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Later That Evening Original recording reissued


Price: £15.76 & FREE Delivery in the UK. Details
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Biography

In March 2005, the city of Stuttgart celebrated the 65th birthday of native son Eberhard Weber with concerts at the Theaterhaus. A symphony orchestra and exceptional soloists convened to play new arrangements of some of Weber’s best known pieces in two sold-out concerts from which this album, Eberhard’s first live disc for ECM (and his first new ‘leader’ recording since ... Read more in Amazon's Eberhard Weber Store

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Product details

  • Audio CD (19 Dec 2008)
  • Number of Discs: 1
  • Format: Original recording reissued
  • Label: ECM
  • ASIN: B00000DTEW
  • Other Editions: Audio CD  |  Audio Cassette  |  Vinyl
  • Average Customer Review: 5.0 out of 5 stars  See all reviews (1 customer review)
  • Amazon Bestsellers Rank: 137,116 in Music (See Top 100 in Music)

1. Maurizius
2. Death In The Carwash
3. Often In The Open
4. Later That Evening

Product Description

Recorded 1982

Personnel:
Eberhard Weber - (bass), Paul McCandless - (soprano saxophone, oboe,
English horn, bass clarinet), Bill Frisell - (guitar), Lyle Mays - (piano),
Michael DiPasqua - (drums, percussion)

Customer Reviews

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Most Helpful Customer Reviews

3 of 3 people found the following review helpful By Numinous Ugo on 26 Sep 2011
Format: Audio CD
Here Weber draws on some of ECMs best musicians. Lyle Mays brings great experience from his years with the Pat Metheny Group but from the free jazz end iof the spectrum as well as the more melodic and easy listening end that many, with only a superficial knowledge of that band, associate with their music. Paul McCandless brings a range of reed sounds that cut and thrust with Bill Frisell's spiky guitar. With Michael DiPasqua brilliantly judged drumming it is hard to see where Weber can get heard in this band. At first I wondered if he had in fact set himself up for a fall, how can a bass player be heard amongst such virtuosity. At the beginning of Maurizius Weber is very much in a supporting role, why bring in such talent if you are going to just have them taking time? Weber soon makes his presence felt and the whole album turns into wonderful, at times challenging delight. It took me a few listens to fully appreciate, Death In The Carwash but now I regard this album as the equal of the Colours albums, which in my book indicates greatness.
Eberhard Weber was a key part of the Jan Garbarek Group and contributed much to Garbarek's success.You could spend years tracking down the many and various recordings that he contributed to, however, since his health problems of recent years Weber has been out of circulation, I am only grateful that we have such a brilliant body of recorded work from this amazing talent.
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Most Helpful Customer Reviews on Amazon.com (beta)

Amazon.com: 13 reviews
7 of 7 people found the following review helpful
A Masterpiece 27 May 1999
By A Customer - Published on Amazon.com
Format: Audio CD
When I heard Eberhard Weber live in 1980, it changed my life. It was the most incredible music I had ever heard, and I've been a huge fan of his since. This music surrounds you with its beauty, a blend of traditional European classical music, American jazz, and ethnic rhythms. From moments of sublime simplicity to all out "blowing", each piece seems to be logically linked to the next, like four movements of a larger composition. And producer Manfred Eicher and the ECM crew can create a sound like nobody else. Turn it up loud, and listen to the whole CD . . . again and again!
6 of 6 people found the following review helpful
jazzman 15 Jun 2008
By James K. Stewart - Published on Amazon.com
Format: Audio CD
The thing about Eberhard Weber's music, including this release, is that
you have to LISTEN closely. You don't catch it all the first few times.
And then - it all makes sense, like a perfectly crafted story, with subtle
details, twists and turns, leading to a logical ending. Listen for the very
subtle (but definite) voices in "Carwash" about one third in that re-appear
after the initial voices at the beginning; almost WHISPERING, as if they're
up to something no good. And such ATMOSPHERE, that is almost like a
soundtrack. So eerie, beautiful, and brilliant. In the title track, listen
to the way Weber ties it all together toward the end with Lyle Mays'
gorgeous piano work. It's a beautifully constructed recording all the way
through, as is one of my other favorite Weber releases, "The Colors of
Chloe", which is a benchmark early ECM classic & an incredible debut for
Weber on ECM. Brilliant art of the highest order. I've listened to both
recordings hundreds of times. Bless you Manfred Eicher for ECM Records,
which became a very important part of my life years ago, and still is.
Like many of Weber's other ECM releases, "Later" is a masterpiece.
5 of 5 people found the following review helpful
Excellent ambiant, flowing, intense jazz. 27 Sep 1998
By A Customer - Published on Amazon.com
Format: Audio CD
Tracks 2 and 4 are standout selections on this CD. Webber and company (McCandless, DiPasqua, Frisell, Mays) play with true emotion swelling to free flying highs as well as intense quiet moments. The production quality is outstanding.
4 of 4 people found the following review helpful
one of my favorite recordings ever 31 July 2006
By Bob K - Published on Amazon.com
Format: Audio CD
I've been listening to this on and off since it came out in 1983, and it remains one of my favorite recordings. Listeners expecting a standard jazz format (head-solos-head) may be disappointed, but I find it very rewarding listening on its own terms. The compositions evolve over long periods, with the 'theme' generally stated near the end rather than at the start, with the exception of Mauritius, where the melody occurs closer to the beginning. One of many things I love is the contrast of the spacious piano-guitar-horn playing with the propulsive ride cymbal in 'Death In The Carwash.' Very cool.

Contrary to the other reviewer's claim, I'm pretty sure Lyle Mays knew Bill Frisell well before this session, and at least some of the effects are not Lyle. For example, the layered trills near the climax of 'Death In the Carwash', are multi-tracked winds - I heard this from Paul Mc Candless himself. I have a hunch the other 'effect-like' sounds are made by Eberhard and Bill. Wish I could have heard 'em live (they did some concerts in Europe back in the day).
6 of 7 people found the following review helpful
As Falls Wichita, part two 26 Jun 2001
By Gavin Wilson - Published on Amazon.com
Format: Audio CD
This is a wonderfully weird album, full of sonic images and impressions rather than songs with clear verse, chorus and bridge. Eberhard Weber uses his bass mostly as a lead instrument, so there occasilnally seems to be something missing in the rhythm section.
For once without long-time collaborator Rainer Bruninghaus on piano, Weber brings in Lyle Mays to provide, according to the CD sleeve, mere 'piano'. But there are many synthesizer effects permeating this album, for which I assume Mays is entirely responsible. In places, this CD sounds much like the Metheny/Mays work entitled 'As Falls Wichita ...'. But with reedsman McCandless blowing oboe, soprano sax and english horn, don't expect the resemblance to be total. In other places, McCandless sounds closer to John Surman on Miroslav Vitous' highly recommended 'Journeys' End' CD.
This album provided a recruiting ground for Lyle Mays' first solo album: Bill Frisell's excellent guitar work was signed up for that 1985 debut.
This album needs a lot of listening, and the reed-playing may grate on the ears of say, Metheny fans expecting smooth, straightforward tunes. But the album is well worth the effort.
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