Weather Report

Weather Report was an American jazz fusion band of the 1970s

and early 1980s. The band was initially co-led by the Austrian-born Weather Report
keyboard player Joe Zawinul, the American saxophonist Wayne
Shorter and Czech bassist Miroslav Vitouš. Other prominent
members at various points in the band's lifespan included bassists
Alphonso Johnson, Jaco Pastorius and Victor Bailey; and
drummers/percussionists Peter Erskine, Alex Acuña, Airto Moreira,
and Chester Thompson. Throughout most of its existence, the band
was a quintet of keyboards, saxophone, bass, drums and percussion.

The band began as an avant-garde jazz group; when Vitouš left

Weather Report after a few years (due to creative and financial
disagreements), Zawinul increasingly took control and steered the
Weather Report live June 11, 1981
band towards a more funk and R&B-oriented jazz sound
incorporating elements of world music and the latest developments Background information
in synthesizer technology. During the mid-1970s Weather Report Origin New York City,
remained one of the defining acts within the jazz form, winning the New York, U.S.
DownBeat best album award five times in a row.
Genres Jazz fusion, world
Alongside Miles Davis's electric bands, the Mahavishnu Orchestra, music, jazz-funk,
Return to Forever, and the Headhunters, Weather Report is free jazz
considered to be one of the pre-eminent early jazz fusion bands.
Years active 1970–86
Labels Columbia, ARC

Contents Associated acts Joni Mitchell, The

Zawinul Syndicate
Musical style
Past members List
History
Joe Zawinul
1970: Inception and formation
Wayne Shorter
1971–1972: Avant-garde collective
Jaco Pastorius
1973: Move towards groove
Miroslav Vitouš
1974–1975: Further into groove Alphonse Mouzon
1976: In transition Don Alias
1977–1979: Jazz-rock stars Barbara Burton
1980-1982: A tighter arrangement Airto Moreira
1982–1985: A new band Muruga Booker
1986: Final split Dom Um Romão
1986-present: After Weather Report Eric Gravatt
Lineups Greg Errico
Timeline Alphonso Johnson
Ishmael Wilburn
Releases since the band's breakup
Skip Hadden
Grammy Awards Alyrio Lima
Studio albums Chuck Bazemore
References Narada Michael
External links Walden
Chester Thompson
Alex Acuña
Musical style Manolo Badrena
Peter Erskine
Over their 16-year career, Weather Report explored various areas of Erich Zawinul
music, centered on jazz (including both the "free" and "Latin" Robert Thomas Jr.
varieties), but also including various elements of art music, ethnic Omar Hakim
music, R&B, funk, and rock. While their work was often Victor Bailey
categorized as "jazz fusion", the band members themselves Jose Rossy
generally rejected the term. Mino Cinelu
From the start, Weather Report took the unusual and innovative Frank Cuomo
approach of abandoning the traditional "soloist/accompaniment" Steve Gadd
demarcation of straight-ahead jazz and instead featured
opportunities for continuous improvisation by every member of the band. This position remained consistent
throughout the life of the band. From the mid-1970s, individual solos became more prominent, but were
never allowed to overwhelm the music's collective approach. Initially, the band's music featured a free,
extended improvisational method (similar to Miles Davis's Bitches Brew-period work),[1] but by the mid-
1970s, this had moved towards more groove-oriented and prestructured music (as epitomized by their hit
single "Birdland").

Joe Zawinul's playing style was often dominated by quirky melodic improvisations (simultaneously bebop-,
ethnic-, and pop-sounding) combined with sparse but rhythmic big-band chords or bass lines. Having
originally made his name as a pioneering electric piano player, he went on to consistently develop the role of
the synthesizer in jazz during his time with Weather Report. Working with companies such as ARP and
Oberheim, Zawinul developed new ways of voicing and patching electronic tones for textures, ensemble roles
(including emulations of traditional band instruments) and soloing. In Weather Report, he often employed a
vocoder, as well as recorded sounds played (i.e., filtered and transposed) through a synthesizer, creating a
very distinctive, often beautiful, synthesis of jazz harmonics and "noise" (which he referred to as "using all
the sounds the world generates"). On some Weather Report tunes, however, Zawinul's synthesized
arrangements dominated the sound.

Wayne Shorter came to the group with a reputation as a dominant role as

In the beginning let's say Weather an instrumentalist,[1] drawn from both his solo work and his contributions
Report was a joint thing. Then, to Miles Davis' "second great quintet" during the 1960s. His choice not to
after the second album there's no
follow the same approach with Weather Report led to some criticism of
question about it, it became more
and more my group. Wayne the group. During his time with Weather Report, Shorter was noted for
wanted it like that, but we were generally playing saxophone with an economical, "listening" style. Rather
always 'partners in crime'. No than continually taking the lead, he generally added subtle harmonic,
Wayne, no Weather Report. melodic, and/or rhythmic complexity by responding to other member's
improvisations (although he could and did sometimes exercise a more
—Josef Zawinul on his frenetic style akin to that of John Coltrane or Michael Brecker). As a
gradual takeover of Weather composer, he chose a more abstract, sometimes atonal and "free jazz"
Report[2] style of music, opposed to the sometimes flamboyant melodicism of the
tunes written by Zawinul or Pastorius. Playing both tenor and soprano
saxophones, Shorter continued to develop the role of the latter instrument
in jazz, taking his cue from previous work by Coltrane, Sidney Bechet,
Lucky Thompson, and Steve Lacy.
Weather Report maintained a consistent interest in a textured sound and developments in music technology
and processing. Both Zawinul and original bassist Miroslav Vitouš experimented with electronic effects
pedals (as generally used by rock guitarists) with Zawinul using them on electric piano and synthesizers and
Vitouš on his upright bass (which he frequently bowed through distortion to create a second horn-like voice).
The band's third bass player, Jaco Pastorius, popularized the use of fretless bass guitar, melodic bass soloing
and extensive use of string harmonics, as well as consolidating the driving R&B pulse in the band's music
(which had been brought in by his predecessor Alphonso Johnson).

