JOE ZAWINUL — The Rise & Fall Of The Third Stream + Money In The Pocket (1994) RM | Serie Atlantic Jazz Gallery | FLAC (tracks+.cue), lossless

Two of keyboardist Joe Zawinul's finest recordings as a leader were reissued on this single CD. The Money in the Pocket album from 1965 features Zawinul on acoustic piano in a sextet with trumpeter Blue Mitchell, tenor saxophonist Joe Henderson, and baritone saxophonist Pepper Adams playing superior hard bop, highlighted by the funky title cut, "If," and "My One and Only Love." The other session utilizes a string quartet, trumpeter Jimmy Owens, and the tenor and arrangements of William Fischer. Its diverse music hints at fusion (Zawinul doubles on electric piano) and has many colorful moments. This gem of a CD is highly recommended. Scott Yanow   Tracklist & Credits :

JOE ZAWINUL — The ESC Years (2011) FLAC (tracks+.cue), lossless

Tracklist & Credits :

JOE ZAWINUL — Zawinul (1971-1994) FLAC (tracks+.cue), lossless

Conceptually, sonically, this is really the first Weather Report album in all but name, confirming that Joe Zawinul was the primary creative engine behind the group from the beginning. It is also the link between WR and Miles Davis' keyboard-laden experiments on In a Silent Way; indeed, the tune "In a Silent Way" is redone in the more complex form in which Zawinul envisioned it, and Miles even contributes a brief, generous tribute to Zawinul on the liner. Two keyboardists -- Zawinul and the formidable Herbie Hancock -- form the underpinning of this stately, probing album, garnishing their work with the galactic sound effects of the Echoplex and ring modulator. Earl Turbinton provides the Wayne Shorter-like beams of light on the soprano sax, spelled by Wayne himself on "Double Image." The third founder of WR, Miroslav Vitous, checks in on bass, and hard-bopping trumpeter Woody Shaw proves to be perfectly adept at the jazz-rock game. Two short-lived standards of the jazz-rock era, the aforementioned "Double Image" and "Doctor Honoris Causa," are introduced here, yet it is mood pieces like "His Last Journey" and "Arrival in New York" that with the help of tape-speed manipulation, establish the lasting, murky, reflective ambience of this CD. Richard S. Ginell      Tracklist & Credits :

JOE ZAWINUL — Dialects (1986) FLAC (tracks+.cue), lossless

If Joe Zawinul was out to prove that he didn't need Weather Report anymore, he succeeded spectacularly in this virtual one-man show. Zawinul recorded many of the vocals (assisted now and then by Bobby McFerrin and a vocal trio) and all of the synthesizer and rhythm machine tracks himself in his Pasadena home studio, yet the results are anything but mechanical. Zawinul in fact achieves a rare thing: He manages to get his stacks of electronics to swing like mad in these pan-global grooves that pick up where WR was about to leave off. "Waiting for the Rain" generates a ribbon of tension and anticipation, while "Zeebop" is a noisy rush of pure adrenaline. And "Carnivalito" is a total gas, a percolating, outrageously joyous evocation of a carnival that would put the world's best percussion players out of business if Zawinul's swinging talent could be bottled and sold. This is an important, overlooked album because it proves that electronic instruments can reach your emotions and shake your body when played by someone who has bothered to learn how to master them. Richard S. Ginell   Tracklist & Credits :

FRIEDRICH GULDA | JOE ZAWINUL — Music for Two Pianos (1988) FLAC (tracks+.cue), lossless

