Web Web: Kover Kover

An album review of amazing jazz-style covers by a German supergroup

Web Web

Kover Kover

Compost Records

German supergroup Web Web, led by Roberto Di Gioia (Piano, Synth, Percussion) features the talents of tenor and soprano sax man Tony Lakatos, drummer Peter Gall and bassist Christian von Kaphengst. And their album Kover Kover takes music (mostly very well known songs) from all genres and recontextualises them as (mostly) jazz renditions, though nods to Krautrock and electronica are in there too.

Sometimes that’s because of the source material (Kruder & Dorfmeister) and at other times that’s because the band really wants to turn a well known pop piece (Sweet Dreams Are Made of This) on its head.

At all times, this is successful.

But to give you an immediate taste, check out this stunning version of Grace Jones’ Slave To The Rhythm —

— where in fact Peter Gall is no person working for the rhythm. He takes his cue from Coltrane Quartet-era Elvin Jones, and though slavish in his devotion, it’s the rhythm that’s working clearly for him as his ride cymbal bounces and sizzles about the place, and Coltrane reinventions like The Night Has A Thousand Eyes and My Favourite Things come to mind.

It was hard not to think of the early Charlie Hunter Trio too, given the cover here of Nirvana’s Come As You Are.

I think Web Web is particularly successful when taking the music of the psychedelic 60s and applying their jazz versions which have prog-rock and hip-hop bridged. No mean feat. Listen to their take on Hendrix:

— or the Black Sabbath trip that is Planet Caravan:

It’s also even more fun when they step further back from the song, as on the aforementioned cover of Eurythmics’ Sweet Dreams, or Joe Jackson’s Steppin Out; in both cases we hear the melody and know the tune almost instantly, but it’s been repositioned, given new clothes and told to dance in a new spot. Very cool.

Throughout, the playing is sublime, the intentions pure, and the innovations never too showy, too clever, always the right amount of musicality on display. These are very talented players, but as washes of synths pervade, and drum parts focus on stamping out the time, it is not about technical virtuosity, and far more about establishing a (new) groove.

Consider this a set of new ways in to old tunes, and I always love that. It gets you listening twice! To these new versions, and in some cases, seeking out the old original tunes, or returning to them with fresh ears.

I love this album. It’s masterfully played, cleverly built, well chosen. But it feels like an honest showcase for vibe over flash. And I like that very much. Been listening to this a heap, and can’t see that changing throughout the year. It’s such a nice mix of jazz, funk, soul, and electronica.

Some of the covers — see Talking Heads’ Once In A Lifetime above — feel like secret transmogrifications. And I mean that in only the very best way. Who doesn’t love a whole new way in and new way of thinking about music they’ve carried in their heart and soul for 40 years or more?

So heavily recommended.