With the exception of a brief quartet period between 1978 and 1979 (wherein other members could double on
various percussion instruments), Weather Report's instrumentation always included both a drummer alongside
a percussionist. For its first eight years of existence, the group had difficulty finding a permanent drummer,
moving through about one drummer per year until Jaco Pastorius helped to recruit Peter Erskine in 1978.
Erskine and (later on) Omar Hakim were the only Weather Report drummers who played with the band for
more than two years.

History

1970: Inception and formation

Joe Zawinul and Wayne Shorter had first met and become friends in 1959 while they were playing in
Maynard Ferguson's Big Band. Zawinul went on to play with Cannonball Adderley's group in the 1960s,
while Shorter joined Art Blakey's Jazz Messengers and then, in 1964, Miles Davis' second great quintet.
During this decade, both men made names for themselves as being among the best composers in jazz.

Zawinul later joined Shorter in contributing to the initial fusion music recordings of Miles Davis, and both
men were part of the studio groups that recorded the key Davis albums In a Silent Way (1969) and Bitches
Brew (1970).[1] Consequently, Weather Report has often been seen as a spin-off from the Miles Davis bands
of the late 1960s and early 1970s, although Zawinul was never part of Davis's touring line-up. Weather Report
was initially formed to explore a more impressionistic and individualistic music (or, as Zawinul put it, "away
from all that eight bars shit and then you go to the bridge...")[3]

There's some dispute over how Weather Report initially formed. According to Zawinul, it began when he and
Shorter recruited another Miles Davis associate, the classically trained Czech-born bass player Miroslav
Vitouš, who had previously played with each of them separately (as well as with Herbie Mann, Bob
Brookmeyer, Stan Getz, and Chick Corea). According to Vitouš himself, it was he and Shorter who actually
founded Weather Report, with Shorter bringing in Zawinul afterwards.[4] Whichever story is true, it was those
three musicians - all composers - who formed the initial core of the project.

To complete the band, Zawinul, Shorter and Vitouš brought in former McCoy Tyner drummer Alphonse
Mouzon and began recording their debut album while looking for a full-time auxiliary percussionist.[1] The
initial recruits were session player Don Alias and symphony orchestra percussionist Barbara Burton. During
recording, Alias quarreled with Zawinul (allegedly due to Zawinul being too dictatorial over the percussion
approach) and the innovative Brazilian percussionist Airto Moreira (yet another Davis alumnus) was brought
in to complete the record. Guitarist John McLaughlin was also invited to join the group, but decided to pursue
his solo career, instead.

1971–1972: Avant-garde collective

Weather Report's debut album Weather Report (1971) caused a sensation in the jazz world on its arrival, due
to the various talents of the group's members and their unorthodox approach to their music. The album
featured a softer sound than would be the case in later years, predominantly using acoustic bass, with Shorter
exclusively playing soprano saxophone. It built on the avant-garde experiments which Zawinul and Shorter
had pioneered with Miles Davis on Bitches Brew, including an avoidance of head-and-chorus composition in
favor of continuous rhythm and movement. DownBeat magazine described the album as "music beyond
category".[5]

Although Airto Moreira completed the recording of the debut Weather Report album, his existing
commitments to Miles Davis prevented him from performing live with the group. Barbara Burton performed
at Weather Report's first residency (a week of performances at Paul's Mall in Boston, prior to the album
release), but could not come to business terms with Zawinul over tour plans. Zawinul subsequently removed
both her album credit and that of Alias, leaving Moreira as the only percussionist credited. For the upcoming
concerts, former Brazil '66 member Dom Um Romão was recruited as the group's new percussionist on
Moreira's own recommendation.

After further gigs in Philadelphia, Weather Report went on to a tour of Europe. Following disagreements on
tour, Mouzon was replaced by another former McCoy Tyner drummer, Eric Gravatt.

In 1972, Weather Report released its second album, I Sing the Body Electric.[1] The first side featured new
studio recordings, while the second side was taken from live recordings of a concert in Tokyo, featuring the
full-band lineup of Zawinul, Shorter, Vitouš, Gravatt, and Um Romão (and later available in full as the Japan-
only double album Live in Tokyo).[6] The studio side used extended versions of the band including various
guest performers, suggesting that Weather Report was not necessarily an integral jazz band, but might
possibly work as an expandable project set up to realise the music of its three composers. The album also
featured Zawinul's first use of a synthesizer (an instrument with which he would become synonymous within
jazz) and of sound effects.

I Sing the Body Electric also showed the first signs of a shift in the balance of control within the band, away
from the more collective approach of the debut album. During the following year, this tendency would
develop further.

1973: Move towards groove

On 1973's Sweetnighter, Weather Report began to abandon the primarily acoustic group improvisation format,
and the band started to take a new direction. Primarily at Zawinul's instigation, Weather Report became more
jazz funk- and groove-oriented, drawing more heavily on R&B influences and dense electric keyboard work
while adding more structure to both the prewritten and the improvisational sections.

