A1 	Doctor Honoris Causa 	14:47
A2 	In A Silent Way 	4:47
B1 	His Last Journey 	4:37
B2 	Double Image 	10:37
B3 	Arrival In New York 	1:59

Bass – Miroslav Vitous, Walter Booker
Electric Piano – Herbie Hancock, Joe Zawinul
Flute – George Davis (tracks: A1 to B1, B3), Hubert Laws (tracks: B2)
Melodica – Jack DeJohnette (tracks: B1)
Percussion – Billy Hart, David Lee, Jack DeJohnette (tracks: B2), Joe Chambers
Soprano Saxophone – Earl Turbinton (tracks: A1 to B1, B3), Wayne Shorter (tracks: B2)
Trumpet – Jimmy Owens (tracks: B1), Woody Shaw (tracks: A1, A2, B2, B3)

Track Notes:
A1: Dedicated to Herbie Hancock for his Honorary Doctorate at Grinnell University in Des Moines, Iowa.
A2: Impressions of Joe Zawinul's as a shepherd boy in Austria.
B1: A tone poem reminiscent of his grandfather's funeral on a cold winter day in an Austrian mountain village.
B2: A concept of what man thinks he is as opposed to what he really is.
B3: Joe Zawinul's first impression of New York when he arrived here as a boy on a ship from France.

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, AllMusic Review

Joe Zawinul to jeden z najsłynniejszych jazzowych pianistów i zarazem jeden z pionierów stylu fusion - był wśród pierwszych jazzmanów używających elektrycznego pianina, a następnie syntezatorów. Urodził się w Austrii, gdzie od najmłodszych lat zdobywał klasyczne wykształcenie muzyczne. Z czasem jednak zafascynowała go muzyka jazzowa. Wkrótce po wyjeździe do Stanów, gdzie miał kontynuować naukę w bostońskiej Berklee School of Music, dołączył do zespołu trębacza Maynarda Fergusona (wtedy też po raz pierwszy zetknął się z Wayne'em Shorterem). Niedługo później, w 1961 roku, przeszedł do kwintetu Cannonballa Adderleya, z którym grał do końca lat 60. Tam po raz pierwszy miał okazję grać na elektrycznym pianinie, co zwróciło uwagę Milesa Davisa, który pod koniec dekady nawiązał współpracę z pianistą. Zawinul znacząco wpłynął na kształt albumów "In a Silent Way" i "Bitches Brew". Współpraca nie trwała jednak długo, bo już pod koniec 1970 roku Zawinul i Shorter założyli grupę Weather Report.

Powstanie zespołu poprzedziło nagranie solowego albumu "Zawinul". Sesje nagraniowe odbywały się pomiędzy 6 sierpnia, a 28 października 1970 roku. Wzięli w nich udział tacy muzycy, jak np. Herbie Hancock, trębacz Woody Shaw, grający na perkusjonaliach Jack DeJohnette, Billy Hart i Joe Chambers, basista Miroslav Vitouš (kolejny późniejszy członek Weather Report), wspomniany już Wayne Shorter, oraz oczywiście sam Joe Zawinul. Na repertuar złożyło się pięć kompozycji lidera, w tym dwie nagrane już wcześniej z Davisem - tytułowa z "In a Silent Way" oraz "Double Image", która po raz pierwszy została wydana dopiero w boksie "The Complete 'Bitches Brew' Sessions" (nie licząc alternatywnej wersji "Medley: Gemini/Double Image" z "Live-Evil"). Nie jest tajemnicą, że Zawinul nie był zadowolony z tego, co Miles zrobił z "In a Silent Way" (Słyszałem piękno melodii napisanej przez Joe, ale zaśmiecało ją to całe badziewie. Podczas nagrywania wywaliłem wszystkie zapisy z akordami i kazałem wszystkim grać samą melodię, nic poza tym - wyjaśniał trębacz w swojej autobiografii*), dlatego zapewne zdecydował się nagrać własną wersję.

Materiał zawarty na tym longplayu jest rozwinięciem elektrycznego jazzu z albumu "In a Silent Way". Oba wydawnictwa mają podobny, subtelny klimat. O ile jednak na dziele Davisa był on kontrapunktowany ostrzejszymi partiami gitary Johna McLaughlina i mocniejszą perkusją Tony'ego Williamsa, zdradzając inspirację muzyką rockową, tak na "Zawinul" takie wpływy są praktycznie nieobecne. Brzmienie opiera się na dwóch pianinach elektrycznych, saksofonie sopranowym, trąbce, flecie, dwóch kontrabasach i różnych perkusjonaliach. Instrumentaliści grają bardzo swobodnie, a ich partie interesująco się przeplatają i uzupełniają. Najciekawiej wypada to chyba w czternastominutowym otwieraczu "Doctor Honoris Causa", w którym instrumentalnej wirtuozerii towarzyszy piękny nastrój. Doskonałe otwarcie, bardzo reprezentatywne dla całości. "In a Silent Way" w tej wersji ma bardziej złożoną fakturę, ale czy wyszło to na dobre? Raczej rację miał Davis, podkreślając piękno tej melodii bardziej ascetyczną aranżacją. Co ciekawe, kolejny utwór, "His Last Journey", został zaaranżowany w taki oszczędniejszy sposób i brzmi to naprawę ładnie. W "Double Image" nastrojowe granie z czasem ustępuje miejsca partiom o wręcz freejazzowym charakterze (tutaj najlepiej wykorzystano obecność dwóch basistów). Całość zamyka eksperymentalna miniatura "Arrival in New York".

