WEATHER REPORT

Keyboard wizard Joe Zawinul produced this sucker and he's without a doubt the dominant contributor to the project, starting with his "The Pursuit of the Woman with the Feathered Hat." It opens with a synthesizer pattern reminiscent of incidental music for those dated spy/secret agent flicks of the 60s and early 70s (think more along the lines of "In Like Flint" rather than suave Mr. Bond's adventures) and the obligatory high intrigue abounds. A more lighthearted atmosphere develops later on and it ends up with a happy tribal chant of sorts. Curiously, Wayne Shorter's penetrating horn is nowhere to be found. Bassist Jaco Pastorius is listed as the album's co-producer and his "River People" is next. His percolating bass line bubbles and boils in front of an electrified synth backdrop for a while, then they drop into a pseudo disco beat for the remainder of the cut. Zawinul peppers the tune with assorted keyboard phrases and the catchy tonality of the track keeps you interested throughout. Yet there's still no sign of Wayne.

Oh, here he is. Maybe he was caught in traffic but he makes his presence known at last on Joe Z's so-so "Young and Fine." It has a complex jazz progression, to be sure, but Peter's drums are kept so low in the mix that they're almost non-existent, depriving the song of any drive or energy. Eventually the tune turns into a cluttered jam, lacking the usual Weather Report charm and grace we've all come to expect. Shorter's "The Elders" follows and it sports a dreamy fade-in that leads to a notably abstract structure, moody but enveloping nonetheless. This is the kind of eclectic, ethereal composition that sets this group apart from the pretenders. Too bad there's not more like it.

Zawinul's "Mr. Gone" begins with an ominous, roiling synth note simmering underneath a suspended cage that emits strange noises before a jazzy, walking bass line takes over. Except that it's not our talented boy Jaco performing it, it's Joe on his ARP, making this come off more as a solo extravaganza than a unified, cooperative effort. He tosses in some mellow big band-style riffs here and there but the number never develops into anything memorable or exciting. Pastorius' fun "Punk Jazz" is next and it's one of the highlights of the album. He demonstrates his fleet-as-frightened-ferrets fingering on the fretboard explicitly as he sprints over Erskine's scatting drums during the intro and then they come to a screeching halt suddenly. After that they drift into a kind of West Coast funk R&B thang that brings to mind Steely Dan's wry attitude with bright synthesizer chording complimenting Shorter's playfully agile soprano sax. This one's a humdinger and added a full star to my rating.

Wayne's "Pinocchio" fades into what sounds like a tune-in-progress and while it's one of the most difficult and intricate songs included here it's also the shortest, coming in at a brisk 2:25. That's surprising because this isn't a particularly lengthy outing from these guys and it would seem that they could've expanded on this challenging piece of music. They close with Zawinul's "And Then," a slower-paced cut that emphasizes Jaco's signature fretless bass technique to its distinct advantage but then a flurry of Motown-ish soul singing enters abruptly and the spell they were weaving is broken immediately. Adding in completely unrelated vocals was a bad idea that should've been shot down in flames early on (and perhaps an outside producer would have done just that). Not sure what they were aiming for but it fails as miserably as the Bay of Pigs invasion, ending the album on an unsavory note.

I've always been convinced that musically a group is only as good as its drummer and I offer "Mr. Gone" as a solid example of that tenet. It's really not a matter of Erskine being sub-par, per se. On the contrary, I'd have to be able to hear him to determine that. For reasons beyond my understanding Joe, Jaco and Wayne opted to keep the percussion section way, way down in the overall scheme and, in the process of doing that, they drained most of the life out of the music they recorded here. Since I'm not privy to the strained inner dynamics, clashes of personality or expiring green cards that caused Acuna & Badrena to exit stage left in such a rush I'm left with only unanswered questions as to why. What I do know for sure is that while "Mr. Gone" is not a total waste of time, it pales in comparison to the sublime magic that Weather Report was capable of concocting. 2.9 stars.

