Weather Report - Live At Montreux (1976)

Tracks:
01 - Elegant People (07:23)
02 - Scarlet Woman (08:09)
03 - Barbary Coast (09:29)
04 - Portrait of Tracy (05:02)
05 - Cannon Ball (06:23)
06 - Black Market (10:25)
07 - Drum and Percussion Duet (Rumba Mama) (06:21)
08 - Piano and Saxophone Duet (04:42)
09 - Dr. Honoris Causa/Directions (07:57)
10 - Badia (06:09)
11 - Gibraltar (12:15)


Line-up:
Joe Zawinul - Keyboards
Wayne Shorter - Saxophones
Jaco Pastorius - Bass
Alex Acuna - Drums
Manolo Badrena - Percussion

Cannonball Adderley Quintet - Mercy, Mercy, Mercy! Live at "The Club" (1966)

Cannonball Adderley's most popular album, Mercy, Mercy, Mercy wasn't actually recorded "Live at 'The Club'," as its subtitle says. The hoax was meant to publicize a friend's nightclub venture in Chicago, but Adderley actually recorded the album in Los Angeles, where producer David Axelrod set up a club in the Capitol studios and furnished free drinks to an invitation-only audience. Naturally, the crowd is in an extremely good mood, and Adderley's quintet, feeding off the energy in the room, gives them something to shout about. By this point, Adderley had perfected a unique blend of earthy soul-jazz and modern, subtly advanced post-bop; very rarely did some of these harmonies and rhythms pop up in jazz so saturated with blues and gospel feeling. Those latter influences are the main inspiration for acoustic/electric pianist Joe Zawinul's legendary title cut, a genuine Top 40 pop hit that bears a passing resemblance to the Southern soul instrumentals of the mid-'60s, but works a looser, more laid-back groove (without much improvisation). The deep, moaning quality and spacy texture of "Mercy, Mercy, Mercy" stand in contrast to the remainder of the record, though; Nat Adderley contributes two upbeat and challenging originals in "Fun" and "Games," while Zawinul's second piece, "Hippodelphia," is on the same level of sophistication. The leader's two selections -- the gospel-inflected "Sticks" and the hard-swinging, bluesy bop of "Sack O' Woe" (the latter of which became a staple of his repertoire) -- are terrific as well, letting the group really dig into its roots. Adderley's irrepressible exuberance was a major part of his popularity, and no document captures that quality as well -- or with such tremendous musical rewards -- as Mercy, Mercy, Mercy.

by Steve Huey in All Music Guide

Styles:
Hard-Bop
Soul Jazz

Tracks:
01 - Fun (08:26)
02 - Games (07:19)
03 - Mercy, Mercy, Mercy! (05:10)
04 - Sticks (03:54)
05 - Hippodelphia (05:49)
06 - Sack O' Woe (10:29)

Line-up:
Cannonball Adderley - Alto saxophone
Nat Adderley - Cornet
Joe Zawinul - Piano, Wurlitzer electric piano
Victor Gaskin - Bass
Roy McCurdy - Drums

Weather Report - Gibraltar

Cannonball Adderley - Nippon Soul (1964)

Recorded live in Tokyo on July 14th and 15th, 1963, Nippon Soul is not the Asian-jazz fusion suggested by the title (check out Cal Tjader's Several Shades of Jade and Breeze From the East for that), but a solid live set that showcases one of Cannonball Adderley's finest groups, featuring himself, brother Nat Adderley on cornet, bassist Sam Jones, drummer Louis Hayes, and most notably pianist Joe Zawinul and reedsman Yusef Lateef. Both near the beginnings of their careers, Zawinul and Lateef nonetheless dominate this set; two of the original tracks are by Lateef, including the centerpiece "Brother John," for John Coltrane and featuring an astonishing extended Lateef solo on oboe, an instrument not normally associated with jazz, but which takes on an almost Middle Eastern fluidity and grace in its approximation of Coltrane's "sheets of sound" technique. Zawinul arranged the standards for the group, reinterpreting Cole Porter's warm "Easy to Love" as a fleet bebop vehicle for a wicked Adderley solo and working the "Come Sunday" section of Duke Ellington's "Black, Brown and Beige" into a full gospel-style call and response between himself and Jones. Often overlooked, this is one of Adderley's finest albums.