Friedrich Gulda was frequently called "eccentric," mainly because he was one of those rare musicians who could see the connections between classical music and jazz, and because he could perform equally well in both arenas. Joe Zawinul is another pianist who "gets" it, and he and Gulda frequently collaborated. This recording is from two concerts they did together in May 1988 at one of Gulda's festivals, and it tries to straddle the line between classical and jazz. It opens with Brahms' Variations on a Theme of Haydn. Gulda and Zawinul begin by improvising an introduction before the main theme, quietly, respectfully, settling into a kind of bell tolling that fits the reverence of the chorale theme. From there, they play the variations in a pretty straightforward manner, not adding much extra emotion or drama, but still with energy in the faster variations and unfussy expression in the slower ones. They are equally matched in skill, not even necessarily allowing one piano to be the stronger voice over the other as a traditional duo would in many places. From a classical music perspective Gulda and Zawinul don't make the most of Brahms' writing, but they are still musically effective. In the finale they are particularly confident in their timing and impressively keep a consistent tempo throughout until Brahms forces them to slow down just before the end. The Brahms is followed by Gulda's Variations for Two Pianos and Big Band, which is about equal parts structured and improvised music. Gulda's theme is a waltz, which he points out is the only logical form for him and Zawinul, two Viennese natives. It begins with a nocturnal, languid introduction of the theme where the dance pulse is barely evident, but as soon as the band joins in, it becomes a modern, casual, and contented waltz. The two take it from there to a speedier swinging version; a dreamy, floating version and a carefree, syncopated version before an improvised solo cadenza and triumphant ending by all. The final work is Volcano for Hire by Zawinul, a brief, more freely improvised swinging work for the two pianists.
If the audiences for the two concerts were essentially the same, then their response to the different pieces demonstrates that many people still find it hard to appreciate the similarities between classical and jazz, at least from this program. They are much more enthusiastic about Gulda's and Zawinul's works than to Brahms'. Even the audio engineers gave the latter tracks more applause time than the first. Gulda's idea to pair the Brahms' Variations with his own is a good one; it just may take time for many listeners to fully appreciate it. Patsy Morita    Tracklist & Credits :

THE ZAWINUL SYNDICATE — The Immigrants (1988) FLAC (image+.cue), lossless

Although Zawinul tried touring alone in the immediate wake of the breakup of Weather Report, he soon returned to a group format, first with Weather Update in 1986 and a couple of years later with the raffishly named Zawinul Syndicate. The multi-national Syndicate basically expands the Weather Report format into a sextet, with a rock guitar (Scott Henderson) replacing the sax, an extra percussionist on board to join WR's Alex Acuna, and more vocal support then ever -- and if a Wayne Shorter-like melody line was needed, Zawinul would play it himself on his new Korg Pepe wind synthesizer. If anything, The Immigrants burrows even further into the world-music bloodstream than WR ever did, with vocals in Spanish and wordless syllables on top of Zawinul's one-chord Third World grooves. There is also a heavier pop emphasis (again nothing new for Zawinul), including a recomposition of "Mercy Mercy Mercy" called "No Mercy for Me," now an assertive paean to self-reliance that is soulfully sung by the Perri sisters. Some of the tunes and grooves fall short of Zawinul's irresistible best, but "King Hip" swaggers at a high level and "From Venice to Vienna" -- another of Zawinul's nostalgic memoirs of Europe -- lingers hauntingly at the album's close. Richard S. Ginell   Tracklist & Credits :

THE ZAWINUL SYNDICATE — Black Water (1989) FLAC (image+.cue), lossless

With a few changes in personnel, the Zawinul Syndicate continues to be Joe Zawinul's personal vehicle for pan-global fusions of jazz, Afro-Latin rhythms, rock and whatever world music he can lay his hands on. Again Zawinul keeps a configuration of vocalists on board, including his own gritty electronically processed voice, and he even dusts off his childhood accordion for a bit of Austrian local color on "Medicine Man." The leadoff track, a group remake of "Carnivalito" recorded live in Copenhagen, is, oddly enough, inferior to Zawinul's solo version -- too cluttered. But with the South African freedom-fighting, percolating "Black Water," the Syndicate is back on track, empowered as always by Zawinul's unquenchable urge to swing right in the pocket. And far from being predictable in its format, the Syndicate takes considerable time out to do Thelonious Monk's "Monk's Mood" and "Little Rootie Tootie" in amazingly reverent, though electronic, fashion. One can, however, do without bassist Gerald Veasley's spoken admonition to Monk's critics that reeks of PC. Richard S. Ginell   Tracklist & Credits :