The change in approach affected the band deeply. Repetitive funk did not
suit Vitouš' talents. Zawinul judged Gravatt's approach to be unsuitable “ [Miroslav] loved funk, and he
for some of the new pieces he had written. Andrew White III had returned tried to play it, but he wasn't a
to play occasional English horn on the album, but Zawinul also employed funk player. It wasn't where he
came from. He didn't connect up
him on bass guitar on three tracks to get the style of funk playing
with how to go there. He could
required. For similar reasons, the studio-based drummer/composer listen to it, talk about it, and he
Herschel Dwellingham played drums on four of the album's six tracks, admired it, but that's not what
replacing Gravatt entirely on three of them, on "Non-Stop Home" came out of him, so that was
Dwellingham and Gravatt played together, with Gravatt the sole drummer something that held back where
only on "125th Street Congress". Muruga Booker also contributed Joe wanted to go at the time I
percussion to the sessions alongside Dom Um Romão.) was with them. Melodically and
rhythmically, Miroslav was great;
Gravatt took his replacement in the studio sessions badly and quit the what he did do, in terms of where
band at the end of recording, moving to Minneapolis to join the band I was coming from, was very
unique. Miroslav was still
Natural Life. Many years later, Zawinul paid tribute to Gravatt's skills playing acoustic, and it was an
and stated that he had been the finest of the band's "pure jazz" odd kind of a funk. It was very...
drummers[8] as well as being "from the jazz side... my favorite of them interesting! ”
all."[9] With Gravatt gone and Dwellingham unavailable for touring, —Weather Report touring
former Sly & the Family Stone drummer Greg Errico played on the drummer Greg Errico on
Sweetnighter tour, but did not stay with the band afterwards. Miroslav Vitouš[7]
At this point, Vitouš and Zawinul found themselves at creative
loggerheads, since the former preferred Weather Report's original
approach and the latter wished to continue further along the road to funk. Retrospectively, Zawinul accused
Vitouš of being unable to play funk convincingly (something which Greg Errico corroborated) and claimed
that he had not provided enough music for the band. Vitouš countered that he had in fact brought in
compositions, but that Zawinul had been unable to play them. Vitouš has also accused Zawinul of having
been "a first-class manipulator" primarily interested in commercial success.[10][11] When Shorter sided with
Zawinul, the original three-man partnership broke down acrimoniously and Vitouš left Weather Report,
moving on to an illustrious career leading his own band and winning respect as a composer. His final
contribution to Weather Report was to play bass on a single track, which appeared on the band's 1974 album
Mysterious Traveller ("American Tango", which he had co-written with Zawinul).

Vitouš' departure marked the end of the first phase of Weather Report and the shift of overall creative
dominance of the band to Josef Zawinul, although Shorter remained an integral, influential, and vital part of
the project. Vitouš has subsequently accused both Zawinul and Shorter of having used foul play to edge him
out of the band, to deny the scale of his contribution to Weather Report's history and creative approach, and to
cheat him out of remuneration.[10][11]

1974–1975: Further into groove

Vitouš' replacement was the Philadelphian electric bass guitarist Alphonso Johnson (formerly a sideman for
the pop-fusion player Chuck Mangione). Recruited by Shorter, Johnson was a supple player more than
capable of providing the funk element which Zawinul desired. He was also an early advocate of the Chapman
Stick, which he can be heard playing on some of the live Weather Report recordings of the period.

Weather Report's breakout album was 1974's Mysterious Traveller, which also featured the debut of new
drummer Ishmail Wilburn. The album continued Sweetnighter's process of reducing the free-jazz elements of
previous albums, but also showed a more fully developed compositional technique. Zawinul exploited
improvements in synthesizer technology on the recording and began to add processed sound effects (such as
cheering crowds, childlike cries and noises reminiscent of science-fiction aliens). Mysterious Traveller was
the second Weather Report album to win Album of the Year at DownBeat magazine.

According to Zawinul, Wilburn apparently "lost heart" on tour (despite performing well in the studio). To
shore up the music, the band hired another drummer, Darryl Brown, to play alongside him. At the end of the
tour, both Wilburn and Brown left the band (as did Dom Um Romão) and Weather Report was, once again,
drummerless.

For the next set of studio sessions, Weather Report added a new Brazilian percussionist (Alyrio Lima) and a
new drummer - Chuck Bazemore of The Delfonics.[7] Bazemore turned out to be unsuitable for the band and
departed early in the sessions, with none of his recorded contributions being retained. Instead, the band called
in the former Herbie Hancock drummer Leon "Ndugu" Chancler, who had been working on another project in
an adjacent studio. Ndugu recorded with Weather Report for a week and recorded all of the drum tracks for
the forthcoming album. However, he declined to join as a permanent member, opting instead to continue with
Santana. Johnson recommended his friend Chester Thompson (a former Frank Zappa sideman), who joined as
drummer in time for the next tour.

The new album, Tale Spinnin', was released in 1975. It was the first Weather Report album to feature a
consistent rhythm section (rather than a varied set of drummers, percussionists, and bass players) since their
debut. The album also made further strides in using technological improvements in synthesizers, even making
use of the gigantic studio-based TONTO array.

During the same year, Shorter also recorded Native Dancer under his own name (with the Brazilian composer
and vocalist Milton Nascimento). Tale Spinnin' won the DownBeat best album award for 1975 (the third
Weather Report album to do so) and Native Dancer was the runner-up.

1976: In transition

1976's Black Market album was perhaps the most rock-oriented work
which the group had produced to date.[1] Weather Report's music had
evolved further from open-ended funk jams into more melody-
oriented, concise forms, which also offered a greater mass-market
appeal. Zawinul further consolidated his use of keyboard synthesizers,
Weather Report in Argentina. L to R: while Shorter experimented with an early form of wind synthesizer,
Shorter, Erskine, Zawinul, and the Lyricon.
Pastorius
However, the album was recorded during yet another period of change
for the group, with multiple personnel shuffles. Although Alyrio Lima
played percussion on one track, he was replaced during the sessions by Don Alias (his first appearance with
the group since the debut album debacle) and by Alex Acuña (a Peruvian drummer and conga player based in
Las Vegas, who had played with Elvis Presley and Ike Turner, among others).[12] Alphonso Johnson was also
worn out from the strain put on the rhythm by the band's frequent changes of drummer. During a break in
activity halfway through the recording of Black Market, Johnson opted to leave Weather Report to play with
the Billy Cobham/George Duke Band (which featured a young John Scofield on guitar).

