Bassist and composer
Miroslav Vitous
was one of the founding members of
Weather Report
. He left after 1973's
Sweetnighter
, disgruntled over a change in direction toward funk. However, as evidenced by 2009's
Remembering Weather Report
, an homage based on
WR
themes and ideas, his respect for the music never diminished. On
The Music of Weather Report
,
Vitous
and his sextet offer exploratory variations of compositions he recorded them during his tenure with
, and key tunes created after his departure. Drummer
Gerald Cleaver
and saxophonist
Gary Campbell
return from the 2009 session, but
recruits seconds at each instrument -- saxophonist
Roberto Bonisolo
and drummer
Nasheet Waits
-- and adds the massive keyboard talent of
Aydin Esen
.
' signature upright bass is often played arco with a wah-wah pedal, and he adds additional keyboards.
There are two "Scarlet Woman Variations" with slightly different titles.
uses
Joe Zawinul
's melody, but extrapolates the harmonics, opening them wide to expose a bluesy balladry underneath, articulated by a haunting synth, and saxes in sparse call and response. His woody plectrum upright and arco playing flit amid ghostly rhythm traces and ambient electronics. "Birdland Variations" uses its memorable melodic theme, breaks it down to its essences, and rebuilds it radically without losing the hook. Its notion of time is stretched, with one drummer playing 3/4 while the other swings in 4/4, leaving the saxes free to decide whom to follow. His wah-wah expressionism bridges all four players and he delves into funk as
Esen
's keys illuminate the interior and color the margins.
uses familiar
themes in his own three "Multi Dimension Blues" interludes that bind these tunes together. The reading of
Wayne Shorter
's "Pinocchio" (first recorded on
Miles Davis
'
Nefertiti
in 1967, then in 1978 on
's
Mr. Gone
), juxtaposes
' effects-laden arco playing along with a soprano and tenor sax engagement that relays the primary melody in elemental statements.
reconstructs the harmony using fragmentary notions in striking progressions.
' tenure with
is reflected in "Seventh Arrow" (captured in studio on their 1971 self-titled debut and in concert on 1972's
Live in Tokyo
). This version is closer to the latter, offering a forceful exchange between drummers and head-to-head conversation from the saxophonists.
and
crack open color and textural palettes from the inside, illuminating both poles. "Morning Lake" is darker than its 1971 original, as ambient synth swirls, shimmering Rhodes, and skittering alternate drum patterns create its elusive spine. Intermittent interplay between horns offers modal melodic fragments. The bassist's wah-wah pedal is the pulse. The piece floats, simmers, and eventually explodes with the sample of a thunderstorm to close. While
's rock and funk fans may require a couple of listens to find the grooves, they are certainly there. Jazz fans should readily embrace
as top-flight 21st century fusion, rife with canny improvisation by an excellent group with an inspired leader. ~ Thom Jurek