Those were the days

Spent some time with early, Miroslav-era WR, and it's not really my thing. It's never been my thing, the "everyone soloing together" style of SILENT WAY and MOUNTAIN IN THE CLOUDS etc etc.

Best tracks for my own taste are on I SING THE BODY ELECTRIC, the "symphonic" Zawinul journeys of "Unknown Soldier" and, especially, "Second Sunday in August," which has an Ivesian scope

Then, the WR I know best is HEAVY WEATHER, which is damn great. Perhaps the ultimate gateway jazz album. Of course, part of the disc's charisma is young god Jaco Pastorius, who would eventually almost take over band's aesthetic.

Reducing to stereotype, the music after HEAVY WEATHER was more "fusionsy" than pre-HEAVY W.
What I want to re-listen to are the four "funky" albums essentially between Miroslav Vitous and Jaco Pastorius: SWEETNIGHTER, MYSTERIOUS TRAVELLER, TALE SPINNIN', and BLACK MARKET.

SWEETNIGHTER begins very strong with “Boogie Woogie Waltz” which must be one of the grooviest 3/4 pieces recorded up until this point. Of course, Zawinul was Viennese

I can’t always tell the bassists apart but I think we hear more of Andrew White, who is better known to jazz hands as a tenor saxophonist and the ultimate transcriber of John Coltrane

It’s long but really works, great interlude and the final “trance” melody is unforgettable

Shorter’s “Manolete” is glorious European-styled composition, with the parts de-synchronized just the right amount over throbbing drums. If all of WR sounded like this they would be my favorite band

Zawinul’s “Adios” is a slight mood piece with Muruga’s “roller toy” providing texture

I’m less thrilled by “125th St. Congress” than the similar “BW Waltz.” The 4/4 groove is less distinctive and I could really use some proper soloing. For this I would prefer the headhunters, where Herbie or Maupin et al would *blow* like the proper funky heroes they are

“Will” is Vitous’s last compositional credit with the band. It’s nice but not a lot happens. The blend of Vitous’s bass and Shorter’s soprano on a slow melody does help define an era forevermore

The chorale melody of Shorter’s “Non-stop Home” seems to be placed freely against the up-and-down rock drums. Maybe the drums are too “straight” for the effect to work perfectly in this case

MYSTERIOUS TRAVELER Opens with “Nubian Sundance” And some rather egotistical crowd cheers

Of the long jams I prefer “Sundance” to “Congress” but still think “boogie-woogie waltz” was the best. However some of the compositional details of “Sundance” are intriguing

Oh “American Tango” is co-composed by Miroslav as well. Enjoyable melody sounds like a symphony orchestra with Zawinul’s synthesizer. Wish Wayne played a longer solo, it’s beautiful when he does play

The major new voice was bassist Alfonso Johnson, a very funky player. “Cucumber Slumber” is credited to Z and Johnson. Great feel in the rhythm section but I get a little disinterested after a while

However, Shorter’s “Mysterious Traveller” is a major composition. I’m sure people have covered this over the years, but I’m surprised it’s not played more often. Is it in A or F sharp? Only Wayne knows....

Love Zawinul’s weird grand piano stabs later on in the jam

Shorter’s “Blackthorn Rose” is simply the two leaders in convo. They should’ve done a whole album like this. The last time I listened to the Hancock/shorter duo album 1+1 I found it to be unfocused and boring. Zawinul accompanies Wayne here and it’s beautiful

“Scarlet Woman” is evocative and powerful, one of the best WR tracks

“Jungle Book” is essentially Zawinul as a one-man band. Compare with Keith Jarrett’s “universal folk music” of same era. Zawinul has more Hermeto and Keith has more Joni Mitchell but the underpinning is the same