The third Web Web album “Worshippers” is the richest and perhaps best Web Web album so far. It testifies to maturity and is the logical continuation of the two preceding albums. In a way, it is a concept album in Web Web’s journey through Afro- and Spiritual Jazz.
“Worshippers”: The idolizers, the admirers. Web Web adores and bows to the greats of jazz and their spiritual music. Under the sign of the title, profound music was gradually created, with passion and vision.
Songs like “The Upper,” “Paranormal Question,” or the multi-part “Free A.M.” were created, all of which show more complex structures as well as sophisticated forms and arrangements than the two previous albums “Oracle” and „Dance Of The Demons”.
Along with the search for new sounds and soundscapes arose the desire for an extended sound body, which goes beyond WEB WEB’s conventional repertoire:
Besides, there was a musician, with whom the complex arrangements and the tight, mantric rhythms could be accomplished: the violinist and violist Stefan Pintev. The native Bulgarian, who previously played with legends like Ray Charles or Astrud Gilberto, could give the music an additional depth and a mystical color with his dark timbre on his violin.
In pieces like “Mystic Flowers” or “Inner Revolution,” his entire sound spectrum is brilliantly revealed, as is his narrative and multi-layered playing.
In the middle of the production process of this album, the idea to let the incredible voice of Joy Denalane (Freundeskreis, Common) flow into WEB WEB’s music was born. Since Joy Denalane and Roberto Di Gioia were working on their solo album simultaneously, Joy became amazed by the new Web Web sounds and ended up contributing to this album.
On this album, Joy Denalane does not perform in the way we know from her song forms and structures. Instead she sings in a free, improvisational manner, uses her voice as an instrument, enters into a dialogue with Tony Lakato’s wondrous improvisations (as in “What You Give”), or experiments with alienating (and alienated) vocal tirades in “Free A.M.” (Part 1), asserting her sensational art of improvisation – similar to the early Dee Dee Bridgewater.