DOCSLIB.ORG

Eberhard Weber 80 Jahre • Hommage • Sa. 25. Januar 2020 - 19:30 Uhr FORUM Merzhausen

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Eberhard Weber 80 Jahre • Hommage • Sa. 25. Januar 2020 - 19:30 Uhr FORUM Merzhausen forum jazz e. V. • PRESSEMITTEILUNG Nr. 1/2020 www.forumjazz.de ________________________________________________________________________________ Eberhard Weber 80 Jahre • Hommage • Sa. 25. Januar 2020 - 19:30 Uhr FORUM Merzhausen Film • Résumé • Bass Solo Konzert mit Björn Meyer • Cover-Ausstellung Eberhard Weber hat das Bassspiel revolutioniert. Er gilt als Erfinder des E-Kontrabasses und hat damit internationale Jazzgeschichte geschrieben. 2007 wurde seine beispiellose Karriere vor einem Konzert der Jan Garbarek Group in Berlin durch einen Schlaganfall jäh beendet. Anlässlich seines 80. Geburtstages ehrt forum jazz e. V. (Merzhausen) den am 22. Januar 1940 in Esslingen geborenen Ausnahme-Künstler mit einem speziellen Abend. Die Besucher begegnen filmisch und persönlich einer großen Musiker-Persönlichkeit und einem außergewöhnlichen Menschen. Eberhard Weber zieht zunächst ein Résumé seiner Laufbahn und wird auf unverwechselbar humorige Weise seinen reichhaltigen Jazzmusiker Anekdoten-Schatz öffnen. Er berichtet von Erlebnissen mit berühmten Musiker-Kollegen wie Jan Garbarek, Gary Burton, Ralph Towner, Wolfgang Dauner, Rainer Brüninghaus, ECM Produzent Manfred Eicher, Pat Metheny und auch der Pop-Ikone Kate Bush. Abschließend wird der Jubilar auf den folgenden Film überleiten und die Entstehungsgeschichte des Konzerts von 2015 im Theaterhaus Stuttgart beleuchten. forum jazz e. V. zeigt den gut 30-minütigen Konzertmitschnitt des Jubilee Konzerts, welches anlässlich des 75. Geburtstags von Eberhard Weber im Januar 2015 im Theaterhaus Stuttgart stattfand. Die von Pat Metheny komponierte Suite "Hommage à Eberhard Weber", basiert auf Aufnahmen von Solo-Improvisationen Webers, die in Methenys einfühlsamer Orchestrierung von der SWR-Big-Band mit Metheny, Gary Burton, Scott Colley und Danny Gottlieb meisterhaft interpretiert werden. Die Idee und deren Umsetzung sind schlichtweg genial. Eine Ausstellung sämtlicher 35 Covers der ECM Produktionen an denen Eberhard Weber beteiligt war, wird im Foyer des FORUM Merzhausen zu sehen sein. Der Jubilar wird persönlich durch die Ausstellung führen. Eine einmalige Visualisierung des Lebenswerks, die in dieser Forum nur in Merzhausen zu sehen sein wird. Als Höhepunkt des Abends wird der seit 1996 in der Schweiz lebende Schwede Björn Meyer ein Bass Solo Konzert zu Ehren von Eberhard Weber geben. Meyer spielte als Kind Klavier, lernte in der schwedischen Jugend-Musikschule zunächst Trompete, sang im Knabenchor und spielte Gitarre in lokalen Punk-Bands. Mit 18 Jahren wechselte er zum E-Bass um seit 1989, nach Abschluss eines Informatik- und Physik-Studiums, als professioneller Musiker tätig zu sein. 2017 veröffentliche das Münchner Kult-Label ECM das Bass Solo Album Provenance. Es gibt eine starke Tradition von Solo-Bass-Alben bei ECM, allerdings ist Provenance das erste, das der elektrischen Bassgitarre gewidmet ist. In seiner Soloarbeit fasziniert Björn Meyer besonders das Zusammenspiel von elektronisch erzeugten Klängen und dem jeweiligen Konzertraum: „Obwohl das Instrument rein technisch gesehen nicht akustisch ist, wird die Musik stark von den Eigenschaften des Raums, in dem sie gespielt wird, beeinflusst“. Man darf sehr gespannt sein, wie sich die außergewöhnliche Atmosphäre des Foyers im FORUM Merzhausen auf das akustische Geschehen auswirken wird. forum jazz e. V. Vorsitzender Reinhard Vogt: „Ich hatte das Vergnügen 2015 beim großartigen Konzert in Stuttgart live dabei zu sein. Dass wir Eberhard Weber fünf Jahre später zum 80. Geburtstag in Merzhausen ehren dürfen, war damals nicht abzusehen und erfüllt uns mit großer Freude“. Vorverkauf: forumjazz.de / reservix.de / BZ-Ticket/ GeBüSch Merzhausen. (25 Euro + Ermäßigungen) .
