TWO-SIDED JAZZ

Eberhard Weber's music is not easy to classify. Controlled and delicate, moody and meditative, it has been compared to the impressionism of Darius Milhaud. Yet bassist Weber, a native of Stuttgart, West Germany, has played with many U.S. jazz musicians and has traveled the circuit here with his own group. His associations have included musicians as disparate as mainstream saxophonist Lucky Thompson and New Age guitarist Ralph Towner.

"Perhaps I am more of a jazz musician than a classical musician," says Weber, "but if you put me next to a bunch of typical jazz musicians, I don't belong to them. But of course classical musicians would say, 'We don't want you either.' " Weber will be at Blues Alley tomorrow with Norwegian saxophonist Jan Garbarek, guitarist David Torn and drummer Kurt Wartman.

"I have two souls," says Weber, "my 'live' soul and my studio soul. I need a group to play live with -- that's just my exhibitionism -- and I need the production records to keep my musical brain alive." -- W. Royal Stokes

DO LOOK BACK

It's a little late for his birthday (May 24), and a bit early for his July concerts at RFK Stadium, but "Dylan Revisited" will surely put you in the right frame of mind for a visit from the fabled singer-songwriter. The three-hour video retrospective (at the Roxy Club this Sunday) traces almost a quarter century of Bob Dylan's artistic development and creative integrity by means of promotional films, interviews and press conferences, documentary scenes and some exciting rare footage that includes Dylan in Greenwood, Miss., during a civil rights rally in 1963, the Newport Folk Festival electric brouhaha, Nashville, BBC footage (including the '66 tour with The Band), alternative Rolling Thunder tour footage, and "I Shall be Released," from the Martin Luther King Jr. Holiday tribute (listen for the altered lyrics).

Culled from nine hours of tapes, "this is probably the most comprehensive video retrospective on Dylan," according to John Paige of Universal Media, who has presented video programs on John Lennon, the Doors and David Bowie. "It's almost like a retrospective on several people, rather than one, because he's gone through so many phases -- folk, protest, country, rock, gospel -- Dylan is a multiplicity of personas . . . This may explain to a younger generation just a little bit about his history and why he's been so influential." -- Richard Harrington

CHARITY JAM

"I'm so happy to be a part of it and it's great to see all the musicians psyched up about it," says Shirley Horn (who along with her trio is a longtime fixture on the D.C. jazz scene) of Washington's musical answer to Live Aid and Hands Across America.

The first "Crosstown Charity Jam" (sponsored by the Washington Area Music Association and the D.C. Commission on the Arts and Humanities) is scheduled Tuesday evening at nine area clubs: Babes, the Bayou, the Birchmere, Blues Alley, Chapter II, Chelsea's, Kilimanjaro, the 9:30 club and the Roxy Showcase. It features more than 40 local performers.

Their efforts are to benefit such charities and nonprofit associations as My Sister's Place, the House of Ruth, Gallaudet College, the United Black Fund, the Children's Defense Fund and others. -- Mairi N. Morrison

ROLLIN' ON THE RIVER

"The universal language of music," says Renee Montes, "is a nice way for people to learn about other people." And the third annual Potomac Riverfest will provide the opportunity with the District Cultures Program, representing Washington folk music from blues to bluegrass, next Saturday from noon to 6 p.m. at Anacostia Park.

Montes brings his traditional Latin American "romantic music" from Bolivia. His partner, Efrain Anaya, adds a Salvadoran influence to the Duo Frenesi. Similar traditions will be expressed through the music of the performing groups, which include the Veltones, an a cappella quintet; Ganga, Bengali folk; Kings of Harmony, gospel brass; and blues guitarist Archie Edwards.

"The selection is a good representation of the traditional music here," says Susan Levitas of the National Council for the Traditional Arts, program sponsors. -- Jean Cavanaugh