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EBERHARD WEBER

Jazz Rock/Fusion • Germany


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Eberhard Weber biography
The German double-bass player Eberhard Weber (born 1940) is known for his work in three different ''incarnations'': as one of the representative artists of the prestigious ECM label, as a member of Norwegian saxophonist Jan Garbarek's band (which also records for ECM), and as a member of the United Jazz+Rock Ensemble, a first-rate multinational fusion band. With a background like this, Weber is often assumed to be a typical jazz musician. It goes without saying that jazz is Weber's natural element, and most of the albums he released on ECM are natural developments of the styles first developed by Miles Davis on his seminal albums ''Kind of Blue'' and ''In a Silent Way''. However, Weber's compositions are also influenced by minimalistic music and by romantic European concert music. Moreover, Weber has written a number of ambitious multi-movement suites, and (just like his ''boss'', Jan Garbarek) he often favours a firm but catchy rock beat. To this combination of factors must be added that Weber's long-time collaborator Rainer BrŁninghaus (a keyboards player) favours lush electric piano solos and, occasionally, a rich mellotron sound. As a result, some of the great Eberhard Weber's albums from the early 1970s, such as ''The Colours of ChloŽ'' and (especially) ''Yellow Fields'', bear a more than passing resemblance to the classic symphonic prog albums of that era. This is probably not a coincidence: like virtually all jazz musicians of his generation, Weber must have listened a lot to the rock music that was in the air, and albums like ''A Saucerful of Secrets'' or ''In the Court of the Crimson King'' will not have escaped his attention. The main difference between symphonic prog and Weber's own music is that Weber never uses electric guitars, Hammond organs or fancy synths as solo instruments; he generally prefers the saxophone (as played by lyrical virtuosi such as Charlie Mariano) as well as BrŁninghaus's pianos and even the ocarina (on ''The Colours of ChloŽ'').

At the age of six Eberhard Weber received his first music lessons from his father, a classical cellist. Young Eberhard initially played the cello as well, but he switched to double bass when that instrument was needed in his school orchestra. In the 1960s Weber joined pianist Wolfgang Dauner in a jazz trio which eventually turned into Et Cetera, one of the earliest German fusion bands. In the early 1970s Weber also played with vibraphonist Dave Pike and fusion guitarist Volker Kriegel. In...
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Colours of ChloeColours of Chloe
Import
Ecm Import 2001
Audio CD$8.49
$8.25 (used)
ColoursColours
Box set
ECM Records 2010
Audio CD$17.52
$17.51 (used)
Later That EveningLater That Evening
Import
Ecm Import 2001
Audio CD$8.49
$6.93 (used)
ResumeResume
ECM Records 2013
Audio CD$10.29
$10.20 (used)
PendulumPendulum
ECM 2001
Audio CD$11.54
$11.58 (used)
Fluid RustleFluid Rustle
Import
Ecm Import 2001
Audio CD$12.77
$46.99 (used)
Stages Of A Long JourneyStages Of A Long Journey
ECM 2007
Audio CD$10.86
$6.75 (used)
Endless DaysEndless Days
Import
Ecm Import 2001
Audio CD$8.01
$7.00 (used)
EncoreEncore
ECM 2015
Audio CD$10.20
$10.98 (used)
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EBERHARD WEBER: Jubilee Concert USD $23.56 Buy It Now 7h 3m
Eberhard Weber - Fluid Rustle - LP 1979 ECM Jazz Fusion Frisell Winstone Burton USD $12.37 [0 bids]
8h 44m
Gary Burton Quartet "Ring" w/ Eberhard Weber- Reduced price!! USD $14.99 Buy It Now 9h 55m
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Colours [Box] by Eberhard Weber (CD, Nov-2009, 3 Discs, ECM) USD $27.00 Buy It Now 8 days
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Gary Burton Ring With Eberhard Weber vinyl LP 1974 ECM Records VG+ USD $11.95 Buy It Now 11 days
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EBERHARD WEBER / WORKS ~ 1985 ECM German Album ~ NEAR MINT USD $25.00 Buy It Now 11 days
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Endless Days - Eberhard Weber (CD 2001) USD $5.00 Buy It Now 13 days
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EBERHARD WEBER discography


