What does the fantasia of the people stimulate more than the idea of the time-trip?
This imagined activity of travelling into the past or future, hypothetical
movements through time? From 1895
written
Tim Weisberg's Time Traveller is not a travel in the future but in three decades of his former recordings.
Listening to the tracks of the album one can state, that even the '80er tunes sound fresh and up-to-date. Castaways is a good example. No wonder that, was this piece composed and played in by the well-known Russ Freeman (The Rippingtons). Besides Russ Freeman Luis Conte was another sideman , the timeless famous percussionist. Tim Weisberg can devellop at this platform the beauty of his flute.
Yo-Yo from the 1994er album Naked Eyes was one of the most popular radio tracks of that year. John Beasley on keyboards, Abraham Laboriel on bass, Pat Kelley on guitar, Luis Conte, percussion was the formation of this piece. It's an uptempo and very rhythmical track showing up anew Tim Weisberg 's skillfullness on the flute.
Heart Child, plugged in for the 1986er release High Risk is an ambitious musical journey into electronic sounds of Roland, Rhodes and Korg. Jeff Silverman, Roland 606, GR700 guitar, Kimo Cornwell, DX7, Juno 60, JP-6, Mark Le Vang, Dyno-MY-Rhodes are the companions to these new unusual sound-experiences.
Do-Dah was first live-recorded for the 1974er release Dreamspeaker.Team composition was Lynn Blessing, organ, Jim Krueger, guitar, Rick Jaeger, drums, Milt Holland, percussion. Out of the dusty archives Tim Weisberg presents a propulsing and rocking track reminding of Woodstock.
Dion Blue was former released on the Weisberg 4 album and newly recorded for his 1994er album Naked Eyes. It's a slow and romatic tune sensibly accompagnied by David Benoit on piano and Todd Robinson on guitar.
Brazilian Dance is a Samba-break, showcasing Tim's love to Latin Music. Supported by Luis Conte's percussion you get a real brazilian mood. Played-in in an easy and hovering way.
Another Rock/Pop vocal piece is I'm The Lucky One. Astonishing this diversity of styles on one album. The powerful singer on this track is Bill Champlin, a second Billy Joel.
The Bruiser is besides Do Dah another live act of his former period of the early 70's. Remarkable Lynn Blessing's furious solo on organ propulsing Tim Weisberg to new peaks of mastership.
The next amazement for the commentator not familiar with Tim's life's work is Seasoned Greetings, a jazzy and swinging rendition of Greensleeves. This collaboration with David Benoit had never appeared on a Weisberg album before.
In the same pił lento mood begins the next track Guitar Etude #2, but then it accelerates to an uptempo beat til a slow end. This track from the album Outrageous Temptations is perfectly put down in scene by no less an inferior than Russ Freeman himself, supported by David Benoit.
Back into the past guides a cover version of Comin Home Baby. Herbie Mann has played the same tune in the 60's, one of the first crossover jazz fluitist I can remember. A remake is to find on Herbie Mann's 1989er album Opalesence. Acoustic bass, jazz brushs, bongos, trim shots on snare reveal work-fidelity.
Moondance a cover version of Van Morrison features Kenny Rankin. Mainly a pop vocalist he began in the mid-'90s a career as a jazz singer. He likes improvisations and altering the notes in his songs. A worthy addition is the bluesy piano of David Benoit.
The final cut Bewitched, Bothered And Bewildered is a slow romantic duet between David Benoit on piano and Tim Weisberg on flute in a classical way. A very popular song played by several greats of Pop and Jazz history like Ella Fitzgerald, Pal Joey, Tony Bennett or Babara Streisands, to name a few.
If you like the flute, this album is undoubtly an enrichement of your collection.
© HBH