Prior to his departure, Johnson played on all but two of the new album's tracks. His replacement was Jaco
Pastorius, a virtuoso fretless bass guitarist from Florida, who had been in touch with Zawinul for several
years, and who came in to play on "Cannon Ball" and his own composition "Barbary Coast". Zawinul and
Shorter had assumed that Chester Thompson would be departing alongside his friend Johnson, and for the
second set of sessions they replaced him (on Jaco Pastorius' recommendation) with the former Mahavishnu
Orchestra drummer Narada Michael Walden. Although Walden played on several album tracks, he ultimately
proved unsuitable. Thompson returned for the final Black Market sessions, but left again after failing to gel as
a rhythm section with Pastorius (whose style was much busier than that of Johnson). Thompson subsequently
joined Genesis as their touring drummer.

Black Market continued Weather Report's ongoing run of success,[1] selling well and being the fourth of the
band's albums to win the album of the year award from DownBeat magazine. For the subsequent tour, Alex
Acuña moved from percussion to the drum kit, and Don Alias was replaced by the young Puerto Rican
percussionist Manolo Badrena, who had previously played with various Latin rock bands and with Art
Blakey. The band made a very well-received appearance at the Montreux Jazz Festival, which was filmed for
future release.

1977–1979: Jazz-rock stars

The recruitment of Jaco Pastorius helped to push Weather Report to the height of its popularity. Already a
rising star in his own right, Pastorius brought a very musical, melodic quality to the bass. He could play
muscular, lightning-fast groove lines influenced by R&B or funk, as well as demonstrating an extraordinary
solo control of tone and string harmonics, often sounding more like a horn player. Pastorius was also a multi-
instrumentalist (contributing drums, steel pan, and mandocello to the latest recording sessions), a gifted
composer (eventually responsible for some signature Weather Report pieces such as "Teen Town" and "Three
Views of a Secret"), and a useful production foil for Zawinul due to
his knowledge of recording studios and techniques. Finally, Pastorius'
stagecraft and aggressive showmanship helped the band to bring in a
new audience.

The band's next album was

1977's acclaimed Heavy
Weather, which proved to be
the band's most successful
recording in terms of sales, Pastorius, reaching to accentuate his
while still retaining wide bass guitar sound with harmonics
critical acclaim. It contained
the band's biggest hit, the
propulsive and danceable "Birdland" (highlighting Pastorius' singing
L-R: Zawinul, Pastorius, Shorter
bass lines and Zawinul's synthesized ensemble brass), which became
a pop hit and later became a jazz standard. Weather Report appeared
on the Burt Sugarman-produced series The Midnight Special,
performing both "Birdland" and "Teen Town". Heavy Weather dominated Weather Report's disc awards,
including their last DownBeat Album of the Year award.

During this period, Pastorius' strong professional connection with Joni Mitchell (for whom he played bass
throughout the latter half of the 1970s) led to another musical connection. Over the next few years, Mitchell
hired the Weather Report line-up en masse (although without Zawinul in each case) to play on her studio
albums Don Juan's Reckless Daughter (1977) and Mingus (1979).

During August 1978 the band joined Maurice White's vanity label ARC
at Columbia.[13] At the time they were once again without either a full-
time drummer and percussionist, with Alex Acuña having returned to Las
Vegas for a career as a studio musician and Manolo Badrena having been
fired for "non-musical reasons". Shorter had been focusing most of his
attention and compositional ideas into his solo work, while Zawinul was
sketching out ideas for a solo album of his own, which involved moving
away from a raw group sound in favor of constructing a far more
Jaco Pastorius, with bass guitar
orchestrated and experimental studio-based recording with multiple in Toronto, November 1977
overdubs. However, Weather Report's contract and work schedule
required another album, so Zawinul's solo work was absorbed into what
became Weather Report's eighth album, Mr. Gone (1978).

The studio sessions made use of a variety of drummers – Pastorius played the kit on two tracks and further
contributions came from Tony Williams, Steve Gadd, and Peter Erskine (the latter an ex-Stan
Kenton/Maynard Ferguson drummer recruited to the project by Pastorius). Erskine became a full member of
the band for the next tour and remained with Weather Report until 1982. The album also featured guest
appearances from Deniece Williams and Earth Wind and Fire leader Maurice White.

The album rose to No. 1 on the Billboard Jazz Albums chart. [14]

Notoriously, Mr. Gone (1978) received only a one-star review rating from DownBeat after a string of group
releases which had all pulled a five-star rating. The group arranged for a rebuttal interview with the magazine
to defend their efforts. Zawinul and Pastorius were defiant in their responses to the interviewer, Shorter more
philosophical, and Erskine the most reticent of the four.

By the late '70s, Weather Report was a quartet of Zawinul, Shorter, Pastorius, and Erskine, and (for the first
time) had dispensed with the auxiliary percussionist role, which had been integral since the band's inception.
Instead, all four members doubled on percussion at various points in live performances. Zawinul commented
that this sleeker, less crowded sound provided more
listening range and made the music less chaotic now that
the band were focusing more on melody and
harmony.[15][16]

The larger scale and multimedia staging of the band's

tours (complete with stagehands, laser and film
projections) began to take on the kind of rock-star
proportions mostly unknown in jazz circles. The 1979
double live album 8:30 (which won that year's Best Jazz
Fusion Performance) was recorded on the Mr. Gone tour
and captured the direct power and energy of this lineup of Weather Report performing in Amsterdam, in 1980
Weather Report. Zawinul would later describe this lineup
as "one of the greatest bands of all time! That band was a
hummer!"[17]

Between March 2 and 4, 1979, Weather Report traveled to Havana, Cuba, to participate in the historic Havana
Jam festival, a break in mutual Cuban/American political hostilities, which had American artists such as
Stephen Stills, the CBS Jazz All-Stars, Bonnie Bramlett, Kris Kristofferson, Rita Coolidge, and Billy Joel
play alongside Cuban artists such as Irakere, Pacho Alonso, Tata Güines, and Orquesta Aragón. Another
featured performance was by the Trio of Doom (a short-lived teaming of Pastorius with John McLaughlin and
Tony Williams). Weather Report's performance featured in Havana Jam '79, Ernesto Juan Castellanos'
documentary celebrating the event.