by Stewart Mason in All Music Guide

Styles:
Hard-Bop

Tracks:
01 - Nippon Soul (Nihon No Soul) (9:34)
02 - Easy to Love (3:49)
03 - The Weaver (10:50)
04 - Tengo Tango (2:40)
05 - Come Sunday (7:03)
06 - Brother John (13:03)

Line-up:
Cannonball Adderley - alto saxophone
Nat Adderley - cornet
Yusef Lateef - tenor saxophone, flute, oboe
Joe Zawinul - piano
Sam Jones - bass
Louis Hayes - drums

Cannonball Adderley - Brother John (1963)

Line-up:
Cannonball Adderley - alto saxophone
Nat Adderley - cornet
Yusef Lateef - tenor saxpphone / oboe / flute
Joe Zawinul - piano
Sam Jones - bass
Louis Hayes - drums

Weather Report - Weather Report (1982)

For some crafty reason, Weather Report gave its 11th Columbia album the same eponymous title as its first, which no doubt led to massive retail confusion. It is the last WR album for Peter Erskine, Jaco Pastorius, and Robert Thomas, Jr.; Thomas left the band soon afterwards. And with Pastorius receding a bit into the background, the creative balance tilts heavily toward Joe Zawinul, who contributes all but one of the seven compositions. "Volcano for Hire" and "Dara Factors One and Two" are the requisite Zawinul groove-athons, and his deepening awareness of the rapidly improving synthesizer's harmonic and timbral possibilities color such tracks as "Current Affairs" and the three-part "N.Y.C." suite. Though the creativity level seems to be on medium-tank here, the band could still startle the ear with surprising new sounds, a supremely pithy Wayne Shorter statement, or fresh Third World spices. Their ability to swing is never in doubt.

by Richard S. Ginell in All Music Guide

Style:
Fusion

Tracks:
01 - Volcano for Hire (5:25)
02 - Current Affairs (5:54)
03 - N.Y.C. Pt. 1: 41st Parallel/Pt.2: The Dance/Pt.3: Crazy About Jazz (10:11)
04 - Dara Factor One (5:25)
05 - When It Was Now (4:45)
06 - Speechless (5:58)
07 - Dara Factor Two (4:27)

Line-up:
Joe Zawinul - synthesizer / keyboards
Wayne Shorter - soprano and tenor saxophones
Jaco Pastorius - bass
Peter Erskine - drums
Robert Thomas - percussion

Weather Report - River People (1978)

Line-up:
Joe Zawinul - keyboards
Wayne Shorter - soprano saxophone
Jaco Pastorius - bass
Peter Erskine - drums

Weather Report - Night Passage (1980)

All things being relative, this is Weather Report's straightahead album, where the elaborate production layers of the late-'70s gave way to sparer textures and more unadorned solo improvisation in the jazz tradition, electric instruments and all. The flaw of this album is the shortage of really memorable compositions; it is more of a vehicle for the virtuosic feats of what is considered by some to be the classic WR lineup -- Joe Zawinul, Wayne Shorter, Jaco Pastorius, Robert Thomas, Jr. and Peter Erskine. For Erskine, this is is first full studio album and he amply demonstrates his terrific sense of forward drive unique among the other superb drummers in WR annals. "Port of Entry" is a tour de force for Jaco, who knocks off several of those unbelievably slippery, pointed runs that have made him a posthumous legend. There is also a tremendously fun retro trip to Duke Ellington's "Rockin' in Rhythm," everybody swinging their heads and hands off.
by Richard S. Ginell in All Music Guide

Style:
Fusion

Tracks:
01 Night Passage
02 Dream Clock
03 Port of Entry
04 Forlorn
05 Rockin' in Rhythm
06 Fast City
07 Three Views of a Secret
08 Madagascar

Line-up:
Joe Zawinul - keyboards
Wayne Shorter - soprano and tenor saxophones
Jaco Pastorius - bass
Peter Erskine - drums
Robert Thomas - percussion

Boogie Woogie Waltz (1975)

Line-up:
Joe Zawinul - piano / keyboards
Wayne Shorter - soprano saxophone
Alphonso Johnson - electric bass
Chester Thomson - drums
Alex Acuña - percussion

Miles Davis - In a Silent Way (1969)