Sportin´ Life is jazz/ fusion allright and it sounds unmistakably like a Weather Report album. So far so good. The problem is that it sounds rather light weigth, stale and uninspired and to top off the not so nice things I could say about the album there is a horrible caribbean influence on some songs. Is it really a steel drum I hear? Dreadful IMO. Just take a listen to Hot Cargo to hear the worst example on the album. It´s quite possible the worst song I´ve heard by Weather Report. There is quite a lot of vocals on Sportin´ Life compared to other releases by the band, but again they give the songs a kind of easy listening feeling that I don´t enjoy. I actually couldn´t find one song on Sportin´ Life that I really enjoyed. The musicianship and production is as usual of high quality.

If you think you can enjoy a kind of cheap and easy listening version of Weather Report, Sportin´ Life might be just your thing. For me this was absolutely the last time I´ll take a listen to the album. Because of the high quality musicianship and production I´ll stretch and give a 2.5 star rating though.

There are six tracks on the album. All quality jazz/ fusion compositions with both memorable melodies, skilled playing and lots of power. Especially Two Lines features lots of powerful fusion playing. There´s also lots of atmosphere in the music though and the almost ambient The Well is a great example of that. As always on Weather Report´s albums it´s the compositions that come before the technical playing and personally that´s how I like it. There are no unnecessary noodling on Procession.

The production is excellent. To make an organic sound like this in 1983 and not sound like a seventies dinosaur is quite the achivement.

Procession is a great album by Weather Report and while it didn´t exactly blow me away the first couple of times I listened to the album, it still grows on me with every listen and I seem to find new things to enjoy about it all the time. A deserved 4 star rating.

Their debut,simply carrying their name,was released on February 1971 and was a very good starting point.The improvisation of MILES DAVIS,the smooth jazz interplays of RETURN TO FOREVER along with the members' strong personality guarantee a satisfying result.Often led by a soft style and a relaxed musicianship,the compositions are based on Shorter's both dynamic and calm saxes,the maginificent piano strings of Zawinul and the funky bass lines of Vitous.Mouzon offers also a surprising performance,characterized by his fast drumming next to Moreira's percussion's beauty.The structures of the arrangements can be abstract and pleasant at the same time,while the improvisational parts are shortened to allow the members to develop some good well-executed ideas.This album can be ethereal and pleasant,while the next moment finds you lost in a complex labyrinth.''Weather report'' was a really good debut and definitely a recommended release for anyone who wants to start succesfully his journey into the jazz/rock territory...3.5 stars!

The album kicks off in real style. Birdland is absolutely fantastic! It is funky, up tempo and dynamic. I can't help but tap my feet and get into the groove on this track. Like I said, I'm no jazz aficionado, but it is easy to see why the piece is popular among traditional jazz musicians. It is the high point of the album by far. Too bad it comes first and mixes up expectations for the remainder of the album.

The next track is A Remark You Made. Quite frankly I don't really comprehend what would qualify this as fusion per se. It sounds like a straight forward smooth jazz track. It's nice, but I think it would be better used to get sway on with a sophisticated lady. It might have a place on this album but after the Birdland it's really a letdown.

Luckily the follow up is Teen Town. It is all bass, and if you have ever perused my previous reviews I'm a fan. It is totally progressive and showcases the infamous Jaco Pastorius doing his thing. Not the master work that Birdland is, this one would be my preference without it. The funny thing about this one is that at several points you anticipate the solo to break out into a full on funk romp but it never does. Its fine by me, Teen Town is great, but it gets me wondering about how cool it would sound if they drifted a little more in that direction.

Harlequin is in the same vein as A Remark You Made. It isn't able to pick up on the momentum that is started with Teen Town. I'm sorry to say for anyone who is a fan of this piece, Zwainul puts down some cool keyboards, but this feels like it takes way longer than 4 minutes to get through and not in a good way.

Now for the oddity of the album, Rumba Mama. What a left turn! I am almost dozing after Harlequin then out of now where comes a live recorded performance of what I suppose falls a little more on the out there side of the jazz spectrum. It swims in African influence. Cool drum solo, but I can't really say I dig the vocals.