1980-1982: A tighter arrangement

During 1979's touring, Shorter had begun to feel sidelined by the current Weather Report's aggressive drive
and by the sometimes overly macho musical interplay between Pastorius and Zawinul, which on at least one
occasion squeezed him out of band performance. At one point, he claimed to a journalist that he would be
leaving the band within a few months. In the event, Shorter resolved his major differences with his bandmates
- but the near-split appeared to inform Weather Report's next development, which was a step back towards a
purer jazz approach.

At the beginning of 1980, Pastorius recruited hand-drummer Bobby

Thomas, Jr. (a fellow Floridan, with whom he had jammed
previously) into the band. Thomas featured on the 1980 album Night
Passage. A tighter and more traditional recording than previous
releases, the record featured a more prominent role for Shorter, a
strong element of bebop, and a nod to jazz's golden age via a high-
speed cover of Duke Ellington's "Rockin' in Rhythm" (showing off
Zawinul's pioneering and ever-increasing ability to create synthetic
Drummer Thomas, left, and Shorter, big-band sounds on his synthesizers).
performing in Amsterdam, in 1980
By now, Pastorius was displaying signs of the mental instability and
substance abuse problems that ultimately wrecked his career; and the
close relationship he'd previously shared with Zawinul was becoming strained as Zawinul grew tired of
Pastorius' showmanship onstage (beginning to feel that it detracted from the music). Towards the end of the
year, Pastorius began working on his long-delayed second solo album (Word of Mouth) (1981) in New York,
while Zawinul worked on new Weather Report material in California.

Weather Report's next album Weather Report (1982) - their second eponymous release following their 1971
debut - was recorded in 1981, although it was not released for another year. Zawinul's dominance as
instrumentalist and composer (as well as group director) was even more pronounced on this album. Much of
the band's music was increasingly written out rather than improvised. In the event, Pastorius spent more of his
creative attention on the Word of Mouth project: his only writing for the Weather Report album being his
contribution to a single, group-composed piece. Shorter (who only contributed one whole composition to the
1982 album beyond group-written work) was already taking a more philosophical approach. He later
commented, "for a long time in Weather Report, I abstained. I elected not to do things."

The delay in releasing the 1982 Weather Report album had the side effect of breaking up the current line-up
of the band. By late 1981, Pastorius was putting together the Word of Mouth Big Band (which included
Erskine) for concert dates in Japan, on the assumption that 1982 would be a Weather Report rest year.
However, previously canceled tour dates had left the band open to potentially crippling lawsuits and an
obligation to play replacement concerts. When scheduled, these clashed with the Word of Mouth concerts and
led to Pastorius leaving Weather Report, albeit relatively amicably. As Zawinul put it, "We had no choice. We
had to find another bass player... Basically, Jaco went his way and we had to go ours."

Erskine's own commitment to Word of Mouth (and a subsequent summer commitment to Steps Ahead) meant
that he, too, had to be replaced, while Robert Thomas, Jr., was simply dismissed. Reduced to a duo, and with
tour commitments looming, Zawinul and Shorter were obliged to quickly assemble a new band.

1982–1985: A new band

On the recommendation of Michał Urbaniak, Zawinul and Shorter recruited the 23-year-old drummer Omar
Hakim, a talented session player and multi-instrumentalist, who had played with a variety of musicians
(including Mike Mainieri, David Bowie, and Carly Simon). Hakim was immediately entrusted with recruiting
the rest of the new lineup. Having failed to secure Marcus Miller as bass guitarist, he selected Victor Bailey (a
recent graduate from the Berklee College of Music, with whom Hakim had played while backing Miriam
Makeba). Hakim also recruited percussion/concertina player José Rossy, with whom he had worked in
Labelle.

The new Weather Report went straight onto tour. The music developed on tour was later recorded for the
1983 album Procession, which showed the band beginning to make something of a return to the "world
music" approach which it had pioneered in the mid-1970s, and featured a cameo appearance from The
Manhattan Transfer.

Continuing with the same lineup, Weather Report recorded the Domino Theory album in 1984, with Hakim
stepping into Jaco Pastorius' old role as Zawinul's co-producer. The album was Weather Report's first album
to employ drum machines and samplers (the Emulator), deepening the band's involvement with cutting-edge
music technology) and also featured a guest vocal from Carl Anderson. However, by this point in time the
band's profile was beginning to suffer due to the revival of more traditionally styled jazz, which made it
harder to market jazz fusion.

Percussionist and singer Mino Cinélu replaced Rossy in the spring of 1984 and appeared on the band's video
release Live in Japan (reissued on DVD in 2007). The same lineup played on 1985's Sportin' Life album,
which included a cover of Marvin Gaye's "What's Going On" and appearances by Bobby McFerrin and Carl
Anderson. In keeping with Zawinul's technological curiosity, the album heralded the arrival of MIDI, which
allowed him to rapidly and inexpensively write, demonstrate, and record music via a set of synthesizers.

By the time of the release of Sportin' Life Shorter and Zawinul had opted not to tour the material. Instead,
they took a break for long-delayed solo projects. Despite Weather Report's inactivity (during which Hakim
joined Sting's band and Bailey worked with Steps Ahead), Zawinul and Shorter still claimed that the band
was still a going concern.

