Artist: Joe Zawinul Genre(s):
Jazz
Pop
Folk
Discography:
Brown Street Year: 2007
Tracks: 10
My People Year: 2006
Tracks: 11
Faces and Places Year: 2002
Tracks: 13
Dialects Year: 2002
Tracks: 7
Stories of the Danube Year: 1996
Tracks: 10
The Rise and Fall of the Third Stream-Money in the Pocket Year: 1994
Tracks: 15
Zawinul Year: 1990
Tracks: 5
World Tour Zawinul Syndicate Year:
Tracks: 15
Joe Zawinul belongs in a category unto himself -- a European from the heartland of the classical music custom (Capital of Austria) wHO knowing to swing as freely as whatever American jazzer, and whose appetency for increase and variety remains unsatiable. Zawinul's wonder and receptiveness to all kinds of sounds made him unrivalled of the driving forces behind the electronic jazz-rock revolution of the late '60s and '70s -- and afterward, he would be nigh alone in exploring fusions between jazz-rock and cultural music from all over the ball. He is one of a bare handful of synthesizer players wHO really knowing how to meet the instrumental role, to get it an expressive, swinging role of his arsenal. Prior to the conception of the portable synthesizer, Zawinul's example helped land the Wurlitzer and Fender Rhodes electric pianos into the jazz mainstream. Zawinul likewise has became a significant composer, ranging (like his beau ideal Duke Ellington) from soulful hit tunes to large-scale symphonic nothingness canvases. Yet despite his classical background knowledge, he now prefers to extemporise compositions spontaneously onto tape measure, not write them out on newspaper.
At vI, Josef Erich Zawinul started to represent the squeeze box in his aboriginal Austria, and studies in classical forte-piano and constitution at the Vienna Conservatory soon followed. His interest in jazz pianoforte, ab initio influenced by George Shearing and Erroll Garner, light-emitting diode to jobs with Austrian saxophonist Hans Koller in 1952 and gigs with his possess trio in France and Germany. He emigrated to the United States in late 1958 later on winning a scholarship to Berklee, yet later on barely unrivalled hebdomad in division, he left to join Maynard Ferguson's ring for eight months, where Miles Davis first base took card of him. Following a brief stay with Slide Hampton, Zawinul became Dinah Washington's pianist from 1959 to 1961, and then spent a month with Harry "Sweets" Edison before Cannonball Adderley picked him to make full the forte-piano president in his fivesome. There Zawinul stayed and blossomed for iX years, conducive several compositions to the Adderley ring account book -- among them the major pop slay "Mercifulness, Mercy, Mercy," "Walk Tall," and "Country Preacher" -- and at last serving to steer the Adderley group into the electronic geological era. While with Adderley, Zawinul evolved from a severe boP piano player to a soul-jazz performing artist hard steeped in the blues, and at last a jazz-rock explorer on the electric forte-piano. Toward the goal of his Adderley gig (1969-1970), he was correct in the thick of the new jazz-rock scene, recording various pioneering records with Miles Davis, contributory the claim tune of Davis'
In a Silent Way album.
Later on transcription a self-titled solo record album, Zawinul left Adderley to phase Weather Report with Wayne Shorter and Czech bassist Miroslav Vitous in November 1970. Weather Report gave the more and more self-confident Zawinul a platform to evolve regular farther as his pursuit in propulsive grooves and music from Africa and the Middle East kindled and highly-developed. He step by step dropped the electric pianoforte in favour of a series of ever so more sophisticated synthesizers, which he down to levels ne'er thought possible by those world Health Organization derided the instruments as sterile, unfeeling machines. Weather Report finally became a popular radical that appealed to audiences beyond nothingness and progressive rock, thanks in no small character to Zawinul's pip song "Birdland."
When Zawinul and Shorter finally came to a leave of shipway in 1985, Zawinul started to tour all by himself, encircled by keyboards and rhythm method of birth control machines, but resurfaced the undermentioned class with a ephemeral extension of Weather Report called Weather Update (which did not go out whatever recordings). Weather Update chop-chop evolved into some other radical, the Zawinul Syndicate, which over the span of a decennary atilt more and more toward groove-oriented public music influences. Zawinul has showed renewed stake in his European roots, collaborating with fellow Viennese classic pianist Friedrich Gulda from 1987 to 1994, producing a matured classically based symphony,
Stories of the Danube, in 1993, and following the near-disastrous Malibu fires of 1994, moving from California to New York City in monastic order to be closer to Europe. In 2002 he released
Faces & Places, his first-class honours degree studio record album in several years and 1 that boasted an international roster of encouraging musicians. Since that clip he has released a handful of albums including
Midnight Jam in 2005 and
John Brown Street in 2007.
Though he continues to research new musical paths at an age when most jazzers are long set in their ways, Zawinul's influence upon jazz has waned in recent years referable to the jazz mainstream's retreat from electronics second to acoustic post-bop. But Zawinul's uplifting, still-invigorating later music may make him a prophet again if orbicular music infiltrates the jazz worldly concern.