Following Rumba Mama, I'm awake again and this time Heavy Weather rewards me by breaking the slow fast cycle with Palladium. This one is another keyboard dominated piece. The way Zwainul is playing here, the more the better. It isn't an all out barage of funkiness, but I think this piece probably best captures the idea of Jazz-Rock Fusion in my mind.

Of all the slow pieces on this album, the Juggler is probably my favourite. It is a very dynamic piece. Loud to quite, fast to slow. This one does it all. The theme is very cool and the trippy synth which comes in around minute three is a treat.

Here we are. Track 7 of 7: Hanova. Love the intro. It makes me feel like I am watching 80s TV or something. Cool cool sound. The bass back too! It had been hiding for a bit. This piece manages to be both driving and exiciting while staying low key. Good closer.

I am a jazz noob. Anyone whose made it this far into the review can tell. I like this album, but I like it for different reasons than most of the rest of my collection. I consider it more the start of something beautiful between me and jazz than a continuation of my taste for progressive rock. Good, but not essential is the right way to sum this baby up from the prog perspective. You need an ear for jazz to really appreciate it. I am not quite there yet. But hey, that's why we can edit our reviews. For now, 3 out of 5 stars.

Peter Erskine hoped for the activity as the freelance. And, to concentrate on the activity of own "Word of Mouth", Jaco Pastorius has parted from the band. The desire and zeal concerning the band might have increased further for Joe Zawinul though the band faced the time of closing of accounts in a sense. The appearance of the desire might be expressed by the content of this album.

It had made remarks on Joe Zawinul immediately before the announcement of this album. ｢It is not necessary to develop smoothness in this album. I wanted the march feeling that went out ahead. ｣It did not know the desire of Joe Zawinul that had started pushing the frontiers exactly became weak. It might be derivative to a part of Album Art that is a little reminiscent of "Black Market" and a new rhythm section.

The member who newly participated in the band in this album is drum player's Omar Hakim. Bass player's Victor Bailey. And, it is percussionist's Jose Rossy. The fact from which this new member is recommended for the band by Michal Urbaniak might be a point that should make a special mention. And, it is also true that these three people blew a new wind to the music character of the band.

Omar Hakim was spoken back recollecting it. ｢The member of the band had a lot of conversations and the discussions. However, the performance was not so rehearsed though it would refrain from live in the near future. The state continued for a while. I had feelings of uneasiness for the state that did not rehearse. And, the state continued for a while. And, I was able to discover it. A part of conversation and the discussion are the extensions of music for a band and pure music. We can talk through music. ｣

Freedom of performance that increases with shape that runs side by side with directionality and idea of band. Proof with the methodology that the band always established might be a part of proof and the room of various ideas and technologies. All those elements are remarkably expressed by this album. And, the idea of Weather Report that pushes the frontiers has leapt further.

It might be a tune that should be able to be called "Procession" is an intro of the band that pushes the frontiers exactly. It might be a boogie-woogie about which Joe Zawinul talked and be an intro as the element of the march. A soft keyboard twines round the rhythm of the shuffle that is reminiscent of "Night Passage" with the line of Bass. The sound of the keyboard is indeed variegated. The sound might be exactly a pronoun of the band. And, Victor Bailey that always shows deference to Jaco Pastorius catches the band from the angle besides Jaco.

"Plaza Real" is a tune that Wayne Shorter wrote. The atmosphere of the tune is exactly reminiscent of middle term. Glossy soprano Sax is impressive. A hard sound of the refined rhythm section has completely changed the impression of the current band. And, consistent Zawinul and Shorter might have room. Vocal Solo of Zawinul in close relation to the melody of Shorter that blows tenor Sax on the way is a masterpiece. The desire of Zawinul will be felt by me.

"Two Lines" exactly continues the dash feeling. The rhythm section dexterously treats various elements. And, the south intention of Zawinul appears remarkably in this tune. Solo of exploding Sax might be splendid. And, the part of the voice processed by the effect might be a patent of the band. This tune might be a flow in which the band is skillful. Robert Thomas Jr . The rhythm also contributes to drinking. Ensemble is exactly integral.

