Florian Weber
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Florian Weber
Florian Weber
Markus Stockhausen and Florian Weber: Mondtraum ( Alba 2016)
In "Mondtraum", a piece featured on the album Alba (2016), Markus Stockhausen and Florian Weber transport us to a sonic space where improvisation and subtlety engage in perfect harmony. This work, part of an exceptional collaboration between virtuoso trumpeter Stockhausen and pianist Weber, offers a deep, intimate, and ethereal interpretation that challenges the boundaries between contemporary jazz and chamber music.
From the very first bars, Stockhausen unveils his unmistakable trumpet sound, with a pure and crystalline tone that seems to float in a state of suspension. His performance, infused with delicate lyricism, carries an almost meditative quality that invites the listener into an introspective emotional landscape. Stockhausen masters silence and space, pausing each note with precision, resonating with emotional strength. His trumpet does not simply sing but breathes, creating an organic connection with the listener.
Meanwhile, Florian Weber contributes a pianistic accompaniment that acts as a delicate counterbalance. His chords and melodic lines are subtle, fluid, and atmospheric, weaving a rich and enveloping harmonic texture. Weber demonstrates masterful control of rhythm and dynamics, making the piano function both as a rhythmic foundation and a narrative vehicle. The dialogue between the two musicians is an exercise in active listening and mutual surrender, where each intervention respects and elevates the other.
The structure of "Mondtraum" seems to draw inspiration from free improvisation while maintaining a clear sense of purpose and direction. Despite its apparent simplicity, the composition exudes an emotional complexity that evokes dreamlike imagery, like a nighttime stroll under the moonlight, where time stands still and thoughts flow without restrictions.
The title, Mondtraum (translated as "moon dream"), perfectly reflects the character of the piece: ethereal, dreamy, and delicate. The music unfolds as an introspective journey, where every note and silence contributes to creating an immersive and contemplative atmosphere.
Within the context of the album Alba, this piece stands out as a pivotal moment of quiet and reflection, showcasing Stockhausen and Weber's ability to create a musical experience that transcends genres and boundaries. It is a work that, while subtle and minimalist, possesses a palpable emotional intensity, transforming the ephemeral into something eternal.
Sportfreunde Stiller: So Wie Einst Real Madrid
Motor Music/Universal 543 715-1
Released: April 28, 2000
Florian Weber | Lucent Waters
This is the first album I’ve picked up by pianist Florian Weber, released towards the end of 2018 on ECM. Most of the tracks feature bassist Linda May Han Oh, who I’m a fan of, and drummer Nasheet Waits, whose style I don’t really have nailed down yet, but he works with a lot of musicians I like, so seeing those two names on here recommended it to me. I know OF Ralph Alessi, the trumpet player who plays on a few tracks, but I’m not super familiar with him outside his collaborations with Fred Hersch. Anyway, overall, this is... definitely an ECM album. Very spacious and modern. This one honestly doesn’t stick out to me as much as some others, although ECM is not a style I listen to as much of as most other modern jazz. I like From Cousteau’s Point Of View, which I kept thinking was an Esbjorn Svensson cover until I looked up (literally just this moment) the EST tune I was thinking of, which is actually called Did They Ever Tell Cousteau? Silly me.
A Jeff Denson composition.
from a concert / Jeff Denson "Secret World" Jeff Denson - vocals & bass, Ralph Alessi - trumpet Florian Weber - piano, Gerald Cleaver - drums video by Alex Chaloff
Florian Weber: Lucent Waters (ECM, 2018)
Ralph Alessi: trumpet; Florian Weber: piano; Linda May Han Oh: double bass; Nasheet Waits: drums.
Lucent Waters the new ECM release from pianist Florian Weber, with the phenomenal cast of trumpeter Ralph Alessi, the phenomenal bassist Linda May Han Oh, and Nasheet Waits on drums appears to carry a nautical theme with some of the music, but it is clear that it's a carefully conceived exercise in drama through it's various tone poems and the sound scapes created. When a listener thinks of a nautical thematic thread for jazz, probably Herbie Hancock's title track to Maiden Voyage (Blue Note, 1965) comes to mind with it's timeless melody and vibe redolent of a slow moving sea vessel, but Weber's present recording at hand concretely in part, through sound brings to mind various states of water and expertly crafted moods. The four distinct personalities of the players form an appealing band dynamic as well.
Weber likes to make room for lots of freedom in his music. With the musical personalities mentioned above through their differing means of expression a harmonious whole is achieved. The pianist is generally thoughtful, while Waits' forward momentum generally pushes things along with a marked intensity, May Han Oh's bass brings a distinct clarity grounding everything. As she has done on her own as a leader, with pianist Fabian Almazan, and most recently with Pat Metheny in his quartet, much like Wilbur Ware, Ron Carter and Paul Chambers before her, her rich tone and perfect note choice guides things along. When she steps to the spotlight on the tumultuous “The Melody Of A Water Fall” amidst her flurry of notes, there is something to hold onto as the turbulent sea of Waits' drums freely erupts behind her. The drummer is superb on the track emulating Japanese koto drums to a degree, as the track is informed by the sound of Japanese drums. Ralph Alessi appears for the first time on “From Costeau's Point Of View” which is intriguing due to the use of simultaneous meters in 3 and 7, though with the delicateness of Waits' cymbals the listener is generally directed to it's easy going floating feeling. The pianist's solo explores the crevices between the drums where the light cerulean shade of underwater contrasts with brightly colored coral reefs. “Butterfly Effect” demonstrates how good the quartet is at listening as they navigate the labyrinth canvases they are given to improvise. The melody, led by Alessi's brightly brassy sound, moves with the grace of some of the great Wayne Shorter pieces on Miles Davis' classic Sorcerer (Columbia, 1967) and in a sense captures some of the same spirit the Second Quintet had at interacting in lightning fashion. For example, Weber piggybacks off of Alessi's last phrase as a motif to jump off of, and from there he naturally brings the piece to conclusion. The pianist is an expert of various moods, as the opening meditation of “Brilliant Waters” finds him strumming piano strings softly, inadvertently creating a wonderful way for “The Melody Of A Waterfall” to start. The closing “Schimmelreiter” buoyed by May Han Oh's pedal point and the pianist's subtle melody line suggests surreal portrait of a horse galloping in super slow motion.
Lucent Waters makes so much out of contrasting styles utilizing a common ground to create music with wonderful imagery. As Weber, May Han Oh and Alessi have all played often in seperate contexts, there is a familiarity with each other that allows things to naturally happen with the quite open nature of the compositions. Hopefully the group collaborates more in the future as the album is a superb late year treat.
Rating 9.5/10
Freiheit TV: „Für ein Europa der Völker“ – Der Filmbericht vom Wahlkampfauftakt der Bayernpartei
Freiheit TV: „Für ein Europa der Völker“ – Der Filmbericht vom Wahlkampfauftakt der Bayernpartei
Die Süd-Tiroler Freiheit war mit einer Delegation beim stimmungsvollen Wahlkampfauftakt der Bayernpartei (BP) in München dabei. Sehen Sie im Filmbericht einige Eindrücke vom Parteitag und was Florian Weber (Vorsitzender BP), Hubert Dorn (Generalsekretär BP) und Sven Knoll zur bayrisch-süd-tirolerischen Freundschaft und über das gegenwärtige Europa sagen. (more…)
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