Words by Justin Turford
I have to admit that I hadn’t heard of the German jazz supergroup WEB WEB before being sent this album but never mind, I am an instant fan. ‘WEB MAX II’ is their fifth album and their second collaboration with songwriter and producer Max Herre, the record an intriguing and classy journey that seamlessly moves from flute-fuelled groovers to Krautrock-inspired moments via delicious moods of spaced-out sentimental grandeur.
The first collaborative record ‘WEB MAX’ from 2021, was a deep plunge into the modal and spiritual sounds of the late 60s’ with a mouthwatering line-up of guest artists that included Mulatu Astatke, Charles Tolliver, Brandee Younger and even a voice recording by Yusef Lateef. This time around the focus is closer to home and with the exception of the fantastic Los Angeles cosmic musician and producer Carlos Gabriel Niño, the guest players are primarily made up of musicians from bandleader and keys player Roberto Di Gioia’s Munich orbit.
Max Herre says: "While our idea on the last record was to move out of Munich, connecting with international icons of Spiritual and Ethio-Jazz, we wanted to switch the perspective this time and focus the view from the outer world to the music that has been going around the world out of Munich since the early 1970s." Roberto adds: "Not least through my almost 20-year collaboration with Klaus Doldinger, I became aware of the immense influence that Progressive Jazz and Krautrock from Germany had on the development of instrumental music worldwide. Besides Passport, it was bands like Embryo, Amon Düül and Popol Vuh that established Munich's reputation as a centre of progressive music internationally."
In accordance with this spirit of vintage experimentation, the classic jazz instrumentation of the quartet is supplemented with classical music instruments (bassoon, bass clarinet), and the ‘new’ technology that appeared in the 1970s (Mellotron, EMS Synthi Hi-Fli), making this more of a studio constructed record this time around. In many ways, I feel that I’ve heard all of this before but at the same time, the album sounds like a long lost classic from the early 70s’ such is the high level of musicianship and compositional skills employed.
At points it is the guests that lend a more contemporary edge to some of the tracks. The opening song ‘Perennial Journey’ has very much the swinging sound and funky energy of a Horace Silver or late 60s’ Yusef Lateef number, with guest flautist Marcio Tubino joining core member Tony Lakatos in an exciting duel (the solos are sublime) as the ride cymbals splash hard. Songwriter and rap poet Sèkou Neblett adds that difference, his spoken word dedication to the jazz musicians and interstellar pioneers of previous generations reminiscent of spoken word interludes that were sprinkled over some of the best New York house music of the 90s’ or jazz crossover artists like Kyoto Jazz Massive.
The joyful ‘Testimony’ opens with a sweet wordless choral refrain and laidback keys before taking off with a deliriously catchy brass and wind phrase that envelops you instantly in its positive mood. With a lightly swung rhythm section and witty punctuation from Johannes Enders’ bass clarinet, the clean lines of the performances belie the sophistication of the composition. The return of the choral voice and the swirling flights of Lakatos’ flute make me wish for a lengthier version.
Marja Burchard from Krautrock legends Embryo (Marja is the daughter of founder Christian Burchard and has been leading the band since 2016) joins the band on the percussion heavy Afro-jazz dancer ‘The Source Of All Things’. Short and sweet, the propulsive rhythm section (including guest percussionist Biboul Darouiche) launches into a funky but slightly mournful flute and keys hook that steps back to allow Marja’s vibraphone to become the lyrical heart of the piece, her solo moments full of exhilarating push and pull.
If you’re not aware of the brilliance of Carlos Niño then I recommend you have a deep dive into his discography. The Californian all-rounder and spiritual ‘communicator’ creates and facilitates art in the most ethereal of ways and his first appearance on this album is on the languid ‘exotica’ of ‘La Planète Fantastique’. Otherworldly and clearly informed by European cinema soundtracks, the song is autumnal in colour with its sombre piano chords yet it sparkles with Niño’s box of home-made percussion. Cosmic-noir perhaps?
‘Fellow Travellers’ is another lovely cinematic sounding number but this time, the mood is buoyant and features a stunning flute solo from Lakatos and some intriguing production. A vintage drum machine pattern and the most translucent of synths sit far back in the mix, Christian Von Kaphengst’s bass beautifully restrained while the main hook and response dance in harmony.
The sound of the retro-future, the Mellotron gets its first outing on the cavernous reverb drenched composition ‘The 6th Dimension’. Heavy on the drums and bass and with the falling-out-of-bed tuning of the vintage tape sampler, this is an uneasy ride that I particularly enjoyed.
The pastoral space-jazz of ‘Ólobo’ sees Carlos Niño returning. An unhurried modal groove with tumbling glissandos and outer space choirs, there’s a touch of the spiritual jazz pioneers about it but with added romance.
The opaquely title ‘Artist Unknown’ is a short piece that sounds like an outtake from an obscure Strata East release. African inspired drums, a raw Lester Bowie-esque saxophone feature and an abrupt ending of flute and jagged synths. Ace.
‘Zutuma’ is a weirdly successful combination of Krautrock drum machine repetition, a nod to Ethio-jazz and Latin American melodies. Easily the most experimental track on the album and something I’d like to hear a lot more of.
The album ends with the positive affirmation that is ‘Look Beyond The Sun’. With a gorgeous vocal from the German soul singer Joy Denalane and a perfectly weighted soul-jazz backing of percussive energy, the song channels that utopian early 70s’ energy, whispers of the folk-jazz of Terry Callier glide by as the Munich cityscape disappears into the countryside.
‘WEB MAX II’ is an excellent album of substance and class that sounds like its always existed. Even those with just a passing love of the artform would enjoy the record in its entirety, and connoisseurs will adore it. 9/10
Released on Oct 27 2003 on Compost Records