The aesthetic sensibility that has become identified as the sound of ECM is—in large part—a manifestation of German bassist and composer Eberhard Weber's own vision. Spacious, obscured harmonies, fluid melodies and tastefully imbedded electronics, often within a minimalist framework have been consistent components of much of the music in the label's catalog. Weber's inventive approach to his instrument—especially his creation of the electrobass—led him away from the familiar parameters of walking bass lines into more uncharted territory of the bass as a soloist's instrument.

Weber has brought unique meaning to revisionist history with the repurposing of his past solos, first on R��sum�� (ECM, 2012) and now on Encore. Sidelined from performing by a stroke in 2007, the extent of his medical condition remained unconfirmed for several years even with the ECM release of Stages of a Long Journey that same year. Though that Baden-W��rttemberg concert took place in 2005, it remains ominous that the album title is modified from Weber's included composition "The Last Stage of a Long Journey"

Encore, like its predecessor, is rooted in the bassist's solo performances while touring with the