Ordered by release date | Showing ratings (top albums) | Help Progarchives.com to complete the discography and add albums

EBERHARD WEBER top albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

0.00 | 0 ratings
Wolfgang Dauner / Eberhard Weber / JŁrgen Karg / Fred Braceful
1969
4.45 | 70 ratings
The Colours Of ChloŽ
1974
4.24 | 45 ratings
Yellow Fields
1976
4.47 | 20 ratings
The Following Morning
1977
4.05 | 22 ratings
Eberhard Weber Colours: Silent Feet
1977
0.00 | 0 ratings
Eberhard Weber,Sigi Schwab,Chris Hinze & Lala Kovacev: Wide And Blue
1978
4.11 | 9 ratings
Fluid Rustle
1979
4.06 | 12 ratings
Eberhard Weber Colours: Little Movements
1980
3.85 | 13 ratings
Later That Evening
1982
4.38 | 8 ratings
Chorus
1985
4.60 | 5 ratings
Orchestra
1988
4.67 | 6 ratings
Pendulum
1993
4.25 | 12 ratings
Endless Days
2001

EBERHARD WEBER Live Albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

4.57 | 11 ratings
Stages Of A Long Journey
2007

EBERHARD WEBER Videos (DVD, Blu-ray, VHS etc)

EBERHARD WEBER Boxset & Compilations (CD, LP, MC, SACD, DVD-A, Digital Media Download)

4.00 | 1 ratings
Works (1974-1980)
1985
4.00 | 2 ratings
Rarum, Vol. 18: Selected Recordings
2004

EBERHARD WEBER Official Singles, EPs, Fan Club & Promo (CD, EP/LP, MC, Digital Media Download)

0.00 | 0 ratings
Crossing The Bridges (with Ustad Shafqat, Ali Khan Group, Chico Freeman, Christy Doran, Reto Weber)
2006

EBERHARD WEBER Reviews


Showing last 10 reviews only
 The Colours Of ChloŽ by WEBER, EBERHARD album cover Studio Album, 1974
4.45 | 70 ratings

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The Colours Of ChloŽ
Eberhard Weber Jazz Rock/Fusion

Review by admireArt
Prog Reviewer

4 stars All the colors of marbles.

An amazingly balanced 4 track release which is both traditional and yet way out of its time. Few musicians could actually bring on fresh as new alternate routes to these quiet walked Jazz/Fusion roads.

Eberhard Weber's "The Colours of Chloe", 1974, is full of daring surprises.

Track one "More Colours" has a symphonic melodramatic even cinematic quality as it also strips naked to solitary acoustic bass pluckings, as a runaway piano blends in to counterpoint the symphonic flow, which may also serve as a filter of the kind of Jazz/Fusion colors Eberhard Weber is talking about and these are not exactly mainstream ones. 3.5 stars.

Track two "The Colours of Chloe" is, for starters, the perfect blend between some Progressive Electronic elements which fit in with a more traditional Jazz/Fusion styling and its pertinent instumentation without submitting its electronic value but actually enhancing it as its true to the bone Jazz accomplice while the bass guitar provides really good dynamics and more than once one of the many highlights of the song at the time the piano structures the main theme line with colorful splendor and the strings built up the emotional mood. 4.5 stars.

The trumpet marks the melody and rhythm on track 3 "An Evening With Vincent Van Ritz" with complex drum beats building the dynamic tension while the obscure strings' melody monumentally cast a shadow subtly over the final theme's notes. 4 stars

Track 4 "No Motion Picture" the 5 stars track of this release, takes off where its younger Track 2 sibling left. It has the added bonus of reloading previous highlights and mixing them all at once. But above all it beholds a more personal and unique approach to the whole Jazz/Fusion styling.

This track is divided in 3 movements in a strict classical music sense, therefore its overture serves also as its closure.

In the first part the electric keys as the bass guitar's work set the melody lines for the rest of the ensemble to fall in.

The second movement is the acoustic piano's showcase aided by a creative and quiet obscure string/choir work which eventually builds the coda of the composition.

All in all adventurous, original, highly enjoyable and full of intelligent songwriting, devoid of any kind of mainstream cliches usually found in these Jazz/Fusion territories.