Load more

Recommended publications
  • The Carroll News
    John Carroll University Carroll Collected The aC rroll News Student 10-6-1982 The aC rroll News- Vol. 67, No. 3 John Carroll University Follow this and additional works at: http://collected.jcu.edu/carrollnews Recommended Citation John Carroll University, "The aC rroll News- Vol. 67, No. 3" (1982). The Carroll News. 670. http://collected.jcu.edu/carrollnews/670 This Newspaper is brought to you for free and open access by the Student at Carroll Collected. It has been accepted for inclusion in The aC rroll News by an authorized administrator of Carroll Collected. For more information, please contact [email protected]. Vol. OINo. 3 October 6. 1982 tlrbe <!Carroll _jf}etus John Carroll University University Heights, Ohio 44118 Student Union proposes renewal of Stunt Night Will Stunt Night return? This Stunt Night was considered recent. Student Union meeting. tion. laborating data of the past is one of the more popular ques· one of the best sources of class JCU alumni have suggested Student Union President stunt nights, and devising tions pervading the halls of unity, and received significant that Stunt Night be brought Chris Miller says that he is wiU· ground rules which will im· Carroll as of late. yearbook coverage. back, according to senior class ing to lli1ten to any ideas prove future stunt nights. "What is Stunt Night?" you Unfortunately, some of the representative Jim Garvey. students have regarding the Stunt Night was once a main might ask. Actually, it was one material in the skits, which was Presently, the newly-formed return of this much-missed at· event on campus to bring of the bigger events here until intended for the coUege·level Investigative Committee, com· traction.
    [Show full text]
  • Pressemitteilung 15
    MINISTERIUM FÜR WISSENSCHAFT, FORSCHUNG UND KUNST PRESSE- UND ÖFFENTLICHKEITSARBEIT PRESSEMITTEILUNG 15. September 2014 Nr. 77/2014 Landesjazzpreis Baden-Württemberg: Sonderpreis für das Le- benswerk geht an den Bassisten Eberhard Weber „Mit dem neu geschaffenen Sonderpreis ehrt das Land einen Künstler, der seinesgleichen sucht und Jazzgeschichte geschrie- ben hat“, sagt Kunststaatssekretär Walter Der Landesjazzpreis Baden-Württemberg besteht seit 30 Jahren. Im Jahr seines Jubiläums wird der Preis nicht nur - wie sonst jährlich - an Nachwuchskünstler verliehen, sondern erstmals auch in der Kategorie „Sonderpreis für das Lebens- werk“ vergeben. Preisträger ist der in Stuttgart geborene und in Frankreich le- bende Bassist Eberhard Weber. „Beim Jazz-Ehrenpreis geht es um die Würdi- gung der künstlerischen Lebensleistung baden-württembergischer Jazzmusiker. In Verbindung mit der Förderung junger Talente schließt sich mit dem neuen Preis der Kreis in der Jazzförderung des Landes“, sagte Kunststaatssekretär Jür- gen Walter am Montag (15. September) in Stuttgart. „Eberhard Weber hat ein Oeuvre geschaffen, das seinesgleichen sucht. Der cha- rismatische Schwabe hat Jazzgeschichte geschrieben und die internationale Jazzszene geprägt. Das würdigen wir mit dem Preis für das Lebenswerk“, so Walter. Dotiert ist die neue Auszeichnung mit 10.000 Euro. Dieses Preisgeld wird von der L-Bank gestiftet, die damit ihr Engagement im Kultursponsoring auf den Jazz ausweitet: „Entwicklungen in Baden-Württemberg zu fördern, ist eine zentrale Aufgabe der L-Bank. Neuerungen gibt es aber nicht nur in der Wirtschaft sondern auch in der Musik. Die rege Jazzszene in unserem Land brachte und bringt im- Königstraße 46, 70173 Stuttgart, Telefon 0711 279-3005, Fax 0711 279-3081 E-Mail: [email protected], Internet: http://www.mwk.baden-wuerttemberg.de Seite 2 von 3 mer wieder große Künstlerpersönlichkeiten hervor.
