by David R. AdlerFor his first recording since 1993's Pendulum, bassist Eberhard Weber teams up with Paul McCandless on woodwinds, Rainer Brüninghaus on piano and keyboards, and (emerging from retirement) Michael DiPasqua on drums and percussion. Weber's new compositions involve little improvisation and a steadfast avoidance of typical jazz vocabulary. Evocative and thoroughly composed, these tracks have something of a European classical, chamber jazz feel; McCandless' oboe and English horn emphasize this aspect all the more. DiPasqua's percussion can be quite dramatic and effective, particularly on "French Diary." Brüninghaus' piano shines throughout, but his synthesized string pads are also so prevalent that they begin to have a narcotic effect. Weber is no showoff on his instrument, although he reserves "Solo for Bass" and "A Walk in the Garrigue" for himself. His clear, cello-like electric tone brings Eddie Gomez to mind. Compositionally, there are distinct echoes of Lyle Mays in Weber's music as well, although more likely it is Mays who borrowed from Weber. Well done and moving at times, but a bit mild and innocuous overall.