically, as grey dawn emerges from the night sky. A pulse begins just after
Mazur's percussion entry, the band plays these intricate rhythmic phrases, and the orchestra adds genuine color, texture, and depth. They follow rhythmic signature perfectly, allowing the tune to evolve and bring its delightfully understated melodic frame (which is not inseparable from the pulse) to the fore. By the time
Garbarek takes his solo and
Weber plays double time behind him, the big brassy horns are ready to push and drop out only as
Burton enters with a truly lovely and poetic solo.
There are a fine pair of duets played here as well, between
Dauner on piano and
Weber's bass on the lovely
Kern number, and also "Seven Movements," shared by the bassist and
Garbarek. They set the stage for what follows, the elongated "Birthday Suite" that encompasses five pieces -- bookended by gorgeous readings of two of
Weber's best-known pieces, "The Colours of Cloë" and "Yellow Fields." On "Hang Around," a trio of
Nino G.,
Weber's downright funky acoustic bass, and the self-designed percussion instrument played by
Reto Weber (no relation) called the "hang," are in deep intuitive interplay. The work by
G. is not a novelty, but something inventive, utterly fresh, and full of the energy -- especially in
G.'s solo. The final two pieces of the evening are in many ways the most satisfying. The full band returns on "The Last Stage of a Long Journey," where the orchestra introduces the brooding and melancholy composition. Strings and the deep brass of tuba and euphonium gradually bring up the tempo and introduce the lithe melody, as
Weber brings his bass up from the ether. When
Bruninghaus restates the theme on the piano and
Weber is allowed free play inside the rhythm,
Burton begins to color it. When
Garbarek's icy soprano saxophone cries out, it is arresting and rings true. The concert ends with a brief bass solo by
Weber on "Air." In just over three minutes, the great bassist is not remotely interested in showing his chops but in playing this bittersweet little song as a folk tune. This is a watershed moment in
Weber's recorded output, because it reveals his collective gifts as a musician, which, even when understated, are shining examples of the European jazz, folk, classical, and new music he has forged these last 40 years as a leader and as a valued sideman and composer. ~ Thom Jurek