THE ZAWINUL SYNDICATE — Lost Tribes (1992) FLAC (tracks+.cue), lossless

 Now reduced in size to a quintet (dropping the extra percussionist), Zawinul's Syndicate delivers its most overtly political album -- or shall we say, its most anti-political album with its forget-our-differences, one-world tone poems. If Lost Tribes sounds more like a Weather Report album than its Syndicate predecessors, it may be because the CD is loaded with Zawinul's uncanny impersonations of Wayne Shorter on his Pepe synthesizer. Yet the album also cuts down on the pop and straight jazz strains of yore as it explores the sounds and grooves of world music, and Zawinul also resumes using introductory sound collages that produce effects not unlike twisting a short-wave radio dial. The record begins powerfully with the circulating, tense "Patriots" -- depicting, oddly enough, the role of black soldiers in the Persian Gulf War -- and segues into the relaxed, swinging "South Africa," a celebratory sequel to "Black Water" with vocals by Perri. Bass player Gerald Veasley contributes a track called "San Sebastian" which comes very close to pure flamenco. This CD ranks above the other Syndicate Columbias because it is emotionally deeper; Zawinul allows himself to brood and ponder as well as party. Richard S. Ginell   Tracklist & Credits :

JOE ZAWINUL — Zawinul : Stories of the Danube (1996) FLAC (tracks+.cue), lossless

Billed as Joe Zawinul's First Symphony, this large-scale classical work may seem like a radical departure to the composer/keyboardist's jazz and pop fans, but it is really a logical expression of Zawinul's indestructible European roots. Moreover, it is not as alien to his jazz work as one might suppose; at times, one can hear trademark Zawinul ostinato lines in fleshed-out, orchestrated form, and rhythms and tunes of his jazz-rock days ("Doctor Honoris Causa," "Pharoah's Dance" "Unknown Soldier") turn up like old friends crashing a black-tie ceremony. The storyline of the work is a spinoff of Smetana's "The Moldau," tracing the path of a river from its springhead through Central Europe and the deep historical currents (the Ottoman Empire, Vienna's Golden Age, World War II, etc.) that its journey suggests. Zawinul's own keyboards appear most noticeably in the brooding Third Worldish introductions to the fourth and seventh movements, and the Czech State Philharmonic Orchestra, Brno under Caspar Richter handles the long symphonic writing smoothly. At 63 minutes, this piece is a real stretch -- Zawinul is dealing with a Brucknerian timespan -- and skillful orchestrator, composer and boundless eclectic that he is, he can't quite fill the huge tapestry consistently. Yet repeated listening reveals a coherent if loose overall structure and some emotional depth; if you work at it, the rewards will come. Richard S. Ginell   Tracklist & Credits :

JOE ZAWINUL — My People (1996) FLAC (image+.cue), lossless

If one must indulge in categories, My People, featuring the Zawinul Syndicate and a United Nations coterie of guests, probably belongs on the vast world music shelf, the links to so-called jazz now so tenuous as to be nearly, but not quite, invisible. On the percolating "Slivovitz Trail," "Orient Express," "Many Churches," and the Caribbean-tinged cleverly titled "In an Island Way," the music does suggest earlier versions of the Syndicate, and Joe Zawinul's nostalgic evocations of Wayne Shorter on the Korg Pepe reach back even further. Otherwise, Zawinul is looking entirely toward ethnic cultures for musical sustenance. The musical structures are linear, the rhythms full of intricacies welded to Zawinul's love affair with the groove, the synthesizer textures usually sparer than ever. There are vocals in several languages by Zawinul's longtime colleague Salif Keita (for whom Zawinul produced a great album in 1991), Syndicate percussionist Arto Tuncboyaciyan, a throat vocal specialist from South Siberia named Bolot, Thania Sanchez, Zawinul himself, and several others. When translated, the lyrics speak of joy and unity among the cultures, and there isn't any doubt that Zawinul's bubbling music feeds the message of uplift. Hear it; you purists may be jiggling along in spite of yourselves. Richard S. Ginell   Tracklist & Credits :