Album "Zawinul" z pewnością zostanie doceniony przez wszystkich wielbicieli "In a Silent Way" czy wczesnych wydawnictw Weather Report, które są jego bezpośrednią kontynuacją. ---Paweł Pałasz, pablosreviews.blogspot.com

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01. Hamahamada
02. Erdapfelblues
03. Bimoya
04. Eyala
05. Carnavalito

Lineup
Joe Zawinul- Keyboards, Vocals
Gay Poulson- Guitar
Richard Bona- Bass, Vocals
Manolo Badrena- Percussion, Vocals
David Haynes- Drums

Joe ZAWINUL Syndicate – Live In Stuttgart 1997
Jazz Open, Beethovensaal(in Kultur- und Kongreßzentrum Liederhalle),
Stuttgart, Germany, 26th July 1997

"This band is my second family" – that's what Joe Zawinul often said about his Syndicate. With "The Syndicate" he created a style, which is characterized by a unique Groove and Power.

Josef Erich Zawinul (July 7, 1932 – September 11, 2007) was an Austrian jazz keyboardist and composer. First coming to prominence with saxophonist Cannonball Adderley, Zawinul went on to play with trumpeter Miles Davis, and to become one of the creators of jazz fusion, an innovative musical genre that combined jazz with elements of rock and world music. Later, Zawinul co-founded the groups Weather Report and the world fusion music-oriented Zawinul Syndicate. Additionally, he made pioneering use of electric piano and synthesizers.

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01 Intro/Patriots
02 Lost Tribes
03 Indiscretions/Black Market
04 Gipsy
05 Waraya
06 As’ Trabajamos/Bimoya
07 Two Lines                 play

Line Up:
Joe Zawinul - keyboards
Victor Bailey - bass
Gary Poulson - guitar
Manolo Badrena - percussion
Kirk Covington – drums

STRANGE, ETHEREAL vocal wails from West Africa; the electricity sub-station hum of Tibetan throat-singers; samples of spoken dialogue from great jazzmen of the past, all topped off with monumental slabs of keyboard noise as if the hull of the Titanic were being used to carve an ice sculpture. And this was just the music for the band's entrance. When Joe Zawinul eased himself into the pod-like enclosure of his keyboard HQ and pressed the start button, things really began to take off, almost literally. While those of a sensitive disposition might quibble about the decibel levels, their sensitivity would probably have precluded them being there in the first place. The Zawinul Syndicate is jazz fusion's version of heavy metal, only louder.

Austrian by birth and a keen sportsman, Zawinul is known to liken the selection of his bands to that of a football team. This one has plenty of strength in depth, but there's also a strong adherence to the Vinnie Jones principle. Veterans of previous fusion campaigns such as percussionist Manolo Badrena and bassist Victor Bailey (who both played in various line- ups of Zawinul's Weather Report 25 years ago) don't take prisoners, and you continue to hear the thunderous, sub-sonic, bass-lines and conga-drum assaults long after the gig is over.

Though the guitarist Gary Paulson seems like a nice, mild-mannered fellow when given a chance to show off his chops by Joe, he first looks embarrassed, and then rifles off a Hendrixian feedback routine to rattle the glasses on the tables. The drummer, who looks a little like John Goodman, pretends to be a sensitive kind of guy until his solo. Earthquake warning systems all over the world will have registered a little seismic murmur at around midnight every night this week, and then again at 2am.

From inside his pod, Zawinul cues them in and cools them out, while simultaneously moving from one Korg to another, fiddling with various obscure black boxes and doing a spot of home mechanics on his own personal mixing desk. Though the sounds are often as plasticky as the boxes they come from, whenever one of those old, Weather Report blurts emerges, the audience greets it like an old friend with affectionate cheers. Wearing his trademark African cap and an impressively taut body for a man of 66 (other people work out, Zawinul boxes), Joe bowls over to the front of stage at the end of the set to introduce the band in his Archie Bunker, hard-ass drawl and delivers a brief, moving speech about the late Ronnie Scott and all the other jazz heroes whose pictures are on the wall, and whom he knew. Unlike most of his peers, Zawinul hasn't grown old gracefully and you can be sure he won't go gently. More power to his keyboard. ---Phil Johnson, independent.co.uk

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1. The Harvest
2. Waiting For The Rain
3. Zeebop
4. The Great Empire				play
5. Carnavalito
6. 6 A.M. / Walking On The Nile
7. Peace (Album Version)

Joe Zawinul - keyboards

Joe Zawinul’s 1986 Dialects, the keyboard legend’s first solo album after 15 years with Weather Report, is worth revisiting. Featuring nothing but Zawinul on a virtual army of synthesizers with some occasional contributions from Bobby McFerrin on improvised vocalese and a three-part vocal choir, Dialects is at once an apt summation of the veteran Austrian keyboardist’s career-long affinity for synthesizers and an interesting portent of the world-music direction his muse would soon lead him.

Although some of the drum-machine grooves here sound a bit dated now, Dialects is heady stuff from the opening “The Harvest”, a journey into 1980s techno-funk topped by Zawinul’s colourful array of synthesizers and McFerrin and the vocal choir’s intriguing vocalisations, oriented more toward sonic effect than lyrical content. Other tracks like “Waiting For The Rain” and “6 AM/Walking On The Nile” more explicitly evoke the world-music sounds Zawinul was to explore with his own Zawinul Syndicate soon after he recorded this album, with Zawinul mimicking a variety of Brazilian and African indigenous instruments with his synths.

Although in some ways Dialects resembles the music Herbie Hancock was making in the 1980s–in particular Hancock’s 1984 foray into world music/techno funk, Sound System–it’s unmistakably the work of its creator, filled with the kind of soulful synthesizer work Zawinul had been creating with Weather Report since the early 1970s. –--Ezra Gale

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