WEATHER REPORT

1. "The Pursuit of the Woman With the Feathered Hat" (5:00) the Zawinul sound parade begins. They could do so much better than this! (8.6667/10)

2. "River People" (4:49) live or not, this just sounds like another of the band's endlessly-protracted themes to allow Joe to show off his keyboards' sound possibilities. Throw in the handclaps and disco drums and you get one boring song. (Can't imagine why Jaco would put up with this!) (8.6667/10)

3. "Young and Fine" (6:54) very repetitive, melodic in the quirky, upbeat way that only Weather Report (and maybe Jay Beckenstein's SPYRO GYRA) can be. At least the musicianship of the instrumentalists keep it interesting--on multiple levels. (13.5/15)

4. "The Elders" (4:20) another surprisingly insipid and bare-bones song construct on which the band's parade of "fresh" sounds gets put on display. (This song would seem to support the theory that by now all of the band members have caught M. Zawinul's "look at me" bug.) (8.6667/10)

5. "Mr. Gone" (5:20) the opening minute of this song sounds like something from the soundtrack of a 1970s Italian horror film. Then it turns to "bizarre circus environment" for the second and third minutes, using lots of "old" sounds and 1960s "robotic" sounds and noises to make their music. Interesting, entertaining, and laughable. (8.6667/10)

6. "Punk Jazz" (5:07) Finally! Jaco breaks free of his master's chains, leading Tony Williams on a journey worthy of his talents. But that's only the first minute, after that they break into an odd organ-backed sax solo like the femme fatale's theme in an old Guy Noir 1960s "Whodunnit?" film. The circus plodding that follows in the third and fourth minutes is unfortunate despite some nice play from Wayne and Jaco, but they've only gone and wasted the talents of one of the most skilled and dynamic drummers of all-time. (Twice in a row: two consecutive songs!) Still, it's kind of likable. (8.875/10)

7. "Pinocchio" (2:25) fade in fade out = a scrap of music from an extended jam that was deemed "worthy" of being included (to fill space). Steve Gadd's performance is amazing! (4.5/5)

8. "And Then" (3:20) like a gentle "good-bye" song--or even a lullaby. The contributions of EW&F's Maurice White and newcomer Deniece ("I've Just Got to Be Free") Williams seems totally wasted. (8.75/10)

Total Time: 37:15

Yeah, the fade in, fade out tactic only shows me that the band was just jamming, most likely exploring without structure, goals, or end in sight. Also, I fin myself annoyed and saddened that band-leader Joe Zawinul is still stuck in his "see what I can do" mode of changing the sound programs on his synthesizer keyboard every 20 seconds, trying to cram as many "new" and "unusual" sounds that he can into each and every song (without ever repeating them!) This tactic often serves only to make each song--or each section of a song--ridiculously drawn out. Two good songs in a band's prime years does not make for a great album. Making it through this album is like 37 minutes of waiting for a plane that's only later found out to have been cancelled. Mr. Gone! Too bad!

B-/3.5 stars; a disappointing collection of song offerings from a lineup of many Jazz-Rock Fusion all-stars--a lineup that seemed to promise something wonderful, could've been so much better.

1. "Man in the Green Shirt" (6:28) I really love the interplay of drumming, percussion, bass, and electric piano in this song. The horns are nice, and the weird synthesized Nature sounds entertaining, but it's the great coordination of high speed play from the rhythmatists that impresses and engages me the most. (9.375/10)

2. "Lusitanos" (7:24) opening with quirky comi-funk before synth, keys, and horns present a WR-type of melodic/chordal statement. Between regular repetitions of this chorded theme Wayne and Joe take turns adding their respective solos but the sonic field is so layered that it's almost full: practically burying any soloist's attempts. But then the band thins it out, keeping only the bare bones, so that Wayne and Joe can trade solos on soprano sax and piano, respectively--Joe even going so far as to solo twice: as if duelling with himself! Then Wayne takes a turn on his tenor sax: first within the full band weave, then with the open field laid out for him. No matter who's soloing, Joe is always adding quirky little sound injections from his circus collection of synth and hand tools. Alphonso Johnson's bass is creatively effected but it seems to handcuff him into playing some rather simple lines and a lot of single tone repetitions. (13.125/15)

