Third Stream / Post-Fusion Contemporary / Post Bop / Fusion • Germany
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He began recording in the early 1960s, and released his first record, The Colours of Chloë (ECM 1042), as a leader under his own name in 1973. In addition to his career as a musician, he also worked for many years as a television and theater director. He has designed an electric-acoustic bass featuring an extra C-string.

His music, often in a melancholic tone, follows simple ground patterns (frequently ostinatos), yet is highly organized in its colouring and attention to dramatic detail.

Weber was a notable early proponent of the solid-body electric double bass, which he has played regularly since the beginning of the 1970s.

From the early 1960s to the early 1970s, his closest musical association was with pianist Wolfgang Dauner. Their many mutual projects were very diverse, from mainstream jazz to jazz-rock fusion to avant-garde sound experiments. During this period he also played and recorded with (among many others) pianists Hampton
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EBERHARD WEBER albums / top albums

EBERHARD WEBER The Colours of Chloë album cover 4.04 | 14 ratings
The Colours of Chloë
Fusion 1974
EBERHARD WEBER Yellow Fields album cover 4.12 | 13 ratings
Yellow Fields
Post Bop 1976
EBERHARD WEBER The Following Morning album cover 4.10 | 10 ratings
The Following Morning
Third Stream 1977
EBERHARD WEBER Silent Feet album cover 4.18 | 11 ratings
Silent Feet
Third Stream 1978
EBERHARD WEBER Fluid Rustle album cover 4.00 | 7 ratings
Fluid Rustle
Third Stream 1979
EBERHARD WEBER Little Movements album cover 3.69 | 4 ratings
Little Movements
Post-Fusion Contemporary 1980
EBERHARD WEBER Later That Evening album cover 3.28 | 6 ratings
Later That Evening
Third Stream 1982
EBERHARD WEBER Chorus album cover 3.79 | 7 ratings
Third Stream 1985
EBERHARD WEBER Orchestra album cover 3.83 | 6 ratings
Third Stream 1988
EBERHARD WEBER Pendulum album cover 4.69 | 7 ratings
Post-Fusion Contemporary 1993
EBERHARD WEBER Endless Days album cover 3.94 | 8 ratings
Endless Days
Third Stream 2001


EBERHARD WEBER live albums

EBERHARD WEBER Stages of a Long Journey album cover 3.90 | 5 ratings
Stages of a Long Journey
Third Stream 2007
EBERHARD WEBER Résumé album cover 4.25 | 2 ratings
Post-Fusion Contemporary 2012
EBERHARD WEBER Encore album cover 5.00 | 1 ratings
Post-Fusion Contemporary 2015

EBERHARD WEBER demos, promos, fans club and other releases (no bootlegs)

EBERHARD WEBER re-issues & compilations

EBERHARD WEBER Works album cover 0.00 | 0 ratings
Third Stream 1985
EBERHARD WEBER Rarum XVIII: Selected Recordings album cover 0.00 | 0 ratings
Rarum XVIII: Selected Recordings
Third Stream 2004
EBERHARD WEBER Colours album cover 4.50 | 2 ratings
Third Stream 2009

EBERHARD WEBER singles (0)

EBERHARD WEBER movies (DVD, Blu-Ray or VHS)


EBERHARD WEBER Little Movements

Album · 1980 · Post-Fusion Contemporary
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Steve Wyzard

When looking through the Eberhard Weber discography, let it be said here that Little Movements (1980) is for completists only. It's certainly not a bad album, but Weber has set such a high standard that this one only just barely passes muster.

For the uninitiated, this is the third album by the Colours group, with Weber on bass, Charlie Mariano on soprano sax and flute, Rainer Bruninghaus on keyboards, and John Marshall on drums/percussion. "Bali" and "A Dark Spell" are both dynamic masterpieces: the group interplay is especially strong, and these two would be among the best recordings they ever made. "The Last Stage of a Long Journey" and "Little Movements" are a bit more problematic: experimental, phlegmatic mood pieces that don't quite work. "'No Trees?' He Said" is pleasant in a Pat Methenyish way. There are distinguished performances throughout, and if you own everything else Weber has ever done, you'll find this one coming off the shelf every now and again. Still, Little Movements absolutely pales in comparison to the previous two group albums, Yellow Fields (1976, with Jon Christensen on drums) and Silent Feet (1978). Both are flawless, timeless classics from beginning to end, and contain everything that made this such an outstanding ensemble.