"Where The Moon Goes" has appointed The Manhattan Transfer as a guest. It might be a respect of Zawinul to the tie of "Birdland" to The Grammy Awards. The tune has taken the element of the calypso to the tune. The flow of a slow tune expands the width of the impression of the album. Solo of soprano sax also contributes. The tune heads for the top with steel pans. The last rhythm section of the tune announces the overwhelming might.

"The Well" is Joe Zawinul and a tune by Duo of Wayne Shorter. The flow with glossy soprano sax and the anacatesthesia is impressive. This tune adopts the sound source performed in the region that is called "Nagoya" of Japan in June, 1980. The matter sung that lyrics of "Where The Moon Goes" are "In the rain in Nagoya" appears. It might be an idea made based on the experience in the Japan.

"Molasses Run" is a tune that Omar Hakim offered the band. Very high-quality Fusion is developed in the tune collected to this album. How the band contains freedom might be understood. Flow of rhythm that requires fast development from theme with feature of Bass. Omar Hakim takes charge of the guitar in this tune. The band is contributing to the tune like answering the idea of Omar Hakim. Bass and the drum have gone out of this tune to previous. And, twining of Sax exactly assembles a good flow of Jazz/Fusion. Ensemble might succeed exactly. And, the technology of Bass is overwhelming.

The band rushed into in the 80's : to this album. Therefore, it has evolved further. It might be an album from which the zeal of the band has come to the front exactly.

At that time, Weather Report started certainly surfacing partly because of the remark of various musicians for the news of the re-formation of the band. Information on experimental recording by Joe Zawinul and Wayne Shorter. Or, at that time, the band certainly said that they would form again according to the remark of active Paco Sery in the Zawinul syndicate. Moreover, declaredly that the member of the band that formed again was Zawinul, Shorter, Sery, and Acuna.

And, Marcus Miller also made remarks on the rumor of the re-formation of the band. ｢As for it, if Joe Zawinul and Wayne Shorter gather again, I feel the doubt and the rumor. However, I hope in the resolution that throws away my career if I receive the request from the band. ｣ And, it was made remarks that the best version of "Birdland" was a sound source of "8:30" in the interview in Joe Zawinul. However, the album that changed shape as a result in passage where the rumor was called and was put on the market might have been this work in the rumor. However, the technology and the idea of the musician who always shows deference to the music of strong zeal and Weather Report might be reflected enough in the tune in this album that is gathered by the musician who loves music of the musician and the band that is related to Weather Report and completed. And, it will have been a result of wonderful work by one musician that bore the process for making the album that performed the tune of Weather Report.

Keyboard player's Jason Miles is a keyboard player. And, it is a musician who is well versed in the programming of the sound source. After music was come across for a long time with Marcus Miller in 1984 relations and it worked, he was related to work with various musicians. Furthermore, the role as the composer and the arranger is acquired enough and the talent is shown.

The work of the production of the album will be left to Jason Miles in 1998. The album was Solo Album of Jay Beckenstein of the leader of Spyro Gyra. Jay Beckenstein hoped to collect "Birdland" of Weather Report to own album. It is said that the tune is immediately arranged and Jason Miles was submitted to Jay Beckenstein. Jay Beckenstein was decided to liking very and the collection of the arrangement of the tune. And, Jay Beckenstein made remarks on Jason Miles. No one made the album that copied the tune of "Weather Report. It was said that this remark had deeply affected the mind of Jason Miles. The demo tape was immediately produced and it promoted the sales of Jason Miles to the recording label. A good reaction was not so obtained. It is said that Jason Miles had received the report from "TELARC" in the passage. TELARC had the musician who participated in the recording of this album and all members had the doubt whether it was possible to collect. However, it is said that Jason Miles answered that it can meet the requirement. This flow was received and Jason Miles succeeded in challenging finish of these ratios of the respect to Weather Report of music in the positive fact simultaneously. And, the brilliant performance is developed as various musicians who participated in the recording of this album also answer zeal and the respect of Jason Miles.