1986: Final split

Weather Report's contract with Columbia Records expired in 1986, leaving both parties open to other options.
By this point, both Zawinul and Shorter were beginning to realise that the refreshing nature of other projects
was more satisfying than Weather Report work, and both generally felt that the band had run its course.[1]

Since Columbia Records was contractually owed one more Weather Report record, the band delivered it in
the shape of their 1986 album This Is This!, which was assembled during gaps in various players' schedules.
With Hakim now too busy with Sting to play drums on more than one of the album's tracks, Zawinul recruited
Peter Erskine to play the rest. Cinelu and Bailey were both flown in for a few days to record, and contributed
one composition each, with the remainder being written by Zawinul. For two tracks, Zawinul brought in
guitarist Carlos Santana as a contributor. However, Shorter spent barely any more time on the project than
Bailey or Cinelu did: he contributed no compositions at all, and was not even present on many of the album's
tracks.

In February 1986, the San Diego Union-Tribune announced that Shorter had left the band to concentrate on
solo work.[18] Having reluctantly agreed with Shorter that he would no longer use the band name, Zawinul
then ended Weather Report.

1986-present: After Weather Report

Having split the band, Zawinul promptly attempted to reform it - after a fashion - as Weather Update.[1] For
this project, he reunited with recent Weather Report alumni Victor Bailey, Mino Cinélu and Peter Erskine, but
replaced Shorter with guitarist John Scofield. This lineup was short-lived, with Los Angeles session guitarist
Steve Khan and former Weather Report percussionist Robert Thomas, Jr. replacing Scofield and Cinelu prior
to live appearances.[19] Weather Update toured in 1986 and 1987 before Zawinul dissolved the band. From
1988 onwards, Zawinul went on to enjoy a successful nineteen-year career leading the world music/jazz
ensemble The Zawinul Syndicate (which has continued, following Zawinul's death, as The Syndicate).

Rather than form another collective band, Wayne Shorter concentrated on his solo career and on work as a
bandleader, which continues to the present day.

In spite of the band's enduring popularity, a Weather Report reunion never occurred. The nearest that the band
ever came to reuniting was when Zawinul and Shorter both played live with Miles Davis on July 10, 1991, in
Paris (the only time when Zawinul is known to have shared a live stage with Davis).[6] A projected mid-'90s
reunion CD for Verve never materialized; according to Zawinul, disappointing sales for Shorter's CD High
Life may have played a part in ending the idea.[20]

Four of the band's members have since died. Zawinul himself died on September 11, 2007, in Vienna from
skin cancer (Merkel cell carcinoma).[21][22] He was predeceased by mid-period bass player Jaco Pastorius,
who died on September 21, 1987, following a fatal beating in his hometown of Fort Lauderdale, Florida.
Pastorius' successor on bass guitar, Victor Bailey, died on November 11, 2016 (apparently from complications
from Charcot-Marie-Tooth disease and amyotrophic lateral sclerosis).[23][24] Alphonse Mouzon, the first
drummer, died on December 25, 2016 from cardiac arrest after neuroendocrine cancer.[25][26]

Lineups
Late 1970 - Early 1971 Early 1971 Early 1971 – Mid 1971 Mid 1971 – Early 1972

Wayne Shorter - Wayne Shorter - Wayne Shorter - Wayne Shorter -

soprano saxophone soprano saxophone soprano saxophone soprano saxophone
Joe Zawinul - Joe Zawinul - Joe Zawinul - Joe Zawinul -
electric and electric and electric and electric and
acoustic pianos acoustic pianos acoustic pianos acoustic pianos
 Miroslav Vitouš - Miroslav Vitouš - Miroslav Vitouš - Miroslav Vitouš -
acoustic and acoustic and acoustic and acoustic and
electric basses electric basses electric basses electric basses
Alphonse Mouzon Alphonse Mouzon Alphonse Mouzon Alphonse Mouzon
- drums, vocals - drums, vocals - drums, vocals - drums, vocals
Don Alias - Barbara Burton - Barbara Burton - Dom Um Romão -
percussion percussion percussion percussion
Barbara Burton - Airto Moreira -
percussion percussion
Early 1972 - End 1972 End 1972 - Early 1973 Early 1973 - End 1973 End 1973 - Mid 1973

Wayne Shorter - Wayne Shorter - Wayne Shorter - Wayne Shorter -

soprano and tenor soprano and tenor soprano and tenor soprano and tenor
saxophones saxophones saxophones saxophones
Joe Zawinul - Joe Zawinul - Joe Zawinul - Joe Zawinul -
electric and electric and electric and electric and
acoustic pianos, acoustic pianos, acoustic pianos, acoustic pianos,
synthesizer synthesizer synthesizer synthesizer, organ,
Miroslav Vitouš - Miroslav Vitouš - Miroslav Vitouš - percussion, guitar
acoustic and acoustic and acoustic and Alphonso
electric basses electric basses electric basses Johnson - electric
Eric Gravatt - Andrew White - Greg Errico - bass, chapman
drums English horn, drums stick
Dom Um Romão - electric bass Dom Um Romão - Ishmail Wilburn -
percussion Eric Gravatt - percussion drums
drums Dom Um Romão -
Herschel percussion
Dwellingham -
drums
Dom Um Romão -
percussion
Muruga Booker -
percussion
Mid 1973 - Mid 1974 Mid 1974 - End 1974 End 1974 - Mid 1975 Mid 1975 - End 1975