****4 PA stars.

 Eberhard Weber Colours: Silent Feet by WEBER, EBERHARD album cover Studio Album, 1977
4.05 | 22 ratings

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Eberhard Weber Colours: Silent Feet
Eberhard Weber Jazz Rock/Fusion

Review by Warthur
Prog Reviewer

4 stars For this album Eberhard Weber debuted his short-lived backing band Colours. Saxnan and flute friend Charlie Mariano and keyboard wizard Rainer BrŁninghaus had backed Weber on the preceding Yellow Fields; the ensemble was rounded out by John Marshall, who had just left Soft Machine. The blend of talents and backgrounds proves to be an apt one; Marshall, in particular, seems to benefit from working with a fresh new project, the Soft Machine having rather run its course by this point. The sound of the album seems to be solidly rooted in the ECM jazz style that had become Weber's trademark by this point, but the capable performances from all concerned keeps things interesting.
 The Colours Of ChloŽ by WEBER, EBERHARD album cover Studio Album, 1974
4.45 | 70 ratings

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The Colours Of ChloŽ
Eberhard Weber Jazz Rock/Fusion

Review by Kingsnake

5 stars I'm always on the lookout for great intrumental records. I don't care if it's spacemusic, ambient, trance, new age, jazz/fusion, symphonic rock, classical or whatever.

Instrumental music has an enchanting and meditative character. That's why I came across this wonderful piece of fusion/sympho.

Great basswork, piano and synth work combined with cello's, fluegelhorn and heavy drumming. There is a lot going on, sometimes pastoral, quiet, beautiful and sometimes heavy, intricate and almost threatening. It's like watching a movie, with pictures. That's what instrumental music is all about. You can create your own daydreams to the music.

I have to search for more like this, because since discovering the band Uzva, I haven't heard something so great as this masterpiece.

 The Following Morning by WEBER, EBERHARD album cover Studio Album, 1977
4.47 | 20 ratings

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The Following Morning
Eberhard Weber Jazz Rock/Fusion

Review by Warthur
Prog Reviewer

4 stars I'm not quite blown away by this one as I was by The Colours of Chloe, I think because by now Eberhard Weber had moved more away from the fusion-ish elements of that album into a more ECM chamber jazz style of almost ambient jazz. But that said, this whole ambient jazz thing works really remarkably well. Weber's double bass sonorously creates an aura of peace around itself which the other performers support with delicate, restrained performances. Not one to put on when you are in the mood for furious excitement, but if you want something a bit more meditative it could well hit the spot nicely.
 The Colours Of ChloŽ by WEBER, EBERHARD album cover Studio Album, 1974
4.45 | 70 ratings

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The Colours Of ChloŽ
Eberhard Weber Jazz Rock/Fusion

Review by Argonaught

5 stars The Colours of ChloŽ is an understated thing of musical beauty. It does take some time to fully figure it out, though.

After I have listened to it once or twice, I rated it 4 stars, because I'd found it a pleasantly sounding, well played and listener-friendly album (despite a fairly high degree of musical sophistication). Then I had this strange sensation that I was "missing something", so I felt an urge to go back and play it again .. and again .. a few times.

It's like one of those advent calendars: every day you revisit it , you witness a another little door open, allowing you to discover a new facet, or to come up with a new interpretation.

As with all complex suites, the exact "(sub)genre of the Colours of ChloŽ is a little hard to define; it's advertised as "fusion", but I think it;s closer to symphonic.

Whichever way, it's a very tasteful, elegant, smoothly flowing and perfectly timed/measured album that doesn't seem to have any visible weak spots. I am a little surprised the Colours of ChloŽ hasn't attracted broader PA attention, but then again: so much music out there, so little time.

 The Colours Of ChloŽ by WEBER, EBERHARD album cover Studio Album, 1974
4.45 | 70 ratings

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The Colours Of ChloŽ
Eberhard Weber Jazz Rock/Fusion

Review by DrŲmmarenAdrian

4 stars The German bass player Eberhard Weber's second record "The Colours of ChloŽ" from 1974 is an interesting piece of music. I can't see which musicians who are playing but they seems to be more than one. The cover picture is very artistic with a pink background and a happy family standing on the green.