The album bears A cooking stove by Jason Miles and does the election of the tune and the member's election. A lot of elections of the tune have been taken out of a mid-term work of Weather Report. It is a part of a certain kind of Improvisation as the charm of Weather Report. And, it is said that there was a part where the tune cannot be faithfully reproduced. However, the arrangement that Jason Miles did has the point to have reflected the idea and the arrangement in the tune giving priority to the singing of each musician with musical instruments.

"Birdland" is collected to "Heavy Weather". The Vocal programming of Take 6 by Jason Miles is made good use of. Respectfully of a picking of harmonics of the guitar by Chuck Loeb and cool Ad-Rib in Jaco. mightSolo of the guitar mixes individuality while faithfully reproducing the original.

"Elegant People" is collected to "Black Market". The theme of a glossy keyboard might be original faithful. Will Lee and Dennis Chambers have gone in the section of the rhythm. An exactly straight, hard rhythm is produced. And, a melody and individuality original as for Sax of Michael Brecker are laced.

"Badia" is collected to "Tale Spinnin'". The flow shifted to the arrangement to emphasize the rhythm from the original will feel a taste different from the original. The impression that listens easily overall might be given. Jon Patitucci and Vinnie Colaiuta take charge of the section of the steady rhythm. These sections might be combined and it be unusual a little more. Atmosphere with a good arrangement of the chorus by Mary Fahl is caused. Ensemble by each musician progresses with hardening of individuality pushing the melody with the atmosphere of the Middle East out ahead.

"Young and Fine" is collected to "Mr.Gone". An almost original theme is used. It is Sax of Aaron Heick and steel Pans of Andy Narell that pulls the melody that becomes a subject. The melody of steel Pans indeed contributes to the tune. It might be a familiar, for fan by this tune deep tune. Jason Miles might have made a good proposal for good selection.

"Cannonball" is collected to "Black Market". The theme of Sax of David Sanborn is original faithful. And, the rhythm section of Omar Hakim and Victor Bailey is working well as a member who exactly built the music of Weather Report. The part of Coda of the tune is reproduced almost faithfully.

"Pursuit of the Woman with the Feathered Hat" is collected to "Mr.Gone". The sense of Jason Miles that appoints Steve Gadd to the drum of this tune might be really good. It shows deference to the music of the band and the history exactly. The arrangement of the keyboard might lead the tune to a new part further. The refined arrangement gives a good impression.

"Mysterious Traveller" is collected to "Mysterious Traveller". It starts from the sound of the refined keyboard and the rhythms of a few Funk are expressed with the rhythm box. Original atmosphere in the 70's is refined. However, the theme is reproduced with the piano. The melody and the tune of unique Sax of Arron Heick, Ensure..tune..defend.

"Harlequin" is collected to "Heavy Weather". Jay Beckenstein has been appointed to the Sax player. And, a melody piano, that Joe Sample is good continues atmosphere. The arrangement by Jason Miles might succeed.

"Man in the green shirt" is collected to "Tale Spinnin'". The tempo of the tune is dropped a little compared with the original and it is performed. The theme of steel Pans of Andy Narell twines round the rhythm to which Vinnie Colaiuta is surely steady. However, the tune is almost original faithful.

"Palladium" is collected to "Heavy Weather". The performance that reproduces a surely original theme from the theme of a gentle keyboard might be splendid. It is a trumpet of Randy Brecker that pulls the melody of the theme. And, Solo of the trumpet is placed and the sample of Vocal of Take 6 appears. The rising part in the middle reaches the peak and shifts to the second theme. The trumpet plays an exactly moving melody.

"Cucumber Slumber" is collected to "Mysterious Traveller". The guitar of John Scofield twines round the performance of Marcus Miller that faithfully reproduces the line of original Bass. They might exactly have individuality. The arrangement of the keyboard is also unique. The rhythm that Dennis Chambers produces is steady.

