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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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ResumeResume
ECM Records 2013
Audio CD$12.30
$18.87 (used)
Selected Recordings: Rarum, Vol. 18Selected Recordings: Rarum, Vol. 18
Remastered
ECM Records 2004
Audio CD$10.37
$15.95 (used)
Stages of a Long JourneyStages of a Long Journey
Ecm Records 2007
Audio CD$11.16
$14.23 (used)
Fluid RustleFluid Rustle
Import
Ecm Import 2001
Audio CD$10.49
$9.27 (used)
ColoursColours
Box set
ECM Records 2010
Audio CD$18.47
$14.97 (used)
PendulumPendulum
Ecm Records 2001
Audio CD$9.76
$6.96 (used)
Following MorningFollowing Morning
Import
Ecm Import 2008
Audio CD$28.65 (used)
Right Now on Ebay (logo)
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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
4.60 | 35 ratings
The Colours Of ChloŽ
1974
4.32 | 36 ratings
Yellow Fields
1976
4.67 | 12 ratings
The Following Morning
1977
4.00 | 15 ratings
Silent Feet
1977
0.00 | 0 ratings
Wide And Blue ( with Chris Hinze,Sigi Schwab and Lala Kovacev)
1978
3.80 | 5 ratings
Fluid Rustle
1979
3.92 | 7 ratings
Little Movements
1980
3.79 | 10 ratings
Later That Evening
1982
4.00 | 4 ratings
Chorus
1985
4.33 | 3 ratings
Orchestra
1988
4.33 | 3 ratings
Pendulum
1993
4.00 | 5 ratings
Endless Days
2001
4.68 | 9 ratings
Stages Of A Long Journey
2007

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

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
4.60 | 35 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.

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 The Colours Of ChloŽ by WEBER, EBERHARD album cover Studio Album, 1974
4.60 | 35 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.

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 The Colours Of ChloŽ by WEBER, EBERHARD album cover Studio Album, 1974
4.60 | 35 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.

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 Little Movements by WEBER, EBERHARD album cover Studio Album, 1980
3.92 | 7 ratings

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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.

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 Later That Evening by WEBER, EBERHARD album cover Studio Album, 1982
3.79 | 10 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.

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 Silent Feet by WEBER, EBERHARD album cover Studio Album, 1977
4.00 | 15 ratings

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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.

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 Yellow Fields by WEBER, EBERHARD album cover Studio Album, 1976
4.32 | 36 ratings

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Yellow Fields
Eberhard Weber Jazz Rock/Fusion

Review by Mellotron Storm
Prog Reviewer

4 stars Anyone familiar with ECM Records knows they are all about class, and here's another excellent example. Eberhard Weber is a German bass player who has played with so many greats over the years including Jan Garbarek, Volker Kriegel and the German band ET CETERA. Pat Metheny is a big fan of Eberhard's playing as well. We also get Jon Christensen from Norway on drums and he's also played with the best including Terje Rypdal, Miroslav Vitous, Ralph Towner and so many more. We have saxophonist Charlie Mariano and keyboardist Rainer Bruninghaus to round out the lineup. I almost feel like I should have a small section in my collection for ECM released albums as they all are so professional and classy. Makes me feel like I should be drinking wine or doing something snooty. Not (haha).

"Touch" opens with piano,drums and bass standing out in this laid back affair. The sax joins in and this is all so intricate with the sax playing in a relaxed manner over top. "Sand-Glass" is quiet to start with a beat. Sax after 1 1/2 minutes. Piano before 4 minutes but it's brief. We then get one of those strange sounding Indian horn instruments before 5 1/2 minutes. The piano is back out front before 7 1/2 minutes then sax again. Piano leads around 9 minutes.

"Yellow Fields" picks up before 2 minutes to a bright sound. Gotta love the fender rhodes that follows as it picks up even more. I like the contrasts in this one. Great tune ! "Left Lane" opens with piano, bass and a beat. Sax before 3 minutes then we get a calm a minute later. The piano then starts to lead. It picks up at 8 minutes with prominant bass.The sax leads then the piano takes a turn before 10 1/2 minutes. Sax is back around 12 minutes.

Beautiful cover art on this one from Maja Weber. A classy 4 stars.

