Endless Days heralds the welcome return of Weber after an absence of seven years recording as a leader. ... There are two bass solo pieces on offer demonstrating that Weber's sound and touch are still the unique gem they always were but the prevalence here is for integration and collectivism. Pieces are through composed with very little improvisation in evidence and the feel is more classical than jazz. That said, the sheer positive attack of all involved gives this music great dynamism.
John Cratchley, Jazzwise
Weber's eight compositions emphasize ensemble structure and notation over "the solo self-presentation that is prevalent in jazz today". His work does not sound quite like classical music, although pieces such as Concerto for Bass possess as much formal processional grace and solemnity as any Rodrigo adagio. It does not sound quite like jazz, in part because it intentionally diverges from the African-American cultural subconscious. Yet it is hard to know what, besides jazz, to call personal free inventions like Solo for Bass. Weber's work is, in fact, something new. It is also music of rarified melodic proportion that weaves haunting, hypnotic narratives that are elusive yet majestic in their connotative power. For all of his insistence on limiting solo improvisation, the riveting focus is Weber's own voice. ... On A Walk in the Garrigue, his dramatic sweeps of invention announce that, after a seven-year absence as a leader, Eberhard Weber is back.
Thomas Conrad, Stereophile
To put it quite simply, this is a very important release and for many reasons. Foremost, it's Eberhard Weber's first date as a leader in some seven years. In addition, it's probably his most realized group effort to date, taking advantage of his mature writing style and the past track record he shares with the musicians involved. ... Weber has stated he wanted to create a work that was more classical in nature and less attuned to jazz sensibilities, that seeming somewhat of a paradox considering that Endless Days is very jazz-based indeed. ... By using a hybrid electric bass, Weber adds to the characteristic sound of the recording as a whole. His writing also captures a lovely balance between animated and more pastoral moods, offering us an ECM classic in the making.
Chris Hovan, Jazz & Blues Report
Der Bassist sucht hier ganz bewusst die Nähe zu klassischen Klängen. Und dabei sind sechs kammermusikalische Kleinode von faszinierender Dichte und Intensität entstanden.
In getragenem Tempo geht's los, geprägt von eher dunklen Klangfarben baut sich langsam Spannung auf. Paul McCandless' Oboe gibt das Thema vor, singt eine friedliche melancholische Melodie. Der unverwechselbare Sound von Eberhard Webers Bass übernimmt alsbald die Führung, beherrscht in sanfter Präsenz die gesamte CD, sei es als Soloinstrument, sei es in der Definition der Stimmungen. Obwohl Weber selbst eigentlich gar nicht so "viel" spielt, ist sein eigentümlich schwebender Ton mit dem langen Sustain omnipräsent. Rainer Brüninghaus, Paul McCandless und Michael DiPasqua komplettieren ein Quartett, das Webers Sinn für Lyrik, Klang und Atmosphäre kongenial aufnimmt und seine fast klassisch anmutenden Kompositionen mit grossem Einfühlungsvermögen umsetzt.
Tobias Böcker, Jazz Zeitung