Erskine's drums provide the strongest-yet recorded structure to the rather ethereal "Scarlet Woman", and Joe Zawinul's electric piano sounds outstanding until he goes synth with Shorter's soprano sax Jaco Pastorious's bass work there is also outstanding.
Gone material, actually sounds better on here than it did in the studio, in part because we get to hear Shorter's soprano in place of the synths that dominated the studio version and because Erskine lays down a terrific groove.
And the disc 1 ender, "Mr. Gone", blisters along as Pastorious can't stay still playing the song's famous groove. Shorter gets much more sax here to than on the studio version, and Zawinul's keyboard solo is quintessentially him. Disc 2's openers - "In a Silent Way" and "Waterfall", sound as good as they ever did and add an experimental feel to what is a fairly strongly charted setlist.
And Badia So - there's a lot to like here. The video is well worth checking out too, and the solos become much more interesting when presented visually. Four stars. Check it out. The title track starts off as a fun trot courtesy of Chester Thompson's laid-back drumming despite the credits on the remaster, he plays the beginning portion of Album) song; Narada Michael Walden takes over in the frenetic ending after a hard cymbal edit ; Zawinal plays a synth set up in reverse just for the challenge of it and you'd never know the difference.
Just a great song that I never tire of hearing. Zawinal's tribute to his former bandleader, Julian "Cannonball" Adderly, is a fantastic tune. Gentle synths and warbling bass courtesy of the newly minted Jaco Pastorious occupy much of the song before an almost elegiastic tenor sax solo from Shorter brings the song to an amazing crescendo.
All highly enjoyable and meaningful. A terrific first side by any standard. Side two begins with "Elegant People". This is one of my faves by this group and by Shorter himself - probably one of my top three WR tracks ever.
I particularly love the piano near the beginning before the main theme of the song breaks in. Terrific drums and percussion againand Alphonso Johnson's bass playing is melodic and energetic. Shorter's terrific solo in the middle is the icing on a very delicious cake.
Can you tell I love this song? After such a great song great four songs, really"Three Clowns" is a bit of a letdown. It's definitely an attempt at being truly LP on the strange-sounding lyricon, but having it as a central instrument with very sparse surroundings makes it just not work very well. It doesn't even work as a tone poem like "The Elders" or "Badia".
Given that jazz is about pushing boundaries, though, I can forgive this as a failed attempt to do something original and appreciate the spirit in which it is offered. Pastorious made a nice start in the group here as a composer his debut album is terrific as well and his playing and writing would become essential to the WR sound for the next several albums.
A bit overlong, perhaps, but still enjoyable, and a nice valedictory for Johnson in the band. Is it perfect? There are a few not-so-classic moments in the album's latter half. But the first four songs alone are all five-star efforts, and the more experimental or poppish material later is still better than many groups could ever hope to achieve on their best day.
The playing is awesome, and the composing is at worst good and at best outstanding. I break this out often after many listens, and will continue to do so. Four enthusiastic stars. Review by apps79 Special Collaborator Honorary Collaborator. There is a definite turn in Weather Report's sound with this album, gone are the long, directionless improvisations and the loose soloing of the previous album and the new side of the band displayed a more structured Jazz Fusion sound with lots of percussion and funky beats.
From the dark and abstract echoes of ''I sing the body electric'' the band had switched into a very pleasant and joyful sound, which still contained some ambiental, ethnic soundscapes, but overall was propelled by delicate rhythms and tight instrumental performances, eventually producing something equal to the line-up's talent and one of the very good examples of funky-styled Fusion.
Relying somewhere between atmospheric Jazz with Lounge aesthetics and groovy Electric Fusion with funky extensions, ''Sweetnighter'' recalculates the value of Weather Report within the Jazz Rock and Fusion scenes and finds the band on the rise. Strongly recommended to all Jazz Fusion fanatics The music on the album is unmistakably the sound of Weather Report. By now not as adventurous or cutting edge as was the case in the seventies, but still an interesting enough listen.
On this release it's especially Jaco Pastorius bass playing that I'm impressed by though. Listen to a track like "Current Affairs" for proof of that. It's pleasant enough background music, but it's not the kind of track I'd put on to listen to intriguing adventurous details. Not really bad but not spectacular either. Review by Guillermo Prog Reviewer.
I really wanted to listen to this album because I read that drummer Chester Thompson participated in it. I consider him as one of the best drummers I have listened to, so I listened to this album, Album).
First, as I do many times before listening to an album or to a band, I read about their history and the circunstances on which this album was recorded. I also found in the web an interview done with Thompson some years ago on which he explains how he was involved with this band. Both played in this band for more or less a year before Johnson left the band durig the recording of this album in late After writing about the "usual politics" in bands, I can say that this album is very good.
The compositions are very good and the tracks on which Thompson and Johnson recorded together are the best in this album, particularly the last track in this album called "Heradnu", composed by LP. At least it seems that the main composers and leaders gave some "musical freedom" to Thompson and Johnson, who as a team worked very well. Pastorius and Walden also are very good musicians, of course. So, after listening to this album my musical opinion about this band changed because the style of the album is more in the Jazz-Rock Fusion style in comparison to "Mr.
Gone" which was more in the Funky and Disco styles. So, this album really deserves the respect it has as a very good Jazz-Rock Fusion album despite the "usual politics" which are really a shame but they happen very often in the music business. A final "correction": Thompson said in that interview that the first track in this album is really an edit of two versions of the same musical piece, but one recorded with Walden and Pastorius, and the LP recorded with him and Johnson.
I was a bit reluctant to invest into this DVD. My reason is simple. I saw the band perform around in Cologne, Germany.
That show for me represented a big disappointment, a waste of effort in getting there and back homemoney and a good night's sleep. Little I anticipated then that WR were about to release a string of weak and rather forgettable material in the early 80's that eventually led to the ban to - disband. But this is and Montreux and the prestige of the venue hopefully compels. Well, even if it doesn't please I am not about to endure the associated inconveniences of attending a live show.
I am happy to say that my concerns were premature. Without much ado, it is indeed a fine performance of the band at it's best. Even the often sidelined co-leader, Wayne Shorter gets more room to impress when compared with his short soundscapes on the band's studio material. Forboth the audio and the video qualities are surprisingly good. The series has sold more than million albums worldwide, topping million in the U. Sixty-eight previous releases in NOW 's numeric U.
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