JOE ZAWINUL + THE ZAWINUL SYNDICATE — World Tour (1998) 2xCD | FLAC (tracks+.cue), lossless

This version of the Zawinul Syndicate could swing harder than any Zawinul-led unit since the heyday of Weather Report, as this two-CD set -- taken from three concerts in Berlin and Trier, Germany -- triumphantly illustrates. Small wonder, for the lineup of the Syndicate looks almost like a Weather Report alumni gathering, with Zawinul, the brilliant percussionist Manolo Badrena from the 1977 Heavy Weather band, and bassist Victor Bailey, from the great '80s global-funk edition forming a quorum, with Paco Sery on drums and Gary Poulson on guitar filling out the ranks. Zawinul remains a marvel at 65, always in touch with the idea and feel of the groove, weaving spare, enigmatic electronic comments and spangled layers of synthesizers into the mix, creating a touching dialogue in "Zansa II" with Sery's kalimba. Some of the material stems from the early years of the Syndicate, and "Indiscretions" and "Two Lines" date all the way back to Weather Report. Among the greatest groovathons -- at last presented in full glorious concert length on CD -- are "Indiscretions," which gets the voodoo going in an insinuating manner, and "N'awlins," which manages to evoke the Crescent City R&B feeling in a swingingly original way. The set's two anomalies are "When There Was Royalty," a curious intermezzo consisting of Zawinul's polystylistic solo piano musings poorly recorded in his home studio on a Walkman, and "Success," a spoken poem by Erich Fried set against the stunning blend of Berlin church bells and electronics. For a souvenir of the state of Zawinul's art in the 1990s, this is the album to get. Richard S. Ginell   Tracklist & Credits :

JOE ZAWINUL — Mauthausen ... Vom Großen Sterben Hören (2000) FLAC (tracks+.cue), lossless

A little-known anomaly in the Joe Zawinul discography, Mauthausen was a multimedia event in which the Austrian-born composer/keyboardist tried to come to terms with some of the darkest hours in his country's history. It is a troubling, at times eloquent electronic tone poem that depicts life within the concentration camp near the small Austrian town of Mauthausen, where approximately 120,000 people lost their lives between the years 1938 and 1945. Anticipating limited appeal for such a project, ESC released the album only in Austria and a handful of other Central European countries. Originally presented in the camp itself in 1998 with holograms, lighting effects, and 50 speakers placed around the audience, Mauthausen is mostly a one-man show on CD; Zawinul commanding his symphonic arsenal of keyboards, with occasional narrations in German by actor Frank Hoffmann. As have a number of recent Zawinul albums, this one opens with a deep, moody pedal point in the bass, but the mood stays dark and threatening most of the way through -- a stark contrast to the bubbly, life-affirming rhythms that Zawinul had been pumping out on his jazz/world music recordings of this time. Once in a great while, a semblance of the Zawinul groove breaks out, but always in a subdued way. Mixed in are collages of storm-troopers, trains carrying the prisoners to the camp, prison doors slamming, commands of the guards, and other sound effects from wartime. As in Zawinul's symphonic poem Stories of the Danube, echoes from his jazz past turn up; this time, we hear spliced-in recordings of "Walking on a Nile" from Zawinul's Dialects. and "The Orphan" from Weather Report's 8:30 album. The latter insert is particularly appropriate, with Wayne Shorter's tenor sax and a children's chorus shouting "No More! No More!" contributing beacons of hope before Zawinul's final hymn of benediction. Obviously, for non-German speakers, some of the meaning of the piece will be lost; the booklet contains no English translations other than a brief history of the camp and the titles of the selections. But the inhumane, brooding atmosphere of the camp comes through powerfully enough in the music via a stereo CD. Although Mauthausen is not something one is likely to pull off the shelf too often, it is essential for those who want to understand all of Zawinul's long musical odyssey, and it deserves a wider release.  Richard S. Ginell   Tracklist & Credits :

