Dear All About Jazz Readers,

If you're familiar with All About Jazz, you know that we've dedicated over two decades to supporting jazz as an art form, and more importantly, the creative musicians who make it. Our enduring commitment has made All About Jazz one of the most culturally important websites of its kind in the world reaching hundreds of thousands of readers every month. However, to expand our offerings and develop new means to foster jazz discovery we need your help.

You can become a sustaining member for a modest $20 and in return, we'll immediately hide those pesky Google ads PLUS deliver exclusive content and provide access to future articles for a full year! This combination will not only improve your AAJ experience, it will allow us to continue to rigorously build on the great work we first started in 1995. Read on to view our project ideas...


Weather Report: Live in Germany 1971

John Kelman By

Sign in to view read count
Weather Report
Live in Germany 1971
MVD/Gonzo Distribution

While technology has made audio and video recording a much easier thing in the 21st century, there's still the problem of where to broadcast it. Sure, there's the internet, and YouTube, for example, has become a treasure trove of archival live footage from bands that might otherwise have been forgotten. But it's chaos, with no real order or theme to the footage—just an overwhelming amount that, for the interested fan, can sometimes take hours to weed through to get to the real gold. Yet while European television and radio continues, to this day, to trump North America in its attention to live programming beyond reality shows and American Idol and its spin-offs, the 1960s and 1970s represented a tie when organized live radio and television was at its peak. As more and more archival footage is uncovered, it's also clear that what was available commercially—even from popular groups with major label deals—was only part of the story.

Take Weather Report, the fusion super group begun by a couple of Miles Davis alumni. Keyboardist Joe Zawinul may not have been an official or touring member of the late trumpeter's bands at the dawn of the 1970s, but his contribution to seminal Davis releases cannot be understated; it was the ex-Cannonball Adderley pianist who, after all, contributed the title track to one of Davis' most important albums ever, In a Silent Way (Columbia, 1969). Saxophonist Wayne Shorter, on the other hand, teamed up with Davis in 1963, and was part of the trumpeter's second (and, perhaps, greatest) longstanding quintet, alongside keyboardist Herbie Hancock, bassist Ron Carter and drummer Tony Williams. Together, along with young upstart Czech bassist Miroslav Vitous, Zawinul and Shorter formed Weather Report in 1971. It was a group which may have emerged from under the shadow of Davis' In a Silent Way-era innovations, but which ultimately garnered more consistent critical acclaim during its time and, at times, far greater commercial success, especially when it moved towards more accessible music, with Vitous ultimately replaced by one of the most important electric bassists of the 20th century, Jaco Pastorius.

From left: Alphonse Mouzon, Dom Um Romao, Joe Zawinul Wayne Shorter, Miroslav Vitous

When Weather Report released its eponymous Columbia debut in 1971, it was a far freer beast than the more commercially successful one that would release albums like Heavy Weather (Columbia, 1977) and hit songs like Zawinul's "Birdland" a half decade later. Weather Report (Columbia, 1971) may have been a more abstract and, at times, ethereal listen, but what the recently unearthed television performance of Live in Germany 1971 proves is that Zawinul, Shorter and Vitous—accompanied in a transitional line-up by soon-to-depart drummer Alphonse Mouzon and new recruit, percussionist Dom Um Romao—were a lot more concerned with pulse than their studio album let on. It would be two more albums, in fact, before Weather Report announced its more groove-laden intentions with Sweetnighter (Columbia, 1973), but this DVD demonstrates that the group was, at least some of the time, already knee-deep in the funk...far more, in fact, than was let on by the originally Japan-only Live In Tokyo (Sony Japan, 1972), from which edited versions of longer medleys were culled for the second side of the group's worldwide sophomore release, I Sing the Body Electric (Columbia, 1972)—let on.



comments powered by Disqus

Shop for Music

Start your music shopping from All About Jazz and you'll support us in the process. Learn how.

Related Articles

Film Reviews
Buddy Bolden: Out of History's Shadows
By Victor L. Schermer
May 3, 2019
Film Reviews
Green Book: A Serious Comedy and Jazz Allegory
By Victor L. Schermer
December 28, 2018
Film Reviews
Home Invasion: In Concert at the Royal Albert Hall (2CD/Blu Ray)
By John Kelman
December 22, 2018
Film Reviews
Green Book Directed By Peter Farrelly
By Mike Perciaccante
December 3, 2018
Film Reviews
Rolling Stones: Voodoo Lounge Uncut
By Doug Collette
November 17, 2018
Film Reviews
Rolling Stone: Stories From The Edge - 50 Years of Defining Culture
By Doug Collette
October 7, 2018
Film Reviews
The US Festival 1982: The US Generation
By Doug Collette
September 2, 2018