    [Show full text]
  • Discourses of Decay and Purity in a Globalised Jazz World
    1 Chapter Seven Cold Commodities: Discourses of Decay and Purity in a Globalised Jazz World Haftor Medbøe Since gaining prominence in public consciousness as a distinct genre in early 20th Century USA, jazz has become a music of global reach (Atkins, 2003). Coinciding with emerging mass dissemination technologies of the period, jazz spread throughout Europe and beyond via gramophone recordings, radio broadcasts and the Hollywood film industry. America’s involvement in the two World Wars, and the subsequent $13 billion Marshall Plan to rebuild Europe as a unified, and US friendly, trading zone further reinforced the proliferation of the new genre (McGregor, 2016; Paterson et al., 2013). The imposition of US trade and cultural products posed formidable challenges to the European identities, rooted as they were in 18th-Century national romanticism. Commercialised cultural representations of the ‘American dream’ captured the imaginations of Europe’s youth and represented a welcome antidote to post-war austerity. This chapter seeks to problematise the historiography and contemporary representations of jazz in the Nordic region, with particular focus on the production and reception of jazz from Norway. Accepted histories of jazz in Europe point to a period of adulatory imitation of American masters, leading to one of cultural awakening in which jazz was reimagined through a localised lens, and given a ‘national voice’. Evidence of this process of acculturation and reimagining is arguably nowhere more evident than in the canon of what has come to be received as the Nordic tone. In the early 1970s, a group of Norwegian musicians, including saxophonist Jan Garbarek (b.1947), guitarist Terje Rypdal (b.1947), bassist Arild Andersen (b.1945), drummer Jon Christensen (b.1943) and others, abstracted more literal jazz inflected reinterpretations of Scandinavian folk songs by Nordic forebears including pianist Jan Johansson (1931-1968), saxophonist Lars Gullin (1928-1976) bassist Georg Riedel (b.1934) (McEachrane 2014, pp.
    [Show full text]
  • Baden-Württemberg 2021
    Christoph Neuhaus JAZZ AWARD Baden-Württemberg 2021 Artists JAZZ Festivals Baden-Württemberg 2021 Venues Labels Universities of Music Welcome Petra Olschowski Baden-Württemberg‘s jazz scene is both steeped in tradition and modern, rooted in the region and yet internationally wide reaching, and is therefore an important part of culture in the state. With over sixty venues, numerous festivals, creative labels and a wealth of experimental musicians, Baden-Württemberg‘s jazz scene again and again shows its importance as a driving cultural force. The cultural life has been virtually uneventful for the past year. And yet the organisers and musicians have been working on new ideas – which could hardly be seen or heard from the outside. For many performing artists, music and jazz are an important part of life which they just cannot and do not want to give up. Christoph Neuhaus, whom we award with the Baden-Württemberg Jazz Award 2021, was also creative during the pandemic. He had been working hard on his new album „Ramblin Bird“, which was released in March 2021. Imprint Editor This brochure provides interesting details about this year‘s jazz award winner. Ad- Baden-Württemberg Ministry of Science, Research and Arts, Stuttgart ditionally, it gives you an up-to-date overview of the multi-faceted jazz scene in Ba- Graphics, Layout den-Württemberg. You‘ll also learn more about the local musicians, the festivals, venu- Jazzverband Baden-Württemberg e.V. es and labels in this brochure. Furthermore, it briefly describes the promotion lines for Texts Baden-Württemberg Ministry of Science, Research and Arts, Stuttgart jazz and the training opportunities in the field.