JOE ZAWINUL — Faces & Places (2002) FLAC (tracks+.cue), lossless

Keyboardist/composer Joe Zawinul's accomplishments with Miles Davis, Cannonball Adderley, and Weather Report, amid his revolutionary approach to synths, cannot be undermined. In some instances, artists such as Zawinul set paradigms of excellence and inventiveness that might seem difficult to repeat. Naturally, the listener shouldn't expect any performer to continually rest on his or her laurels, or abide by a proven or perhaps unwavering formula. To that end, Zawinul's 2002 solo effort seems to be a summarization of his recent jazz/fusion/world music stylizations, witnessed by his Zawinul Syndicate band. As this solo effort offers more of the same. Here, the keyboardist enlists a multinational cast of percussionists (including ex-Weather Report personnel), vocalists, and soloists for an album that more or less mirrors his recent output. Regrettably, few if any of these works impart a permanent impression. Many of these arrangements feature Zawinul's wily synth passages and otherworldly Vocoder (digital EFX) based vocalese. He pays homage to his former employer, Julian "Cannonball" Adderley, on the piece titled "The Spirit of Julian "C" Adderley." The basis for this production entails an array of rather predictable worldbeat-style discourses consisting of shifting percussion vamps, North African modalities, and quaint Austrian folk melodies. There are some touching moments to complement a few rousing opuses. Overall, there are some compelling musical events to coincide with what appears to be a hodgepodge of contrasting notions stitched together. Glenn Astarita   Tracklist & Credits :

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
Tracklist & Credits :

JOE ZAWINUL — Brown Street (2007) 2xCD | Serie WDR The Cologne Broadcasts | FLAC (tracks+.cue), lossless

Like his friend and onetime collaborator Miles Davis, Joe Zawinul was not one to look back on his past and savor the view. Yet as in the case of Miles (his parting concert in Montreux), Zawinul finally took the plunge in central Europe late in life by revisiting his old Weather Report repertoire -- live at his Vienna nightclub, Joe Zawinul's Birdland. The significant difference is that while Miles doubled back to a re-creation of the original Gil Evans charts, Zawinul retrofitted his tunes with new big-band arrangements by Vince Mendoza, read with gusto and heft by the crack visiting WDR Big Band of Cologne, Germany. To this, Zawinul added his own synthesizer virtuosity and some overdubs from his Malibu studio, two distinguished WR alumni who still play with him off and on -- bassist Victor Bailey and percussionist Alex Acuña -- and drummer Nathaniel Townsley. In just about every case, Mendoza's charts replicate and flesh out every twist and turn in the Weather Report originals, paying off big-time with "Brown Street," an overlooked swinger from the WR 8:30 album that gets the remake album off to a percolating start. Occasionally he piles on additional harmonic tissue, as in the Miles-period "In a Silent Way." Some of the writing seems a bit redundant, yet things never become too overloaded thanks to the ceaseless drive of the rhythm section, and there is plenty of room for solos. Only on "Procession" does Zawinul write his own big-band chart; though tied tightly to the original recording, it sounds looser than most of the Mendoza charts as it works out over the drone. A few of the song choices are unexpected: the frantic "Fast City" and the strutting title tune from the Night Passage album; the former features some liquid synth solos by Zawinul and stimulating tenor sax by Paul Heller, and the latter some relaxed flügelhorn from Kenny Rampton. Others aren't from the WR catalog at all; "Silent Way" predates it, of course, though WR did play the tune in concert, and "March of the Lost Children" and the perennial "Carnavalito" are from the post-WR solo years. Unlike most jazz tribute projects -- including a fairly bloodless, multi-artist 1999 salute to Weather Report on Telarc -- this double-CD set isn't burdened with artificial nostalgia, and it benefits a lot from the presence of one of the two founding co-leaders (the other being the absent Wayne Shorter). And Zawinul is the crucial one, because the crusty Austrian keyboardist sees to it that the swing is the thing and that the groove is deep. Richard S. Ginell   Tracklist & Credits :