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 Later That Evening by WEBER, EBERHARD album cover Studio Album, 1982
3.79 | 10 ratings

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Later That Evening
Eberhard Weber Jazz Rock/Fusion

Review by snobb
Special Collaborator Honorary Collaborator

3 stars Eberhard Weber is well-known by his collaboration on some best jazz artist's albums, but at the same time he is one of ECM label's leading solo musician as well.

"Later Than Evening" contains just four compositions, but with a help of some great musicians participated it could be mentioned as one of the best Weber's release. Sound is crystal clear,crisp and very airy - as you can expect from ECM classic release. Music on the album is relaxed, down tempo, quite often almost liquid and rhythmless, minimalistic but precise.

Album's opener "Maurizius" is composition, heavily rooted in classical music, but played very relaxed,almost ambient-like. In this case ECM sound is more attractive for listening than composition itself."Death in the Carwash" for sure is central album's song and one of the best Weber's composition ever. With help of Frisell's guitar and more energetic Michael DiPasqua drumming, it got flesh and blood, and demonstrate some ascetic, but signature-like Weber custom-made bass leaks.

"Often In The Open" contains dramatic Lyle Mays ( Pat Metheny's collaborator for years) piano and DiPasqua's drums interplays with energetic bass - another great album's composition!"Later That Evening" returns back to opener's fashion - liquid and ambient,but characterless composition, very common for many ECM releases (for good and bad).

In all, album represents some great Weber's moments, and some quite common as well. Strong album for ECM sound maniacs, it is only in part interesting for more adventure jazz lovers.

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 Later That Evening by WEBER, EBERHARD album cover Studio Album, 1982
3.79 | 10 ratings

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Later That Evening
Eberhard Weber Jazz Rock/Fusion

Review by iliakis

5 stars This is one of my favorite Weber's albums and one of the best in the ECM catalogue also!The music here is mostly silent with a sence of melancholy and also mystery. Is an album of little details and holistic perspective. Weber's writing here is more abstract and not so "rock" oriented or kinetic as Yellow Fields or his work with the band Colours, leaving the place for the great players to shine. Mays' piano here is so moving and sweet ,Bill Frissell is (as always) the monster that he is-Paul mcCandless the man with the perfect clear tone, and Michael diPasqua a unique drummer (check his playing with Jan Garbarek, Ralph Towner, and the bands Double Image and Gallery). The most interesting part of the album is the uptempo part of the 2nd track Death In The Carwash, there is a very strange harmony and minimal soloing , that isn't common for Weber;s writing. So this is a great album for winter evenings, combining atmosphere, rests, free music, impresionism.

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 The Following Morning by WEBER, EBERHARD album cover Studio Album, 1977
4.67 | 12 ratings

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The Following Morning
Eberhard Weber Jazz Rock/Fusion

Review by BrufordFreak

5 stars The arrival of this music--including Side One, a "perfect" side (an all-too-rare feat)--caused a profound awakening, such a dramatic transformation in my listening adventures and tastes, that I will forever be indebted to Eberhard and Rainer. Side Two is, unfortunately, far below the level of breathtaking beauty and much more experimental with 'soundscapes' than Side Two. Otherwise, this would be one of my favorite albums of all-time.

Wait a minute! It still is! I just turn it off after "Moana I"!

NO DRUMS! What a joy! What a revelation: that music doesn't have to have a 'beat'--or that it doesn't have to be provided by a standard drum kit. Hail to Brian Eno for turning off the drums! Hail Peter Gabriel and his WOMAD! Hail to Bill Bruford and his Simmons electronic drum kit! Hail to Zakir Hussein and his non-Western percussion! Hail to Mickey Hart and his ethnic musicology! Hail to Glen Velez and his hand drums!

If you want a trip to some of the most beautiful, peaceful inner mindscapes you could ever imagine, program "T. on a White Horse" and "Moana I" to play and repeat, over and over and over. I call this blissful place heaven!

I'm really having trouble giving this album less than five stars, for it is such an unusual music listening experience. Yet, the third and fourth songs, as mentioned, are far less appealing and engaging than the transportive first two. "T. on a White Horse" and "Moana I" are, IMHO, an essential experience of the mastery of truly 'progressive' music. This will be one of those rare times when the pieces of an album will earn the album a high rating despite the true 'adjusted rating' of the whole.

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