"It's no secret that reedist Silke Eberhard is a keen student of jazz history, a player whose inspiration routinely gets recharged by immersing herself in the music of her early heroes. For her that means more than listening to old records by the likes of Eric Dolphy, Charles Mingus, and Ornette Coleman (the subject of Eberhard's 2007 Intakt debut, a duo album with pianist Aki Takase titled Ornette Coleman Anthology) - but diving into that repertoire and reshaping it with novel instrumentation. But Eberhard makes it clear that the trio featured on The Being Inn is the context for which she always imagines her own material. "I feel a lot of freedom with this group," she says of working with bassist Jan Roder and drummer Kay Lubke. Although this particular group coalesced in 2006, her history with each player stretches back to the mid-90s and there's no missing the rapport they've all developed together. Eberhard and company make a conceptual leap on the album, with many of the pieces tied to the titular concept - an imaginary inn the saxophonist pictured as she composed numerous tunes. She jokes that the spry opening track, "Ding Dong," is the kind of number she likes to open one of the trio's sets with - "a door bell," she calls it, although the first sounds we actually here are her footsteps leading toward a door that soon opens, inviting the listener in."-Peter Margasak, liner notes

"Silke Eberhard is a saxophonist, clarinetist and composer based in Berlin, and on this album she focuses on alto saxophone and bass clarinet, in the company of Jan Roder on bass and Kay Lubke on drums. This is the trio's third album, and it also marks ten years as a working group. The conceptual inspiration of the album is of an an imaginary inn that the saxophonist pictured as she composed songs for this project, which vary between a lengthy suite and short vignettes. "Ding Dong" begins this album and opens the door, creating an appealing performance that takes into account the historic music of Eric Dolphy and Ornette Coleman with ripe alto saxophone building a taut and exciting improvisation in consort with flexible bass and drums. The most ambitious piece on the album, "Willisau Suite," is a lengthy and episodic performance that takes melodic sub-themes and uses the them as the basis for an ever evolving collective improvisation that stretches out to nearly twenty minutes. The remainder of the album alternates between short three to five minute songs interspersed by even briefer improvisations lasting thirty to fifty seconds. The most noteworthy of these are the spacious "Minatur" which has Lubke deftly using brushes and creating a soft rhythm that is made whole with the addition of subtly played saxophone and bass, creating a melodic and mellow performance. "Kanon" mines the Dolphy influence, making a bass clarinet feature that is supported by bass and drums. The music created has a thoughtful forward looking approach, allowing much open space to permeate the sound allowing for a wide range of possibilities. The short but very urgent "Towels" leads to "In Drei" which has very taut and impressive bass and drums setting the foundation for the music. Eberhard's saxophone weaves in an out of the accompaniment creating an upbeat and infectious sound, with the improvisation developing its own inner logic. "8915" is another saxophone based piece, an uptempo and pithy performance, with a fine feature for bass included, and the musicians reacting to one another in a very creative fashion. This was a very good album, one in which, the musicians take their influences and internalize them, and then create their own music, stretching language of jazz in new and interesting ways."-Tim Niland, Music and More