EBERHARD WEBER COLOURS: SILENT FEET

If YELLOW FIELDS, the first album Eberhard Weber recorded with his group Colours, was a sensation, SILENT FEET (which appeared a year later) turned out to be more conventional, but still highly enjoyable.

SILENT FEET boasts just three tracks performed by four musicians: Weber on bass, Rainer Brüninghaus on pianos (both acoustic and electric) and occasional synth, Charlie Mariano on soprano sax and flute, and John Marshall on drums.

John Marshall had just left the Soft Machine; Brüninghaus's electric piano sounds similar to Karl Jenkins's; even Weber's composing is reminiscent of the Soft Machine's BUNDLES, which had just appeared when SILENT FEET was recorded. Chances are that if you enjoy BUNDLES, you will also like this. The main difference is, of course, the total absence of electric guitars and organs, with the result that SILENT FEET sounds like a subtler album, less "rocky" than anything the Softs were providing at around this time.

SILENT FEET's three compositions more or less follow the same pattern: plangent, sometimes mournful melodies dissolve into slow grooves, which gradually pick up speed as one of the soloists struts his stuff, until the solo reaches its climax and the process can start over again. The 17+ minutes "Seriously Deep" boasts extended solos from Weber, Brüninghaus and Mariano. The title track (12 minutes long) is the highlight of the album and one of the highlights of Weber's career. It's the only track on SILENT FEET which features a truly fast and exuberant main theme - but the band play the old trick of starting out slowly and soloing on top of the basic chord pattern BEFORE the main theme is played. The initial solo is taken by Brüninghaus, and (as it speeds up) it's one of the most exuberant piano solos I know. The only time I've ever heard Brüninghaus come close to this, is on Jan Garbarek's recent live album DRESDEN, where he's once again given the space to shine.

What you make of Charlie Mariano's solos will depend on how you feel about soprano sax in general. In my view, Mariano's playing was more remarkable on YELLOW FIELDS. Here, it never really catches fire (in spite of those crescendos), not in the way Brüninghaus's playing does. Weber himself, on the other hand, is absolutely brilliant. SILENT FEET is worth buying just to hear the way he accompanies his fellow band members. He sounds so strong and confident, it's a joy throughout. As for Weber's own solos, they're highly convincing and totally sui generis. Just imagine a fretless bass which sounds more "organic" than any guitar ever could, and which also swoops and trills in unexpected ways... Incredible mastery is all I can say.

N.B. SILENT FEET is now available in a bargain-priced two-disc set which includes all three albums recorded by the 'Colours' band: YELLOW FIELDS, SILENT FEET itself, and LITTLE MOVEMENTS. A strongly recommended collection.

Silent Feet is a great album from fretless bass extraordinaire Eberhard Weber. Another artist from the famous ECM label. Recorded in Weber's homeland, Germany in 1977 alongside fellow musicians, Charlie Mariano ( Sorprano sax & Flute), Rainer Bruninghaus ( synths and piano) and Johan Marshall on drums. Weber's bass playing is awesome throughout the entire album and a fellow reviewer has described perfectly Weber's incredible exchanges on Silent Feet with his fellow musicians. All I can say is once you become a fan of bass, fretless bass or even cello in a minimalist jazz setting, Weber's dazzling style will leave you addicted and wanting more!. The album is made up of three pieces, the opener " Seriously Deep", " Silent Feet" and the stark and moody " Eyes That See In The Dark". An excellent piece of work and highly recommend for jazz enthusiasts seeking minimalist soundscape. Four worthy stars.

The year after releasing the beautiful "Yellow Fields" bass extraordinaire Eberhard Weber is back with "Silent Feet". Same lineup except for on the drum kit where John Marshall (NUCLEUS, SOFT MACHINE) replaces Jon Christensen. Charlie Mariano (EMBRYO, SUPERSISTER) is back playing sax and flute. I do prefer this one over "Yellow Fields", I just find it more dynamic and interesting.

We get three long tracks beginning with the side long "Seriously Deep". It takes a while but eventually piano and sax lead the way tastefully then the drums join in. We get bass and drums only before 4 1/2 minutes then the piano joins in as well. The sax is back 6 minutes in. Some intensity around 10 minutes as the sax and drums impress. I really like the electric piano too. It settles back 11 1/2 minutes in then kicks in again around 14 minutes. Marshall is his usual amazing self after 15 minutes.

"Silent Feet" is led by bass and piano early then drums arrive after 1 1/2 minutes. It picks up a minute later. The piano is fantastic here. A calm just before 6 minutes as the sax comes in and leads then it picks back up. A calm 8 1/2 minutes in then it starts to pick up again a minute later. Nice "Eyes That Can See In The Dark" opens with atmosphere and flute. Sparse piano and bass come in after 2 minutes. Sax and sounds build before 4 minutes then the piano leads before 6 minutes. Nice bass and drum work too. The sax replaces the piano 8 minutes in. It settles after 11 minutes to end it.

Such a classy, well played recording in the ECM tradition. Marshall really impressed me too.

For this album Eberhard Weber debuted his short-lived backing band Colours. Saxnan and flute friend Charlie Mariano and keyboard wizard Rainer Brüninghaus had backed Weber on the preceding Yellow Fields; the ensemble was rounded out by John Marshall, who had just left Soft Machine. The blend of talents and backgrounds proves to be an apt one; Marshall, in particular, seems to benefit from working with a fresh new project, the Soft Machine having rather run its course by this point. The sound of the album seems to be solidly rooted in the ECM jazz style that had become Weber's trademark by this point, but the capable performances from all concerned keeps things interesting.