3. "Between the Thighs" (9:33) the Weather Report circus show continues as Joe seems pretty set/obsessed with incorporating as many unusual quirky sounds and instruments into his songs as possible. So far in three songs, almost 24 minutes of music, there has really never a minute passed without some randomly fresh sound being injected haphazardly into the mix. It's almost like he's going for a citation in the Guinness Book of World Records for the most instruments played (or included) in a single song (or album). (Being a big fan of Andreas' Vollenweider's "busiest multi- instrumentalist I've ever encountered," Pedro Haldemann, as well as Pat Metheny's legion of upper-stage multi- instrumentalists, Mr. Zawinul may find that he has a little competition.) So many times on this album I'm hearing riffs and samples that predict the cumulative breakout that 1977's "Birdland" will be for them. The best funk and groove in this song is, for me, in the song's final minute. (17.75/20)

4. "Badia" (5:20) reaching into the orient for inspiration. (It's okay: the band had now been there--on their tours-- several times.) Odd percussion, reeds, sqealy synth, pregnant bass couplets, cymbal play, and treated horn and mzuthra make for an interesting and very spacious weave. Melodica and oud are also prominent. How confusing it must have been for dynamic creatives like Alphonso Johnson and Leon Ndugu Chancler to have been so shackled like this. (8.75/10)

5. "Freezing Fire" (7:29) funk that finally taps the tremendous skill and potentialities of the relatively untested and untried bass funk master. A song that grooves and flows, feeling a little more like a Jazz-Rock Fusion tune, despite the continued barrage of incidentals injected as accents throughout the length of the song. Again, it's the drum 'n' bass unity that interests and impresses me, not the parade of creative sound injections that Joe (and Alyrio?) can muster. Just give me Alphonso and Ndugu and I'd be a happy camper! Great foundation; weird and "novelty" level entertainment. (But, Joe: I don't come to your albums for surprise and novelty: I come for the grooves and weaves!) (13.3333/15)

6. "Five Short Stories" (6:56) one of those interesting-but-ultimately-off-putting musical equations (or masturbatory exercises) that Joe and Wayne like to work through with their band. Slow and methodic, sometimes melodic; definitely cerebral and mathematical. Quite the challenge to stay engaged/interested--especially over seven minutes. (13/15)

Total Time: 43:10

The smooth, careful, and calculated side of Jazz-Rock Fusion, here presenting a lot of interesting ideas (many of which will be more fully developed on future albums). With Joe and Wayne monopolizing all of the compositional duties I think they still had not realized what they had on their hands with the recent acquisition of 24-year old bass genius Alphonso Johnson. As demonstrated on Eddie Henderson's Sunburst album that was recorded and released at about the same time as this one, the kid is nothing short of a creative genius; he has ideas, he has the chops to star--to lead-- and he has a bag of his own compositions bursting at the seams (two of which ended up on that Sunburst album). Don't get me wrong: the compositions on Tale Spinnin' are all fine, mature, presenting ground for a lot of great performances and some rather memorable songs and riffs, they're just not quite as dynamic and powerful as those on Sunburst. I think it a terrible thing that Joe and Wayne "wasted" so much talent that came their way (though many would look at it as "mentored," "groomed," or "developed"). There is some great music here, just too much entertainment-oriented circus noise.

B/four stars; an album of sophisticated, busy, multi-layered music that is often overly-gilded in what amounts to circus entertainment tricks. Too bad! as I LOVE the bones and richly constructed first layers of a lot of this music.