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 :

ABSOLUTE ENSEMBLE ft. JOE ZAWINUL — Absolute Zawinul (2009) FLAC (image+.cue), lossless

Of the many projects for Estonian-born Kristjan Jarvi and the Absolute Ensemble, this one likely required the most work, and is dearest to their hearts. A collaboration with Joe Zawinul before he passed away is the result, and Absolute Zawinul is a perfect title. While there are inferences to Weather Report, this music is what Zawinul was performing prior to his death -- a steamy multi-ethnic brew of electronic and natural sounds, in this case with his band and the Absolute Enemble Orchestra via arrangements by Gene Pritsker. Except for one track at the Zawinul Tribute Concert in Vienna, Austria shorty after he died, this is a studio date with the keyboardist and friends in full-flight. A vocoder is used frequently, and the near-30-piece orchestra fairly roars in approval with a reverential, at-times hushed, but constant underlying tone. Themes dedicated to the Ottoman Empire, Japan, American gospel music, and Euro-dance (check out the extraordinary "Good Day") or rock music are clearly present. The heavy, celebratory beat of "Bimoya," the obvious influence of "Sultan," and the speaking-in-tongues effects during the Asian-flavored "Great Empire" are much more direct and focused than subtle. "The Peasant" is electronically synthesized in an Eastern Indian classical motif, while the concert piece without Zawinul, "Ice Pick Willy," lashes out rocking à la Gil Evans in his Jimi Hendrix period. Overdubs are used liberally, and the standout musicians are Linley Marthe on electric bass guitar, Absolute flutist Hayley Melitta Reid, and vocalist Aziz Sahmaoui. It's a fine tribute to the genius of Joe Zawinul musically, while the CD also includes QuickTime videos adaptable to PC or Mac users, and a PDF file for credits and photos. Absolute Zawinul comes with a heartily high recommendation. Michael G. Nastos      Tracklist & Credits :

TRILOK GURTU - Crazy Saints (1993) FLAC (tracks+.cue), lossless

Percussionist Trilok Gurtu comes from a long line of respected Indian classical musicians, but he's best known for his genre-blending fusions of world music and jazz. Crazy Saints is one of his most complex and challenging releases to date, enlisting the aid of jazz legends like guitarist Pat Metheny and Joe Zawinul to create a thoroughly modern sound that moves from razor sharp ensemble work to dizzying solos. The most effective songs are those that mine Gurtu's myriad world music influences, including "Manini" and "Blessing in Disguise," both of which are blessed with the haunting vocal ululations of Indian music legend Shobha Gurtu, the drummer's mother. The genteel balladry of "Ballad for 2 Musicians" and the excessive ambient noodling of "The Other Tune" may tax the patience of those with a lower tolerance for modern jazz wankery. But ultimately songs like the title track, which marries blistering beats in quirky time signatures with heavenly vocals and dazzling instrumental interplay, make the album a fine foray into jazz/world fusion.  by Bret Love
Tracklist
1 Manini 7:06
Written-By – Goyone, Gurtu
2 Tillana 4:12
Arranged By – Goyone, Gurtu
Written-By – Traditional
3 Ballad For 2 Musicians 6:08
Written-By – Zawinul
4 The Other Tune 7:39
Written-By – Zawinul
5 Blessing In Disguise 9:26
Written-By – Gurtu
6 Crazy Saints 8:19
Written-By – Goyone, Gurtu
7 No Discrimination 3:38
Written-By – Gurtu
Credits
Bass – Marc Bertaux (tracks: 1, 6)
Bass Clarinet, Clarinet, Soprano Saxophone – Louis Sclavis (tracks: 2, 5, 7)
Cello – Ernst Reijseger (tracks: 2, 5)
Guitar, Guitar Synthesizer – Pat Metheny (tracks: 1, 6)
Keyboards, Piano, Programmed By [Keyboard Programming] – Joe Zawinul (tracks: 3, 4)
Piano, Keyboards – Daniel Goyone (tracks: 1, 2, 5, 6, 7)
Producer, Drums, Tabla, Voice, Dhol [Dol], Kanjira, Percussion – Trilok Gurtu
Voice – Shobha Gurtu (tracks: 1, 5, 6)