After Little Movements, Weber would continue to make phenomenal albums with seemingly casual effort (more masterpieces: 1982's Later that Evening, and 1993's Pendulum) and also became a part of Jan Garbarek's group. John Marshall would go on to play with Arild Andersen and John Surman, while Charlie Mariano and Rainer Bruninghaus (outstanding players both) would be heard from a lot less often. There's definitely a feeling of finality on this album, as if the group realized their best days were behind them. Where, if anywhere, could they have gone from here? At the very least, the album cover, by Weber's wife Maja, is especially cute.

EBERHARD WEBER The Colours of Chloë

Album · 1974 · Fusion
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My opinion is probably of less use, since I am not an avid listener of jazz, but this has to be my favorite album of all times.

It's almost like Weber's bass has a tone that is so unbelievably serene that no one could come close to mimicking it, like Jaco's bass guitar, or any guitar Pat Meheney uses. The interplay between this tone and Bruninghaus' piano work practically glues the two together, creating a feeling of synthesized nostalgia, a longing for a home you didn't know you had. My favorite track absolutely has to be the first one, More Colours.


Album · 1993 · Post-Fusion Contemporary
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Steve Wyzard

This is definitely not Eberhard Weber's most accessible album, but it is one of his very best. In fact, it can stand head-and-shoulders next to masterpieces like Yellow Fields and Silent Feet in spite of being very different from those two albums. This otherworldly music is produced entirely by Weber himself with the assistance of an echo unit, and the results are unlike anything you've ever heard. Don't expect a typical bass soloist album: at times, it sounds like there are at least five different players/instruments (including percussion) performing at one time. Much thought has gone into the final product, as these are wholly-conceived compositions, not rambling solos.

From the fluid virtuosity of "Street Scenes" to the hauntingly nostalgic "Silent for a While", every track is a show-stopper and a world unto its own. The sometimes dreamy atmospheres and textures could elicit accusations of "new age", but the material never settles for simple prettiness. Conversely, don't let the scratching, searching arco performances scare you: there are experimental explorations, but they never degenerate into ugliness or contemptuousness. With Pendulum, Weber reaches his absolute peak as a composer, performer, and sound-painter, and if you have any familiarity with his group albums, this album is a quintessential must-own. One would be hard-pressed to find a better, more fascinating ECM release from the entire decade of the 1990s.


Album · 1978 · Third Stream
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Silent Feet is a darn good album. It's slow paced, certainly, but it pays off. For every seemingly static moment, there is beauty. Weber only takes one solo, on the albums longest and worst track, Seriously Deep. This is a good track, but it's not the most remarkable on the album, and is what costs it a star. Silent Feet is a work of genius. Starting with a nice piano solo, it moves into the head of the whole piece, which is an amazingly peaceful yet driving bit, segueing into a soprano sax solo on different chords. I don't normally care for soprano solos, and this is no different, but the solo is compositionally extremely complex and really good. Then it goes into a quiet section, then it finishes with the head again. This is the album's masterpiece, and may even be Weber's. Eyes That Can See in the Dark is an awesome piece, starting with a bizarre flute solo, going into a solo-only two chord vamp. It's pretty darn cool how it suddenly switches from the energetic solos all the way back to the slow beginning. So, there you have it. I don't know European jazz too well, but I know what I like, and this is where it's at, if it is indeed anywhere.

EBERHARD WEBER Later That Evening

Album · 1982 · Third Stream
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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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Steve Wyzard wrote:
more than 2 years ago
His 8 best albums:

1. Yellow Fields
2. Pendulum
3. Silent Feet
4. Later that Evening
5. The Colors of Chloe
6. Chorus
7. The Following Morning
8. Little Movements


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