4. Mysterious Traveller changes face and starts well; a latent spatial sound, progressive in fact that puts the ear on alert; the piano and the long progression, that's it, we're really into it; it's latent and psychedelic on vibrant sounds, well I should have indulged in drugs in those distant times in fact to dive into it? 5. Blackthorn Rose with the association of two discordant sounds for me, the sax and the clarinet; it's beautiful like a bird taking flight but the aggression of the flight prevents me from enjoying the sounds; yes we can't like everything when certain instruments irritate to this point 6. Scarlet Woman with a beautiful intro, atmospheric-latent, I settle down; bang the wind instrument attacks me, I hadn't seen it coming; it's a shame because this very captivating crescendo can make you go to lands, outside of this orgasmic jet; the sovereign percussive pad, tiger animal in ballad 7. Jungle Book arrives, phew the last title; and not bad at all in addition; cinematic before its time, relaxing Japanese air, yes I can finally relax, children's cries in the distance, a bit of Oldfieldian flute ... before its time. This title has the progression sought; calm, composed, without stressful jolts; the rise takes time and recalls more the works of REICH, GLASS than jazzy experimentation, this perhaps explaining that, in short excellent.(2.5)

"Heavy Weather" is the seventh studio album of the group, and because it was released in '77, many superstitious types might attribute its commercial success to these numbers. Wrong! The album owes its status entirely to itself. The songs form a colorful whole that you can never get enough of. Compositionally, it all sounds well thought out, and we hear a band that elevates its old sound to radio friendliness. Don't be alarmed; Weather Report consists of phenomenal musicians who do not compromise their art.

Time and again, it's the tasteful keyboard touches of Joe Zawinul, with warm chords from the synth and infectious playing on the acoustic and electric piano, that set the mood. However, he impresses the most with his themes and solos, considering the choices he makes in them. The first two tracks are his compositions, with the opening Birdland having become a major hit. This is quite remarkable for an instrumental band. Birdland has since become a classic and has been covered many times, for example, by Manhattan Transfer, who added lyrics to it.

The following A Remark You Made is a beautiful ballad, allowing ample space for the otherworldly playing of Jaco Pastorius on the fretless bass guitar. Unfortunately, Pastorius passed away in 1987 at the age of 35 after a bouncer at an entertainment venue beat him into a coma, ultimately resulting in his death. He was unbelievably talented, and his style of playing has been an inspiration for many over the years. Another highlight in this lingering track is Zawinul's fast keyboard solo. Everything works here.

In Teen Town, Pastorius really shines. While he was only present in two tracks on the previous album "Black Market", on "Heavy Weather," he is a full-time band member. His soaring playing adds more melody to the music than before, and he is also valuable in terms of rhythm.

What is more beautiful than the combination of ethereal keyboards, fretless bass guitar, and atmospheric saxophone playing? Weather Report boasts one of the world's best saxophonists in Wayne Shorter, forming a dream lineup. Fantastic things happen on the album, although the band isn't in it on Harlequin and Rumba Mamá. The latter track is nothing more than a live-recorded percussion piece by Alex Acuña and Manolo Badrena with annoying vocals. Acuña is also the drummer on "Heavy Weather," and while he is rhythmically competent, he cannot compare to predecessor Chester Thompson. However, this is not insurmountable. Fortunately, Weather Report regains its driving sound in the conga-driven Palladíum, written by Wayne Shorter, featuring a strong saxophone tune. Weather Report's music occasionally has a cinematic quality, beautifully demonstrated in The Juggler, where the keyboard parts stimulate the imagination. And then it's time for the closing track, Havona. In this substantial composition, Jaco Pastorius underscores his class once again. He is like the Chris Squire of jazz, times two. The song also has some intensity. Weather Report manages to balance it in a way that keeps you hooked.

In essence, this last sentence sums up the entire album. "Heavy Weather" is a remarkable masterpiece. The band's ability to package so much talent into such a tasteful whole is truly commendable.

Originally posted on www.progenrock.com

The self titled debut like this live recording can be difficult, veering into free jazz, and while it's objectively very impressive, this can be hard on the ears. Especially when we get those Pharoah Sanders-like horns blasting insanely over top. Not a lot of melody here making this a jazz musician's album in many ways, simply for how complex the music is. I wonder what Miles thought of their debut as both Zawinul and Shorter had left him to form this band. They apparently asked John McLaughlin to be a part of this band but he declined.