    [Show full text]
  • Benny Bailey Islands Mp3, Flac, Wma
    Benny Bailey Islands mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Jazz Album: Islands Country: Germany Released: 1976 Style: Fusion MP3 version RAR size: 1563 mb FLAC version RAR size: 1666 mb WMA version RAR size: 1961 mb Rating: 4.7 Votes: 758 Other Formats: MMF MP3 AU MP4 AC3 ASF AA Tracklist A1 So Far As I Know A2 Estrelle B1 To Fly Or Not To Fly B2 One Of Those Love Songs B3 Remember The Islands Companies, etc. Recorded At – Studio Barbarossa Credits Bass – Eberhard Weber Drums – Lala Kovacev* Guitar, Sitar – Siggi Schwab* Music By – Mladen (Bobby) Gutesha* Trumpet, Flugelhorn – Benny Bailey Notes Recorded at Studio Barbarossa, Munich, May 25 & 26, 1976. Other versions Category Artist Title (Format) Label Category Country Year Benny Bailey, Benny Bailey, Eberhard Eberhard Weber, Weber, Siggi Schwab*, Enja RJ-7142 RJ-7142 Japan 1977 Siggi Schwab*, Lala Kovacev* - Islands Records Lala Kovacev* (LP, Album) Benny Bailey, Benny Bailey, Eberhard Eberhard Weber, Weber, Siggi Schwab*, Enja ENJ-2082 2 ENJ-2082 2 Germany 1993 Siggi Schwab*, Lala Kovacev* - Islands Records Lala Kovacev* (CD, Album) Benny Bailey, Eberhard Benny Bailey, Weber, Siggi Schwab*, Eberhard Weber, Enja GQCP-59048 Lala Kovacev* - Islands GQCP-59048 Japan 2008 Siggi Schwab*, Records (CD, Album, Ltd, RE, Lala Kovacev* RM, Pap) Benny Bailey, Benny Bailey, Eberhard Eberhard Weber, Weber, Siggi Schwab*, Enja CDSOL-6519 CDSOL-6519 Japan 2014 Siggi Schwab*, Lala Kovacev* - Islands Records Lala Kovacev* (CD, Album, RE) Comments about Islands - Benny Bailey Nirn Smooth, clean Jazz. I played it on YouTube first and liked it even though i'm a "free jazz guy".......Eberhard Weber "Fluid Rustle" Lp is in the Top 5 of all time (my list anyways).......Norma "Kid" Winstone shines on that one.......
    [Show full text]
  • Unbound Jazz: Composing and Performing in a Multi- Cultural Tonality
    Unbound Jazz: Composing and Performing in a Multi- Cultural Tonality By Carlo Estolano Commentaries for the PhD folio of compositions University of York Music December 2017 2 3 Unbound Jazz: Composing and Performing in a Multi-Cultural Tonality Thesis submitted in partial fulfilment of a PhD degree in Music at The University of York, December 2018 by Carlo Estolano. Abstract This folio is conceived to propose and demonstrate music realisation of original compositions throughout the employment of elements of mainly two distinct sources: a selection from the wide palette of Brazilian folk styles that have improvisation as a strong element, which is internationally acknowledged as Brazilian Jazz; and its intersections with a certain style of European Jazz represented by artists notable by their keenness to combine elements from distinct musical genres with their Classical background, such as Ralph Towner, Jan Garbarek, John Abercrombie, Eberhard Weber, Kenny Wheeler, Terje Rypdal, Keith Jarrett to name a few. Both Brazilian and European approaches to Jazz seem to share processes of appropriation of foreign musical languages, as well as utilising characteristic features of their own traditions. Another common ground is their relation with some elements and procedures of classical music. The methodology to accomplish an organized collection of musical material was to divide them in five major influences, part of them by composers and part by genres notable by having evolved through absorbing elements from distinct cultural sources. In five projects, fifteen original compositions are provided along with their recorded and/or filmed performances and commentaries about the compositional aspects, concerningthe style or composer focused on.
    [Show full text]
  • Page 1 N E W R E L E a S E
    NEW RELEASE O N I N T U I T I O N R E C O R D S R E C E I V E D 4 G R A M M Y N O M I N A T I O N S OREGON’s latest project, Oregon In Moscow, is a double CD with the Moscow Tchaikovsky Symphony Orchestra, and the group’s recorded debut of their orchestral repertoire—a prodigious body of work that has been developing over the life of the band, but never documented. In the thirty-year history of OREGON, there has always existed a strong kinship to orchestral music. The use of the double reeds alone has given the quartet an identity and expansive sound associated with the symphonic orchestra. This association isn’t confined only to their use of many orchestral instruments, but applies also to the composition and presentation of the music, including the careful attention to details such as articulation, dynamics, phrasing and tone production derived from their respective classical studies. Chief composer Ralph Towner explains, “OREGON came together as a group in New York City in 1970, and from the outset it was clear that our unusual instrumentation and collective musical experience invited a different approach to composition and improvisation. The jazz tradition of improvisation usually consists of the soloists taking turns improvising on the song’s harmonic structure, recycling the chord progressions and returning to the original melody only on the last repeat of the cycle. While still using and honoring this tradition, we began composing longer, more sectional forms that allowed each soloist to improvise on different material within the context of a single piece.
