Eberhard Weber is a central figure in the evolution of European jazz. His autobiography is a lively read, and the sections describing his stroke and his subsequent rehabilitation are vivid and candid.
Sebastian Scotney, London Jazz News

At a little over 170 pages, it is a deceptively slim memoir containing more wisdom about creativity and the life of a working musician than many cinder block-thick music bios. There are probing discussions of what jazz really is and the arts of composition and collaboration, as well as a dressing down of the jazz conservatory complex, drummers who keep pling their cymbals after the last chord and his own “inadequate twisted finger technique.” He also addresses why there is no such thing as “the perfect instrument” and how one fiddles forever to try and work around it.
NYS Music

An absolutely fascinating account of starting out in jazz in post-war Germany and ultimately working as an extremely successful international musician. Throughout, the things we might expect to be emphasized are not; an approach which seems entirely in keeping with Weber's obvious humor and sense of proportion.
All About Jazz