Applause is sent to Jason Miles that produces this album. And, if whether music Weather Report is very wonderful was being offered to the listener listens to this album, it is likely to be able to reconfirm it.

As the band is a far smaller unit then Miles band this leaves alot for freedom for the five musicians to roam.Wayne Shorter's Soprano sax playing is a real highlight of the album.Over complex rythms and experimental sounds his tasteful playing adds more texture & makes this farout album more grounded,this is more notable on song "Tears."A good example of why Weather Report have always sounded so unique throughout their career was their ability to experiment & incorporate various music styles.Though prominently a jazz group,influences of rock & world music can be heard throughout this album and later in their career funk would also become a dominant sound for the band. Founding member & bassist Miroslav Vitous's has an impressive performance on track "Umbrellas" although technically a free jazz song,his chunky distorted bass similar to that of Jack Bruce's bass tone of the time and a solid groove provided by drummer Alphonse Mouzon shows their rock tendencies although this would never be fully explored.

I began listening to Weather Report after hearing their repatoir of musicians more specifically bass players such as Jaco Pastorius,Victor Bailey & Alphonso Johnson and although I was very impressed by the albums featuring them,this has become a favourite of mine.Fantastic musicianship,an excellent lineup & a historic album should persuade you to buy this.

The six albums this band made before this one have their merits/shortcomings and several are outstanding but they were all leading up to the creation of this, their masterpiece. I and several of my peers in the 70s had been avid admirers of the group all along but none of us was expecting this incredibly cohesive casserole of memorable compositions and flawless production neatly tucked inside such an arresting, slap-me-into- next-week cover illustration. The total package floored most everyone who was exposed to it and even a raft of Plain Janes and John Does who didn't know fusion from a contusion had a copy of it in their stack of LPs right alongside "Frampton Comes Alive." It was the perfect soundtrack for those heady times yet its pristine artistry will keep it vibrant and wholly viable for centuries to come. This is, indeed, Weather Report's finest hour. Having said that, I confess openly that I haven't heard everything these guys recorded during their esteemed career but I can't imagine that they ever topped this gem. Equaled it, maybe, but never bettered it. (I'm not through with them by a long shot so I'll let you know.)

They open with keyboard wizard and co-founder Josef Zawinul's celebratory "Birdland." If I were to meet somebody who'd never heard a note emanating from the jazz rock/fusion universe this would be one of the first numbers I'd spin for them to contemplate. I mean, what's not to love about it? Its infectious tempo never flags for a split second and every phase of the song exudes unadulterated joy. Alejandro Acuna's steady drumming creates an ever-tightening tension as he coils up the band's energy like a diamondback rattler ready to strike, finally releasing it via the orgasmic explosion of the tune's glorious big band- like theme midway through. The tight arrangement is immaculate and the track's pyrotechnic dynamics are breathtaking even on the hundredth listen. The entire ensemble works together in exquisite harmony and the six minutes it takes to travel from start to finish go flying by like the flash of a strobe. You'd be hard pressed to find anyone who won't at least acknowledge the lofty plateau of musical sublimity they achieved with "Birdland." It's a song for the ages.

Almost any tune assigned the task of following that spectacular curtain-raiser would pale in comparison but Josef's "A Remark You Made" proudly stands on its own. It's as soothing as a stroll along a tranquil Kauai beach at sunset and Wayne Shorter's elegant soprano sax is soulful and fluid as it flies overhead like a seagull. Bassist extraordinaire Jaco Pastorius and Zawinul paint a backdrop for him in deep, sky blue colorings before Josef takes off and zooms into the stratosphere with a synthesizer ride to die for. (Grab your lady love, dim the lights and uncork the best wine in the house; this is made for romance. I'm just sayin'.) The finger-blistering, booming "Teen Town" is next and it's a fine showcase for Jaco to display his immense talent. He burns with hot passion from A to Z, yet the song is far from being just another patience-testing bass guitar extravaganza. As in the majority of their other compositions, melody is always held in the highest regard and they never forsake its supreme importance as being the essential ingredient in their art. That endearing characteristic alone is what separates these guys from most of the herd. Shorter's "Harlequin" follows and on this cut Zawinul delicately mixes acoustic piano with his synthesizers brilliantly. (The man was a master of his craft.) The song is complex and multifaceted, to be sure, but it's never so strange that it leaves the casual listener behind. It's totally accessible to even the novice. Towards the end Alejandro dazzles on the drum kit and shows that there's more to him than meets the ear.