Jazz rock is quite new for me and I have met both bands I like and dislike.

So, let's enjoy this music. I would be exaggerating if I said it happens a lot here but what is happening is lovely. The best track is the long suite "No motion picture" with a melody line which is very pleasant and you can clearly hear the bass lines are sophisticated. This music over all is not easy achieved and it can be hard if you are used to short songs where it happens things all the time. This is a sophisticated soundscape to travell into. First track "More colours" consists of beautiful cello and not so much jazz and the title track "The Colours of ChloŽ" has a wobbly interesting sound and builds of a world of new atmospheres. "An evening with Vincent van Ritz" has a lovely trumpet.

When I counted my track ratings my over all review was 3,625 and I will higher it to four stars for a lovely piece of music. The music maybe lacks much melodies, it's my only but. It isn't what others have stated a masterwork but it's a great example of the variety of the progressive scene in the 70s. I will return to this music soon.

 The Colours Of ChloŽ by WEBER, EBERHARD album cover Studio Album, 1974
4.45 | 70 ratings

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The Colours Of ChloŽ
Eberhard Weber Jazz Rock/Fusion

Review by Warthur
Prog Reviewer

5 stars With The Colours of ChloŽ, Eberhard Weber confronts the listener with a curious sound that feels less like jazz-rock fusion and more like some strange breed of ambient jazz which regularly fades into and out of more conventional ECM-ish sounds. The absence of guitar, in particular, distances itself from the bulk of jazz fusion (can you imagine Mahavishnu Orchestra without guitar?), but the pulsating bass lines Eberhard lays down provides a foundation for some downright frenetic playing from the rest of the band. With driving rhythms on the title track reminding me at points of some of the more esoteric moments of the Canterbury scene - it puts me in mind of Rock Bottom by Robert Wyatt in particular, and I've never heard anything which quite sounds like Rock Bottom - it's an intriguing album and a sorely underrated one at that.
 Eberhard Weber Colours: Little Movements by WEBER, EBERHARD album cover Studio Album, 1980
4.06 | 12 ratings

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Eberhard Weber Colours: Little Movements
Eberhard Weber Jazz Rock/Fusion

Review by Mellotron Storm
Prog Reviewer

4 stars "Little Movements" was released in 1980 and boasts the exact same lineup as on his 1978 album "Silent Feet". Weber on bass, Marshall on drums, Mariano on sax and flute, and Bruninghaus on piano and synths. While Weber is not one of my favourite artists, it's impossible not to be impressed with his beautiful compositions and music. It's the kind of music you would expect from the ECM label. Too classy for yours truly as this style of music makes me think I should be wearing a suit and drinking expensive wine. I'd rather be listening to Krautrock and smoking herbs with a bunch of long hairs, but that's just me. Still, as I already mentioned, this is beautiful music.

We get five longish tracks beginning with "The Last Stage Of A Long Journey". The atmosphere is surprising to start this track as bass, piano and drums come and go. Great sound here. Sax 2 1/2 minutes in as the atmosphere continues. It's not until 4 1/2 minutes in that we get a melody and it sounds so good. Some impressive bass 6 minutes in. Sax to the fore a minute later. That sweet melody from earlier returns 9 minutes in to end it. "Bali" is the longest tune at 12 1/2 minutes and it also opens with lots of atmosphere as sax and sparse drums come in. Piano leads before 3 minutes as drums come in in a prominant manner. Sax follows. Excellent section and one of the few breakouts on this album. A change after 4 minutes as it turns to a more more jazzy sound with bass, piano, drums and sax all contributing to this part of the song. Before 6 1/2 minutes it changes to an almost electronic vibe with flute playing over top. Cool ! Sax replaces the flute after 9 minutes then back to a full sound.

