The interaction of Eberhard Weber’s highly distinctive bass and Rainer Brüninghaus’ lyrical piano is at the heart of a number of popular ECM recordings, starting with Weber’s Colours of Chloë, and extending through the discographies of the Colours band and the Jan Garbarek Group. But the rapport of the two players was rarely better displayed than on 1976’s The Following Morning, where their dialogues are softly cushioned in attractive arrangements for strings, horns and woodwinds