TRILOK GURTU - The Trilok Gurtu Collection (1997) FLAC (tracks+.cue), lossless

Trilok Gurtu's percussion work has powered a number of great albums that effectively fuse world music with jazz, allowing for both tight performance and free improvisation. This collection is therefore a gem, selecting ten cuts from six albums. Both an excellent overview and a wonderful place to begin acquainting yourself with Gurtu's music, and thus an essential addition to any jazz or world music collection. by Steven McDonald
Tracklist :
1     Once I Wished a Tree Upside Down 8'03
Jan Garbarek
2     Cherry Town 5'14
Trilok Gurtu
3     Watapa 7'49
Trilok Gurtu
4     Bad Boys 8'39
Andy Emler
5     Believe 6'25
Trilok Gurtu
6     Ballad for 2 Musicians 6'08
Joe Zawinul
7     Manini 7'06
Daniel Goyone / Trilok Gurtu
8     Baba 8'31
Trilok Gurtu
9     Shobharock 7'37
Trilok Gurtu
10     Om 7'13
Traditional
Credits :
Drums, Tabla, Percussion, Voice – Trilok Gurtu
Guitar – Pat Metheny, Ralph Towner
Keyboards, Piano – Joe Zawinul
Percussion – Nana Vasconcelos
Soprano Saxophone – Bill Evans
Trumpet – Don Cherry
Violin – Mark Feldman, L. Shankar
Voice – Shobha Gurtu

BEN WEBSTER AND JOE ZAWINUL — Soulmates (1963-1991) RM | FLAC (image+.cue), lossless

What initially seems like an unlikely pairing for this session delivers on its unique pedigree with performances that do full justice to tenor legend Ben Webster and to the then up and coming pianist Joe Zawinul. Recorded in 1963 while the pianist was a member of the Cannonball Adderley Sextet, the session came about as a result of Webster's and Zawinul's sharing a New York apartment for several months. It's actually billed as Zawinul's first session as leader and Webster's last in the U.S. before his move to Europe. The tunes generally keep to mid-tempos, a pace that affords Webster the opportunity to wield the gentler side of his legendary sound. His rich, nuanced tone and magnificent phrasing are superbly in evidence. Listeners only familiar with Zawinul's soul-jazz side with Adderley and later his pioneering synthesizer work with Weather Report may be surprised at his eloquent playing here in a classic style right out of Tommy Flanagan or Red Garland. The presence of Thad Jones -- a legend in his own right -- on cornet for four tacks is a bonus. With a rhythm section rounded out by the slightly lesser legends of drummer Philly Joe Jones and bassist Sam Jones, alternating with Richard Davis, there isn't one false step on this set. It may tend to the mellower side of things, but that simply means there's more opportunity to luxuriate in Webster's peerless sound. Jim Todd  
Tracklist :
1     Too Late Now 6:26
Burton Lane / Alan Jay Lerner
2     Soulmates 6:32
Ben Webster
3     Come Sunday 5:10
Duke Ellington
4     The Governor 3:13
Ben Webster
5     Frog Legs 5:29
Joe Zawinul
6     Trav'lin' Light 6:08
Johnny Mercer / Jimmy Mundy / Trummy Young
7     Like Someone in Love 3:45
Johnny Burke / James Van Heusen
8     Evol Deklaw Ni 5:20
Thad Jones
Credits :
Bass – Richard Davis (faixas: 1, 3, 6, 7), Sam Jones (faixas: 2, 4, 5, 8)
Cornet – Thad Jones (faixas: 2, 4, 5, 8)
Drums – Philly Joe Jones
Piano – Joe Zawinul
Tenor Saxophone – Ben Webster