Wayne Shorter - Wayne Shorter - Wayne Shorter - Wayne Shorter -

soprano and tenor soprano and tenor soprano and tenor soprano and tenor
saxophones saxophones saxophones saxophones
Joe Zawinul - Joe Zawinul - Joe Zawinul - Joe Zawinul -
electric and electric and electric and electric and
acoustic pianos, acoustic pianos, acoustic pianos, acoustic pianos,
synthesizer, organ, synthesizer, organ, synthesizer, organ, synthesizer, organ,
percussion, guitar percussion, guitar percussion, guitar percussion, guitar
Alphonso Alphonso Alphonso Alphonso
Johnson - electric Johnson - electric Johnson - electric Johnson - electric
bass, chapman bass, chapman bass, chapman bass, chapman
stick stick stick stick
Ishmail Wilburn - Chuck Bazemore - Leon "Ndugu" Chester
drums drums Chancler - drums Thompson - drums
Darryl Brown - Alyrio Lima - Alyrio Lima - Alyrio Lima -
drums percussion percussion percussion
 Dom Um Romão -
percussion
End 1975 - Start 1976 Start 1976 Start 1976 - Early Early 1977 - Spring
1977 1978

Wayne Shorter - Wayne Shorter - Wayne Shorter - Wayne Shorter -

soprano and tenor soprano and tenor soprano and tenor soprano and tenor
saxophones, lyricon saxophones, lyricon saxophones, lyricon saxophones, lyricon
Joe Zawinul - Joe Zawinul - Joe Zawinul - Joe Zawinul -
electric and electric and electric and electric and
acoustic pianos, acoustic pianos, acoustic pianos, acoustic pianos,
synthesizer, organ, synthesizer, organ, synthesizer, organ, synthesizer, organ,
percussion, guitar percussion, guitar percussion, guitar percussion, guitar
Alphonso Jaco Pastorius - Jaco Pastorius - Jaco Pastorius -
Johnson - electric electric bass electric bass electric bass,
bass, chapman Narada Michael Chester drums, percussion
stick Walden - drums Thompson - drums Alex Acuña -
Chester Don Alias - Don Alias - drums, percussion
Thompson - drums percussion percussion Manolo Badrena -
Don Alias - Alex Acuña - Alex Acuña - percussion
percussion percussion percussion
Alex Acuña -
percussion
Spring 1978 - Early Early 1980 - Start Start 1982 - Spring Spring 1984 - Early
1980 1982 1984 1986

Wayne Shorter - Wayne Shorter - Wayne Shorter - Wayne Shorter -

soprano and tenor soprano and tenor soprano and tenor soprano and tenor
saxophones, saxophones, saxophones, saxophones,
lyricon, percussion lyricon, percussion lyricon, percussion lyricon, percussion
Joe Zawinul - Joe Zawinul - Joe Zawinul - Joe Zawinul -
electric and electric and electric and electric and
acoustic pianos, acoustic pianos, acoustic pianos, acoustic pianos,
synthesizer, organ, synthesizer, organ, synthesizer, organ, synthesizer, organ,
percussion, guitar percussion, guitar percussion, guitar percussion, guitar
Jaco Pastorius - Jaco Pastorius - Victor Bailey - Victor Bailey -
electric bass, electric bass, electric bass electric bass
drums, percussion drums, percussion Omar Hakim - Omar Hakim -
Peter Erskine - Peter Erskine - drums, percussion, drums, percussion,
drums, percussion drums, percussion guitar guitar
Robert Thomas Jr. José Rossy - Mino Cinélu -
- percussion percussion, percussion, vocals,
concertina acoustic guitar
Early 1986 - February February 1986 - 1986 1986 - 1987 (as
1986 (As Weather Update) Weather Update)

Wayne Shorter - Joe Zawinul - Joe Zawinul -

soprano and tenor electric and electric and
saxophones, acoustic pianos, acoustic pianos,
lyricon, percussion synthesizer, synthesizer,
Joe Zawinul - percussion percussion
electric and John Scofield - Steve Khan -
acoustic pianos, electric guitar electric guitar
 synthesizer, Victor Bailey - Victor Bailey -
percussion electric bass electric bass
Victor Bailey - Peter Erskine - Peter Erskine -
electric bass drums drums
Omar Hakim - Mino Cinélu - Robert Thomas Jr.
drums, percussion, percussion, vocals, - percussion
guitar acoustic guitar
Peter Erskine -
drums
Mino Cinélu -
percussion, vocals,
acoustic guitar

Timeline

Releases since the band's breakup

A "post band" Weather Report double CD called Live and Unreleased was made available in 2002, featuring
vintage live recordings made during the late 1970s/early 1980s with various personnel. In September 2006,
Columbia/Legacy released a Weather Report boxed set, Forecast: Tomorrow. It includes three CDs of mostly
previously released material (from 1970 to 1985, excluding This is This!) and a DVD of the entire September
29, 1978, performance (with Erskine and Pastorius) in Offenbach, Germany, not previously available. A DVD
video of the 1976 Montreux Jazz Festival performance (featuring the Heavy Weather lineup of Pastorius,
Acuna, and Badrena) has become available, as well. Columbia/Legacy have also re-released the 1984 Live in
Japan concert on DVD.

In 2011, the Zawinul estate, in conjunction with an independent label, released a 40th-anniversary
commemorative trilogy of previously unavailable Weather Report live shows: In March Live in Berlin 1975
was released both on vinyl and as a CD/DVD set; in June the Live in Offenbach 1978 DVD was re-released
together with a previously unavailable double CD of the complete show; in October Live in Cologne 1983
was released as both DVD and double CD.