Variety is unquestionably the spice of life and they really shake things up with the inclusion of Acuna and percussionist Manola Badrena's wild "Rumba Mama." It's a live track so full of fiery, over-the-top enthusiasm that it's damned near impossible to repress a grin or two during its 2:12 of existence. Don't be timid, just go with the flow and you'll have no regrets. Wayne's "Palladium" is a continuation of that Latin atmosphere, albeit on a much more rational, sane level. While the tune that precedes it might induce a spastic convulsion that would be welcomed and encouraged at an Aboriginal fertility hootenanny, this one will gently beg your lazy feet to get up and samba lightly through the kitchen. Once again the group's inventive, melodic lines rule the realm, dawning a happy brightness onto your psyche that'll elevate even the darkest of moods. Music serves many a purpose but none more life-enhancing than that.

Josef's "The Juggler" possesses a grace and suspense that befits its title to a tee. It shifts from light to shadow in the span of a heartbeat and the tactful interplay going on between the drums and percussion is bliss to behold. It's a delightful piece of music. They end the album with Pastorius' energetic "Havona" and, if this number is any indication, the city that lies beyond the pearly gates is a busy, bustling metropolis. The song is dense and intricate without ever becoming noisy or confusing. Zawinul's piano ride is a scorcher, Shorter slices through the challenging chord progression like a knife through warm butter and Jaco literally raises the heavenly roof with his bass runs. (Have I mentioned that his fretless tone is incomparable?) This cut has more peaks and valleys than a Six Flags roller coaster as it builds to a white-hot intensity and then, before you know it, the thrill ride suddenly pulls into the station smooth as a silk tie and it's over. To quote my favorite Jedi knight, "Exhilarating, that was."

Some may argue that this eclectic bunch sold out with this effort but I beg to differ. I think it was a case of the public finally catching up with them, not Weather Report kowtowing to the lure of commercial success. "Heavy Weather" sold over half a million copies for two good reasons. First, "Birdland" was and still is irresistible. Second, the music contained on this record appealed to people of all ilks because it's just plain GREAT. It's hard to argue against quality presented with this kind of class. This is a jazz rock/fusion album you can play in the presence of your wife or girlfriend and not have her roll her eyes at you in exasperation (even if she thinks saddle tramps like George Straight and Kenny Chesney hung the moon and planets) while, at the same time, avoiding feeling like you had to lower your standards to the sub-basement level. I still get a kick out of this album and it never fails to put a smile on my aging mug. And that, my fellow proggers, is worth a trillion times its weight in gold.

So, side A is free-jazz fusion, similar to debut album. Drum/percussion section is changed, Airto Moreira and Mouzon both left, but you can't feel big difference in sound because of it. In fact, it's the same free-jazz based fusion with soloing Shorter sax and Zawinul electric keyboards. And again, this music is placed far from usual fusion of RTF or Mahavishnu Orchestra sound. In fact, it's free jazz with some rock elements ( not too much), I can say that this music is more connected with Zappa's avantgarde sounds, than with classic jazz-rock fusion. Sound is perfect, and all compositions sound fresh even now!

Side B is much more energized, with stronger rhythm and drive. In fact, the band shows more jazz-rock fusion sound during live show. But again, the sound is cold, clear and very characteristic.

Possibly, the best WR album ever. I think everyone interested in free-jazz, avant-jazz or experimental fusion will love it. But that album could be too unusual for more mainstream jazz- rock fusion fans. Don't recommended to those hating modern jazz.