"A Dark Spell" opens with some gorgeous piano as cymbals and bass join in. Sax around a minute. I like this. It all settles back after 2 minutes but the piano still stands out the most here. The tempo picks up after 3 1/2 minutes. Marshall sounds great 5 1/2 minutes in. Nice. "Little Movements" opens with piano only until Marshall comes in crashing and banging on the cymbals and more. Sax joins in after 2 minutes. A change 3 minutes in with the bass standing out as Mariano plays sax over top. Piano does continue along with intricate drumming this time. Marshall can contain himself no more as he lets loose before 4 1/2 minutes. Check out the bass 5 minutes in. The last couple of minutes are beautiful to say the least. ""No Trees ?" He Said" opens with intricate drum work as the piano joins in. Bass follows then sax. Excellent sound here and the rest of the way.

Another outstanding piece of work from Eberhard Weber and company. A must for fans of classy Jazz.

 Later That Evening by WEBER, EBERHARD album cover Studio Album, 1982
3.85 | 13 ratings

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Later That Evening
Eberhard Weber Jazz Rock/Fusion

Review by Mellotron Storm
Prog Reviewer

4 stars I like the picture of the band in the liner notes, five cool looking guys sitting in what looks like an auditorium spread out across the stairs and chairs. Weber has enlisted Paul McCandless (sax, oboe, English horn & bass clarinet) , Michael DiPasqua (drums, percussion) , Bill Frisell (guitar) and Lyle Mays (piano) on this 1982 release.

"Maurizius" is very mellow as the piano tinkles with the cymblas and sax helping out. The sax stops but returns before 4 1/2 minutes. Such a relaxed tune I couldn't help but think of that Mays / Metheny release "As Witchita Falls..." Next up is "Death In The Carwash" an almost 17 minute epic. I was surprised at how haunting the intro was with voices whispering and so on. Very eerie. Melancholic horns and cymbals eventually lead then we get some sparse piano after 5 minutes. Bass follows around 8 minutes with guitar expressions helping out too. The piano is back before 12 minutes and it dominates until before 14 1/2 minutes when the horn takes over and leads tastefully.

"Often In The Open" has piano and drums that come and go to start. It's building as bass clarinet and more join in. Intense. A calm before 4 minutes then sparse sounds come and go including oboe, piano, drums and guitar. It's building 8 minutes in. Nice bass lines here. It settles back late. "Later That Evening" has these long english horn notes as guitar then deep bass comes in. it's still laid back. Piano just before 4 minutes then the horn retruns 5 1/2 minutes in.

Another ECM winner but i'd rate "Yellow Fields" and "Silent Feet" slightly above this.

 Eberhard Weber Colours: Silent Feet by WEBER, EBERHARD album cover Studio Album, 1977
4.05 | 22 ratings

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Eberhard Weber Colours: Silent Feet
Eberhard Weber Jazz Rock/Fusion

Review by Mellotron Storm
Prog Reviewer

4 stars The year after releasing the beautiful "Yellow Fields" bass extraordinaire Eberhard Weber is back with "Silent Feet". Same lineup except for on the drum kit where John Marshall (NUCLEUS, SOFT MACHINE) replaces Jon Christensen. Charlie Mariano (EMBRYO, SUPERSISTER) is back playing sax and flute. I do prefer this one over "Yellow Fields", I just find it more dynamic and interesting.

We get three long tracks beginning with the side long "Seriously Deep". It takes a while but eventually piano and sax lead the way tastefully then the drums join in. We get bass and drums only before 4 1/2 minutes then the piano joins in as well. The sax is back 6 minutes in. Some intensity around 10 minutes as the sax and drums impress. I really like the electric piano too. It settles back 11 1/2 minutes in then kicks in again around 14 minutes. Marshall is his usual amazing self after 15 minutes.

"Silent Feet" is led by bass and piano early then drums arrive after 1 1/2 minutes. It picks up a minute later. The piano is fantastic here. A calm just before 6 minutes as the sax comes in and leads then it picks back up. A calm 8 1/2 minutes in then it starts to pick up again a minute later. Nice "Eyes That Can See In The Dark" opens with atmosphere and flute. Sparse piano and bass come in after 2 minutes. Sax and sounds build before 4 minutes then the piano leads before 6 minutes. Nice bass and drum work too. The sax replaces the piano 8 minutes in. It settles after 11 minutes to end it.

Such a classy, well played recording in the ECM tradition. Marshall really impressed me too.

Thanks to Easy Money & Fuxi for the artist addition. and to NotAPpoghead for the last updates

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