All of these musicians were seasoned veterans in the jazz scene before forming this band. Zawinul, like Miles had this desire to pioneer new music but also aiming for public recognition and success beyond the jazz realm. Miroslav Vitous on bass is a monster. Another seasoned musician and composer who created four of the thirteen songs on this double live recording, while Zawinul composed six and Shorter two, with one being a group effort. Vitous had already played with Miles in 1967, then with Chick Corea the following year. Apparently Vitous suggested to Zawinul that they should hire a second bassist to keep time while he did his thing soloing. Not accepted. And my favourite member of the band, drummer Alphonse Mouzon puts on his usual creative effort. They brought in three horn players as guests and they are on the final three tracks of disc one only.

That reminds me that the album cover is what moved me to pick this up in the first place. That black and white photo is so cool as we see them being filmed for television. The venue in Berlin that they played at is called Haus des Rundfunks. It opened in the early 30's created by architect Hans Poelzig who was world- renowned for making these acoustic friendly venues. This was the largest radio hall in the world at the time of it's opening, holding many concerts for classical and chamber music orchestras over the decades before WEATHER REPORT came to town.

Two hours of difficult music, and I just seem to have trouble with the live releases of this band. This is the best live recording I have heard from them so far, so there's that.

I don't seem to "get" this band in a live setting. Now the second disc here is the toughest listen for me as I'm not into their later period with Pastorius at all, or the music beyond that. But the first disc does have it's moments, but clearly this is not a 4 star recording for me given my lack of love of most of their music from "Heavy Weather" on.

The opener and closer from disc one are easily my two favourite tracks. Surprisingly both are from "Tale Spinnin'" not exactly a favourite of mine but "Freezing Fire" and "Man In The Green Shirt" stand out above the rest. If your a fanboy of this band you'll probably love this recording, if your just into specific periods of this band you may want to sample this first before buying.

A1 "Milky Way" (2:30) an atmospheric mood-setter by Joe and Wayne. (4.375/5)

A2 "Umbrellas" (3:24) an almost-funky (Miroslav does not quite have the comprehension for that which makes funk bass play yet) composition from the three principle songwriters is saved by a sharp turn in the final 45-seconds. Drummer Alphonse Mouzon and percussionist Airto Moreira are, surprisingly, not much better at bringing the funk. (8.66667/10)

A3 "Seventh Arrow" (5:20) an interesting song that seems to succeed despite not really hitting the funk on all cylinders nor presenting any melodies worthy of "earworm" status. I like Joe's use of experimental sounds from his electronic keyboard (a proclivity that he will continue to feed for the rest of his life). (8.75/10) A4 "Orange Lady" (8:40) soft and spacious (and drumless) sax and Fender Rhodes interplay for the first 3:30. Then spacey electric bass and playful percussives are allowed to join in. Interesting. Alphonse's wordless vocalese can be heard far in the studio background starting at the end of the sixth minute. I don't know if this was composer Joe Zawinul's intention, but the song has a simple, naïve lullaby-like feel. (17.25/20)

B1 "Morning Lake" (4:23) another spacious impressionistic lullaby--this time coming from the mind of Miroslav Vitous. Joe's creatively playful electric piano play is especially noteworthy. (8.75/10)

B2 "Waterfall" (6:18) a composition credited to Joe Zawinul, this one presents a whole-band weave that is the most satisfying on the album for its solid form and generous melody-making. (8.875/10)

B3 "Tears" (3:22) A Wayne Shorter tune, this one actually kicks in and moves--for several teasingly brief passages, dropping back to complete stops every 30-seconds or so each time it does. Alphonse Mouzon's very pleasant voice (again wordless vocalese) works very well here. Nice tune! (9.125/10)