Listening to Miles Davis' originally released version of In a Silent Way in light of the complete sessions released by Sony in 2001 (Columbia Legacy 65362) reveals just how strategic and dramatic a studio construction it was. If one listens to Joe Zawinul's original version of "In a Silent Way," it comes across as almost a folk song with a very pronounced melody. The version Miles Davis and Teo Macero assembled from the recording session in July of 1968 is anything but. There is no melody, not even a melodic frame. There are only vamps and solos, grooves layered on top of other grooves spiraling toward space but ending in silence. But even these don't begin until almost ten minutes into the piece. It's Miles and McLaughlin, sparely breathing and wending their way through a series of seemingly disconnected phrases until the groove monster kicks in. The solos are extended, digging deep into the heart of the ethereal groove, which was dark, smoky, and ashen. McLaughlin and Hancock are particularly brilliant, but Corea's solo on the Fender Rhodes is one of his most articulate and spiraling on the instrument ever. The A-side of the album, "Shhh/Peaceful," is even more so. With Tony Williams shimmering away on the cymbals in double time, Miles comes out slippery and slowly, playing over the top of the vamp, playing ostinato and moving off into more mysterious territory a moment at a time. With Zawinul's organ in the background offering the occasional swell of darkness and dimension, Miles could continue indefinitely. But McLaughlin is hovering, easing in, moving up against the organ and the trills by Hancock and Corea; Wayne Shorter hesitantly winds in and out of the mix on his soprano, filling space until it's his turn to solo. But John McLaughlin, playing solos and fills throughout (the piece is like one long dreamy solo for the guitarist), is what gives it its open quality, like a piece of music with no borders as he turns in and through the commingling keyboards as Holland paces everything along. When the first round of solos ends, Zawinul and McLaughlin and Williams usher it back in with painterly decoration and illumination from Corea and Hancock. Miles picks up on another riff created by Corea and slips in to bring back the ostinato "theme" of the work. He plays glissando right near the very end, which is the only place where the band swells and the tune moves above a whisper before Zawinul's organ fades it into silence. This disc holds up, and perhaps is even stronger because of the issue of the complete sessions. It is, along with Jack Johnson and Bitches Brew, a signature Miles Davis session from the electric era.

by Thom Jurek at All Music Guide.

Styles:
Fusion
Jazz-Rock
Avant-Garde Jazz

Tracks:
01 Shhh/Peaceful
02 In A Silent Way

Line-up:
Miles Davis – trumpet
Wayne Shorter – soprano saxophone
John McLaughlin – electric guitar
Chick Corea – electric piano
Herbie Hancock – electric piano
Joe Zawinul – organ
Dave Holland – double bass
Tony Williams – drums

Weather Report - Mysterious Traveller (1974)

Weather Report's fourth recording finds Wayne Shorter (on soprano and tenor) taking a lesser role as Joe Zawinul begins to really dominate the group's sound. Most selections also include bassist Alphonso Johnson and drummer Ishmael Wilburn although the personnel shifts from track to track. "Nubian Sundance" adds several vocalists while "Blackthorn Rose" is a Shorter-Zawinul duet. Overall the music is pretty stimulating and sometimes adventurous; high-quality fusion from 1974.

by Scott Yanow at All Music Guide.

Styles:
Fusion

Tracks:
01 Nubian Sundance
02 American Tango
03 Cucumber Slumber
04 Mysterious Traveller
05 Blackthorn Rose
06 Scarlet Woman
07 Jungle Book

Line-up:
Joe Zawinul - acoustic and electric piano / synthesizer / guitar / kalimba / organ / tamboura / clay drum / tack piano / melodica
Wayne Shorter - soprano and tenor saxophone / tack piano
Alphonso Johnson - bass
Ishmael Wilburn - drums
Skip Hadden - drums (tracks 1 and 4 only)
Dom Um Romão - percussion / drums

Guests:
Miroslav Vitous - bass (track 2)
Ray Barretto - percussion (track 3)
Meruga - percussion (track 1)
Steve Little - timpani (track 6)
Don Ashworth - ocarinas and woodwinds (track 7)
Isacoff - tabla / finger cymbals (track 7)
Edna Wright - vocalists (track 1)
Marti McCall - vocalists (track 1)
Jessica Smith - vocalists (track 1)
James Gilstrad - vocalists (track 1)
Billie Barnum - vocalists (track 1)

Weather Report - Sweetnighter (1973)