    [Show full text]
  • The New Library 1.4 M Books, 3,000 Chairs Readied for New Home
    HOUSING AND STUDENT AFFAIRS administra- THE HUSKIES SOCCER TEAM his taken a back f tors say they don't expect plans for a Hardees scat in the New England weekly coaches' poll of INSIDE TODAY restaurant on campus will kill off plans for a I renovated Commons Dining Hall. Story page 3. who's doing how. Story page 12. (ftmmecttat iailtj GlampuB Serving Storrs Since 1896 u Vol. LXXX1 No. 7 STORRS, CONNECTICUT Tuesday. September 20. l 77 The new library 1.4 M books, 3,000 chairs readied for new home By MARK A. DUPU1S So far. he added, he's been unable to come up After more than a decade of planning and with a way to move the books because of one major battling with the state. University officials today problem — the state has not given the University are within grasp of opening day for the new any money with which to make the move. S19-million University of Connecticut Library. A pet proposal raised by UConn President Glenn And while construction crews continue to put the W. Ferguson, would sec long lines of students, next-to-the-last touches on the building, the faculty and other persons passing books along a University's director of libraries, a state planner line like the bucket brigades of the last century. and a University library planner continue to attack but the plan hasn't met with much enthusiasm the questions of how they'll move 1.4 million books from library officials. from the Wilbur L. Cross University Library into If that were to be done.
    [Show full text]
  • Play a Bill Frisell Set List Press Release
    Bio information: MICHAEL GIBBS AND THE NDR BIGBAND Title: PLAY A BILL FRISELL SET LIST (Cuneiform Rune 400) Format: CD / DIGITAL Cuneiform promotion dept: (301) 589-8894 / fax (301) 589-1819 email: joyce [-at-] cuneiformrecords.com (Press & world radio); radio [-at-] cuneiformrecords.com (North American & world radio) www.cuneiformrecords.com FILE UNDER: JAZZ / BIG BAND / GUITAR Four Decades Into A Potent Creative Partnership, Legendary Arranger/Composer Michael Gibbs Crafts Play a Bill Frisell Set List, An Unprecedented Program of Revelatory Orchestral Pieces For Guitar Great Bill Frisell and the Powerhouse NDR Bigband with Drummer Jeff Ballard As a dauntingly prolific artist Bill Frisell has recorded in a vast array of settings, but he’s never made an album like Play a Bill Frisell Set List. Captured live in concert with the superb NDR Bigband, the guitarist delivers a tour de force performance on a program of ingenious arrangements designed specifically for him and the NDR by Michael Gibbs. In a welcome burst of activity by Gibbs, a criminally under-documented master, Cuneiform is releasing Set List alongside another Gibbs collaboration with the NDR Bigband, In My View. Both albums will be available on June 9, 2015. Recorded at the Überjazz Festival with NDR Bigband on Oct 26, 2013, Set List captures Frisell interacting with one of the world’s great jazz orchestras, exploring sleek, spacious, vividly expressive arrangements of compositions drawn from throughout his career. Gibbs didn’t plan the concert as a recording session, but after many years of trying to bring Frisell and the NDR together he felt the results were too good to keep under wraps.
    [Show full text]
  • Spring 2018 Vinyl
    Vinyl Spring 2018 V I N Y L E 18 / I CM Vinyl Spring 2018 4 New Albums on Vinyl 56 From Analog Masters 76 Also Available 84 ECM New Series ECM I New Albums on Vinyl Nik Bärtsch’s Ronin Awase ECM 2603 Nik Bärtsch piano Sha bass clarinet, alto saxophone Thomy Jordi bass Kaspar Rast drums NIK BÄRTSCH’S RONIN AWASE ECM 4 2-LP 180g Vinyl 673 5869 May 2018 5 Marcin Wasilewski Trio Live ECM 2592 Marcin Wasilewski piano Slawomir Kurkiewicz double bass Michal Miskiewicz drums Marcin Wasilewski Trio Live ECM 6 2-LP 180g Vinyl 673 9916 Autumn 2018 7 ECM 2584 Mathias Eick Ravensburg One of the pleasures of Mathias Eick’s Midwest album was hearing his vaulting trumpet supported by violin, an instrumental combination further developed on Ravensburg. The new violinist in Eick’s ensemble is Håkon Aase, one of the up-and-coming players of the new Norwegian scene, whom attentive ECM listeners will already know from his work with Thomas MATHIAS EICK Strønen’s group. The core Eick road band is further shored up by the addition of Helge Andreas Norbakken, who interacts excitingly with fellow drummer Torstein Lofthus. Eick is in great form as a writer on this show- RAVENSBURG ing, deploying driving rhythm at the bottom end of his music and soaring melody at the top in this series of pieces which add up to a kind of collective family portrait. ECM Mathias Eick trumpet, voice Håkon Aase violin Andreas Ulvo piano Audun Erlien electric bass Torstein Lofthus drums Helge Andreas Norbakken drums, percussion 8 LP 180g Vinyl 672 4656 9 Vijay Iyer Far From Over ECM 2581 “As the arc of history lurches forward and backward, the fact remains: local and global struggles for equality, justice, and basic human rights are far from over.