B4 "Eurydice" (5:43) the only things that set this Wayne Shorter composition apart from more conventional jazz songs is its prominent placement of both Airto Moreira's playful percussion work and Joe's equally-prominent placement of his electric piano track despite its mostly-support role. Miroslav's walking basslines are constant and perhaps more critical to driving the song forward than Mouzon's drum play. (8.75/10)

Total Time: 39:55

One of the things that really set Weather Report on its own is present here, from the very start: that is, the lack of guitars. Obviously, Joe and Wayne really wanted to be considered more jazz-oriented (which seems a bit ironic with so many atmospheric/impressionistic songs to their credit) than rock plus, I'm sure, they wanted the sound experimentations of their own instruments to garner all of the attention. Too bad that the electric piano Joe used predominantly at this time sounds so much like that of children's television host Fred Rogers. And too bad that both Kenny G and Najee chose to use Wayne's soprano sax as their main tools.

B/four stars; a nice exposition of fresh ideas from this group of idealistic breakaway artists--two of whom had found a partner for fruitful collaboration that would last for quite some time.

1. "Boogie Woogie Waltz" (13:03) R&B infusing Afto-Caribbean rhythm. I like the loose, airy feel of this: a "Papa Was a Rollin' Stone"-like song that feels as if the musicians are adding their contributions in small doses, not constantly or into an already-established weave (other than the percussion play). Also, I see/feel this as a response to Deodato's "Also Sprach Zarathustra." Amazing how consistent is the restraint shown by the four core members: bassist Miroslav Vitous, keyboardist Joe Zawinul, soprano sax player Wayne Shorter, as well as Andrew White's electric bass guitar. Might be a stretch too long, but . . . (23/25)

2. "Manolete" (5:55) a very pleasant Wayne-Shorter soprano sax-led song that shows off some wonderful experimental wah-volume-controlled electric piano play by Joe Zawinul along with some great double bass and percussion play from supplemental percussionists Herschel Dwellingham on drums and Steve "Muruga" Booker on timpani. (9.25/10)

3. "Adios" (2:59) wind-chime-like hand percussives and serene keyboard washes provide the backdrop for Joe and Wayne to issue some very relaxing waves of their own. Nice tune. (9/10)

4. "125th Street Congress" (12:13) based on a free-form funk bass "line" that, for me, seems to preview all of the rap and hip for the next 15 years. Another weave from the percussion section (and two drummers) is surprisingly open and spacious, creating the perfect groove for Miroslav and Wayne to create their magic while at the same time allowing for lots of room for meditation--at least until the fifth minute when Joe chimes in with some rather abrasive and aggressive keyboard "noise." This soon disappears, leaving the groovy percussive groove for Miroslav and Wayne to feed off. Joe's next reentries are a little less alarming and usually a little more reflective of the work that Wayne is doing though for a time becoming part of (or bouncing off of) the "percussion" weave. A very engaging and eminently entertaining song. (22.5/25)

5. "Will" (6:20) a testural weave of percussives, both hand and cymbal play, coupled with Joe Zawinul's steady chord arpeggi of wah-effected electric piano provide the steady foundation for Miroslav and Wayne to play with the presentation of their own inputs: one short bursts of creative bass chords, the other long-held sedating breaths of soprano saxophone. Very hypnotic. (9/10)

6. "Non-stop Home" (3:52) another amorphous exploration of texture built with experimental sounds over the tight drumming of Eric Gravatt. After 80 seconds, Andrew White's deep electric bass, a second drummer, and an uncredited organ accompany the main melody as delivered through Wayne's sonorous (background) soprano sax notes and Joe's electric piano. Interesting. I like it. It's like a sort of étude. (9.25/10)

Total time 44:22

As I gert to know the world and music of Joe Zawinul and Wayne Shorter I'm coming to believe that their vision is to explore textures more than form--to see how many permutations and combinations of textures they can come up with that will calm and/or soothe the audience/listener into contentment.

A-/five stars; a minor masterpiece of jazz-rock fusion--one that explores the gentler, more hypnotic groovin' side of said fusion.