Right from the start, a vastly different Weather Report emerges here, one that reflects co-leader Joe Zawinul's developing obsession with the groove. It is the groove that rules this mesmerizing album, leading off with the irresistible 3/4 marathon deceptively tagged as the "Boogie Woogie Waltz" and proceeding through a variety of Latin-grounded hip-shakers. It is a record of discovery for Zawinul, who augments his Rhodes electric piano with a funky wah-wah pedal, unveils the ARP synthesizer as a melodic instrument and sound-effects device, and often coasts along on one chord. The once fiery Wayne Shorter has been tamed, for he now contributes mostly sustained ethereal tunes on soprano sax, his tone sometimes doubled for a pleasing octave effect. The wane of freewheeling ensemble interplay is more than offset by the big increase in rhythmic push; bassist Miroslav Vitous, drummer Eric Gravatt, and percussionist Dom Um Romao are now cogs in one of jazz's great swinging machines.

by Richard S. Ginell at All Music Guide.

Styles:
Fusion

Tracks:
01 Boogie Woogie Waltz
02 Manolete
03 Adios
04 125th Street Congress
05 Will
06 Non-Stop Home

Line-up:
Joe Zawinul - acoustic and electric piano / synthesizer
Wayne Shorter - soprano and tenor saxophone
Miroslav Vitous - acoustic and electric bass
Eric Gravátt - drums (tracks 2, 4 and 6)
Dom Um Romão - percussion

With:
Muruga Booker - percussion
Andrew White - electric bass (tracks 1, 4 and 6), English horn (tracks 3 and 5)
Herschel Dwellingham - drums (tracks 1, 2, 3 and 6)

Weather Report - I Sing The Body Electric (1972)

Like the weather itself, this band would assume a new shape with virtually every release -- and this album, half recorded in the studio and half live in Tokyo, set the pattern of change. Exit Airto Moreira and Alphonse Mouzon; enter percussionist Dom Um Romao, drummer Eric Gravatt, and a slew of cameo guests like guitarist Ralph Towner, flutist Hubert Laws, and others. The studio tracks are more biting, more ethnically diverse in influence, and more laden with electronic effects and grandiose structural complexities than before. The live material (heard in full on the import Live in Tokyo) is even fiercer and showcases for the first time some of the tremendous drive WR was capable of, though it doesn't give you much of an idea of its stream of consciousness nature.

by Richard S. Ginell at All Music Guide.

Styles:
Fusion

Tracks:
01 Unknown Soldier
02 The Moors
03 Crystal
04 Second Sunday in August
05 Medley: T.H./Dr. Honoris Causa
06 Surucucú
07 Directions

Line-up:
Joe Zawinul - acoustic and electric keyboard
Wayne Shorter - reeds
Miroslav Vitous - bass
Eric Gravátt - drums
Dom Um Romão - percussion

Guests:
Andrew White - english horn
Hubert Laws, Jr. - flute
Wilmer Wise - d and piccolo trumpet
Yolanda Bavan - singer
Joshie Armstrong - singer
Chapman Roberts - singer
Ralph Towner - 12 strings guitar

Weather Report - Weather Report (1971)

Here we have the free-floating, abstract beginnings of Weather Report, which would define the state of the electronic jazz/rock art from its first note almost to its last. Their first album is a direct extension of the Miles Davis In a Silent Way/Bitches Brew period, more fluid in sound and more volatile in interplay. Joe Zawinul ruminates in a delicate, liquid manner on Rhodes electric piano; at this early stage, he used a ring modulator to create weird synthesizer-like effects. Wayne Shorter's soprano sax shines like a beacon amidst the swirling ensemble work of co-founding bassist Miroslav Vitous, percussionist Airto Moreira, and drummer Alphonse Mouzon. Zawinul's most memorable theme is "Orange Lady" (previously recorded, though uncredited, by Davis on Big Fun), while Shorter scores on "Tears" and "Eurydice." One of the most impressive debuts of all time by a jazz group.

by Richard S. Ginell at All Music Guide.

Styles:
Fusion

Tracks:
01 Milky Way
02 Umbrellas
03 Seventh Arrow
04 Orange Lady
05 Morning Lake
06 Waterfall
07 Tears
08 Eurydice

Line-up:
Joe Zawinul - electric piano / keyboards
Wayne Shorter - soprano saxophone
Miroslav Vitous - bass / electric bass
Alphonse Mouzon - drums
Airto Moreira - percussion