JOE ZAWINUL & THE ZAWINUL SYNDICATE — Vienna Nights | Live At Joe Zawinul's Birdland (2005) 2xCD | WV (image+.cue), lossless

Considering the stunning array of jazz fusion talent that legendary composer and keyboardist Joe Zawinul has employed as leader of the pioneering Weather Report and his ever-evolving Zawinul Syndicate, our expectations should be raised when he says of his current multi-national lineup, "It's the best band I've ever had." Recorded at his Birdland Club in his hometown of Vienna over two engagements in 2003, this explosive, multi-faceted disc is a wonderful showcase for the largely African-leaning sounds of the current Syndicate. The most fascinating aspect of Zawinul over his decades in the spotlight has been his desire to play it cool in the shadows as he showcases brilliant young talent; he does this immediately here, as African vocal pop star Salif Keita shines on the rumbling, heavy grooving "Y'elena" (which Zawinul originally produced in 1991) and which features an irrepressible groove by drummer Nathaniel Townsley and Linley Marthe, a native of Mauritius who is the latest of the leader's post-Jaco Pastorius bass discoveries. The African express continues on the bubbly "Two Lines," which blends the exotic drumming of Algerian native Karim Ziad and frenetic soloing by the familiar electric guitar genius Scott Henderson. The joyful moodswinging spirit of the rest of the set is summed up in wacky, locomotive jams like "Rooftops of Vienna" contrasted by more mystical, rhythmically varied excursions like "Do You Want Some Tea, Grandpa?" and "Café Andalusia." Zawinul eventually takes more of a spotlight on the Argentine-flavored "Borges Buenos Aires," and pays homage to his jazz roots on a dreamy, impressionistic Ellington classic, "Come Sunday." Zawinul fans will eat this dual set up instantly, but lovers of fusion and world music will come around quickly thereafter. Jonathan Widran
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JOE ZAWINUL & THE ZAWINUL SYNDICATE — 75th (2008) 2xCD | FLAC (image+.cue), lossless

Joe Zawinul's final edition of his Zawinul Syndicate band was a terrific ensemble that was perfect for any jazz festival. The multi-ethnic content, driving funky pulse, and Zawinul's colorful keyboard foundation kept listeners on their toes and rapt with attention. Using percussion and guitar with no other solo instruments, Zawinul was fully able to carry the proceedings with support from very talented performers who always complemented the music, but never got in the way, or dared to. This live double-CD set perfectly exemplifies Zawinul's personalized direction before he suddenly passed away, and exudes all of the energy the group produced in concert. For Weather Report fans, there are many direct or implied signposts that remind us why that band was so unique under the Austrian-born keyboardist's direction. But at the core is Zawinul's expanded sound, based in technological advances, conjuring up any number of folk based motifs from around the globe. "Orient Express" and "Madagascar" start the voyage in good form, reminiscent of Weather Report's "Black Market" phase, as electric bass guitarist Linley Marthe channels Jaco Pastorius as Mediterranean music is contemporized with an American backbeat. Late period Miles Davis simplicity is employed during "Scarlet Woman," perhaps a cousin of "Back Seat Betty" in its slow and mysterious but eventually composed strut. The mbira or thumb piano is played by Paco Serv alongside Zawinul's vocoder and synths on the sparse "Zanza II," and "Cafe Andalusia" concludes the first CD in a straight rock-funk beat with wordless vocals from the impressive Sabine Kabongo driving an unstoppable forward motion and kinetic energy. Seems like the band can't wait to dive into "Fast City/Two Lines," a speedy bullet train combo tune, fueled by the stinging Santana-like guitar of Alegre Correa, inspiring fine solos from Marthe and drummer Serv. -"Clario" is all Correa's, a spotlight on Brazilian Jobim-styled sounds, induced by his toned down guitar, ramped up scats, and yells. The Weather Report touch returns in "Badia/Boogie Woogie Waltz," a seamless transition between free time and 3/4 where Zawinul's understated synth and Correa's berimbau identify the universal global village as welcome to all. Wayne Shorter joins the group for a thinly veiled version of the Miles Davis groundbreaker "In a Silent Way," reuniting the old mates in a body of improvisation featuring small, clipped notes and phrases on soprano sax, returning after a respite to briefly state the riff on which a thousand stately, elegant and wistful counter harmonies were built upon. When the Zawinul Syndicate performed, they left nothing on the stage, extracting every ounce of their souls for all to hear. The leader demanded this commitment, and when you listen closely to his layers of pure sound and merging cultures altogether wrapped up, one wishes he could have had a prominent position in the United Nations. Our world was a better place with Joe Zawinul in it. Michael G. Nastos   Tracklist & Credits :