Grammy Awards
The Grammy Awards are awarded annually by the National Academy of Recording Arts and Sciences of the
United States. Weather Report won one Grammy from six nominations.[27]

See also: List of Awards and Nominations of Weather Report

Year Nominee / work Award Result

1972 "I Sing The Body Electric" Best Jazz Performance by a Group
1979 "8:30" Best Jazz Fusion Performance, Vocal or Instrumental
1981 "Night Passage" Best Jazz Fusion Performance, Vocal or Instrumental
1982 "Weather Report" Best Jazz Fusion Performance, Vocal or Instrumental
1983 "Procession" Best Jazz Fusion Performance, Vocal or Instrumental
1985 "Sportin' Life" Best Jazz Fusion Performance, Vocal or Instrumental

Studio albums
This table shows the main studio albums released by Weather Report. For more detailed information, please
see: Weather Report discography.[28][29]
 Year Album
1971 Weather Report
1972 I Sing the Body Electric
1973 Sweetnighter
1974 Mysterious Traveller
1975 Tale Spinnin'
1976 Black Market
1977 Heavy Weather
1978 Mr. Gone
1980 Night Passage
1982 Weather Report
1983 Procession
1984 Domino Theory
1985 Sportin' Life
1986 This Is This!

References
1. Colin Larkin, ed. (1997). The Virgin Encyclopedia of Popular Music (Concise ed.). Virgin Books.
p. 1238. ISBN 1-85227-745-9.
2. Nicholson, Stuart. Jazz-Rock: A History. Schirmer Books. 2001, ISBN 978-0825671883
3. Silvert, Conrad. "Joe Zawinul: Wayfaring Genius - Part II". DownBeat. June 15, 1978.
4. Jung, Fred. "A Fireside Chat with Miroslav Vitous" (http://www.allaboutjazz.com/php/article.php?
id=619&pg=3) (page 3). All About Jazz (allaboutjazz.com). October 10, 2003.
5. (Dan Morgenstern, DownBeat, May 13, 1971).
6. "Weather Report | Biography & History" (https://www.allmusic.com/artist/weather-report-mn0000
243527/biography). AllMusic.
7. Glasser, Brian. "In a Silent Way". Sanctuary Publishing Limited. 2001.
8. Armbruster, Greg. "Joe Zawinul Interview". Keyboard Magazine. March 1984.
9. Woodard, Josef. "Weather Report: Storm Surge". DownBeat. January 2001. pp. 22–28.
10. Kot, Jake (August 1, 2009). "Conversation with Miroslav Vitous" (https://bassmusicianmagazine.
com/2009/08/conversation-with-miroslav-vitous/). Bass Musician.
11. Prasad, Anil. "Miroslav Vitous: Freeing the muse" (http://www.innerviews.org/inner/vitous.html).
Innerviews webzine. 2004.
12. "1977 Weather Report Tour Program" (http://www.zawinulonline.org/galleries/1977_wr_progra
m). Zawinulonline.org. Retrieved September 30, 2019.
13. New ARC Columbia Label on debut (https://books.google.tt/books?id=ViQEAAAAMBAJ&pg=PT
18&dq=Maurice+White+1978+ARC&hl=en&sa=X&ved=0ahUKEwjBhfbq5MPgAhUQhuAKHVL9
D2UQ6AEIKzAE#v=onepage&q=Maurice%20White%201978%20ARC&f=false). 90. Billboard
Magazine. August 5, 1978. p. 19.
14. Billboard Jazz Albums. 90. Billboard Magazine. December 2, 1978. p. 56.
15. Silvert, Conrad. "Joe Zawinul: Wayfaring Genius--Part II". DownBeat. June 15, 1978.
16. Hunt, Dennis. "Weather Report's Cloudy Image". Los Angeles Times. November 19, 1978.
17. Jackson, Blair. "Fusion Giants Weather Report". BAM #157. June 3, 1983.
18. Varga, George. "Shorter Departs Weather Report". San Diego Union-Tribune. February 28,
1986.
19. Bianchi, Curt. "Weather Update: Zawinul in Transition" (http://www.zawinulonline.org/articles/we
ather_update/). Zawinul Online website. 2001.
20. Prasad, Anil. "Joe Zawinul: Man of the people" (http://www.innerviews.org/inner/zawinul.html).
Innerviews webzine. 1997.
21. McDonald, Ray (September 12, 2007). "Keyboardist Joe Zawinul Dies" (https://web.archive.org/
web/20090116115422/http://www.voanews.com/english/archive/2007-09/2007-09-12-voa18.cf
m). VOA News. Voice of America. Archived from the original (http://voanews.com/english/archiv
e/2007-09/2007-09-12-voa18.cfm) on January 16, 2009. Retrieved January 2, 2009.
22. Schudelm, Matt (September 12, 2007). "Joe Zawinul, 75; Keyboardist Was a Pioneer of Jazz
Fusion" (https://www.washingtonpost.com/wp-dyn/content/article/2007/09/11/AR200709110228
9.html). The Washington Post. Retrieved May 6, 2010.
23. "Victor Bailey, RIP" (http://www.weatherreportdiscography.org/victor-bailey-rip/).
VictorBailey.com. Retrieved November 12, 2016.
24. "Health Update, Sept. 27th 2016" (https://www.facebook.com/victor.bailey.7165/posts/86279911
7184719). Facebook.com. Retrieved November 12, 2016.
25. "Alphonse Mouzon, Jazz and Fusion Drummer, Dies at 68" (https://www.nytimes.com/2016/12/2
8/arts/music/alphonse-mouzon-jazz-and-fusion-drummer-dies-at-68.html). Nytimes.com.
Retrieved December 28, 2016.
26. "Remembering Alphonse Mouzon" (http://downbeat.com/news/detail/remembering-alphonse-mo
uzon). Downbeat.com. Retrieved February 6, 2017.
27. "Weather Report" (https://www.grammy.com/grammys/artists/weather-report). Grammy.com.
28. "Weather Report > Discography > Main Albums" (https://www.allmusic.com/artist/weather-report
-mn0000243527) (XHTML). AllMusic. Retrieved September 2, 2010.
29. Bianchi, Curt (2005). "Weather Report: The Annotated Discography" (http://www.binkie.net/wrdi
sc/index.html). www.binkie.net. Retrieved September 2, 2010.

External links
Weather Report's official website (http://www.weatherreportmusic.com)

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