    [Show full text]
  • Rainer Brüninghaus
    Jazz Collection: Rainer Brüninghaus Dienstag, 25. November 2014, 21.00 - 22.00 Uhr Samstag, 29. November 2014, 22.00 - 24.00 Uhr (Zweitsendung) Maximale Wirkung mit minimalen Mitteln Breite Klanggemälde aus Akkordschichtungen, grosse harmonische Bögen - der Pianist Rainer Brüninghaus baut aus Elementen der elektronischen und der Minimal Music Welt Klangräume, in denen man sich verlieren kann. Arpeggios, also Akkorde in schnellen Einzeltönen selber spielen? Seit der Erfindung des Arpeggiators in der Welt der Synthesizer ist das kein Muss mehr für Pianisten, und als Spezialist für Synthesizer hat der Pianist Rainer Brüninghaus sehr früh schon den Arpeggiator eingesetzt. Ebenso früh hat er aber auch bemerkt, dass die Arpeggios irgendwie leblos sind, wenn sie von Maschinen gespielt werden. Also hat er seine Akkord-Schichtungen wieder von Hand zu spielen begonnen und sich so gleich zwei Fliegen auf einen Schlag erspielt: weichere, menschlichere Klänge - und einen persönlichen Stil. Wie Rainer Brüninghaus mit diesem relativ einfachen Mittel eine sehr grosse Wirkung erzielen und von Manfred Schoof bis Jan Garbarek durchwegs mit grossen Bandleadern zusammenarbeiten konnte, das erzählt der Synthesizer-Spezialist und Pianist Immanuel Brockhaus in der Jazz Collection mit Jodok Hess. Redaktion: Jodok Hess Eberhard Weber: The Colours of Chloë (1973) CD ECM Track 2: The Colours of Chloë Rainer Brüninghaus: Freigeweht (1980) CD ECM Track 2: Spielraum Rainer Brüninghaus: Continuum (1983) CD ECM Track 1: Continuum Rainer Brüninghaus / Manfred Schoof:
    [Show full text]
  • Catalogue 2009/10 ECM Paul Griffiths Bread and Water
    Catalogue 2009/10 ECM Paul Griffiths Bread and Water Here is someone standing at the entrance to the gallery who goes on talking all the time while almost all the visitors who come are rushing by in their eagerness to inspect what is on show inside. The hall a little way beyond is packed with rare and wonderful things, beautifully laid out and informatively labelled. There is much to see, much to learn. This is what the visitors have come for. Why, then, linger at the doorway? Why wait? But you, you have stopped. Thank you. Yes, this is the gallery, this the exhibition: a catalogue. We can use the word either to mean this paper object you hold in your hands or the totality of items a publisher or, as in this case, record company has available for sale: the CATALOGUE, as we may put it. Such a CATALOGUE is changeable as the ocean is: things will go (though rarely, where ECM is concerned), more will come. The catalogue, on the other hand, is fixed, a photograph of the ocean. There was a moment, probably before it reached print, when the catalogue was identical with the CATALOGUE. But that moment has passed and will not come again, for the ocean is growing and the photograph cannot. Is the catalogue therefore impoverished? No, no more than a photograph is. This is no snapshot, no fuzzy image trapped half_thoughtlessly on a mobile phone. Look at what you have in your hands: this is something well made, something composed. A professional photographer must have been invited to make a study of the ocean.
    [Show full text]