SWEETNIGHTER

Joe and Wayne's third outing as "Weather Report" may be my favorite album of theirs as I really enjoy the textural approach to song-building over which the soloists are then given expansive room to experiment.

1. "Boogie Woogie Waltz" (13:03) R&B infusing Afto-Caribbean rhythm. I like the loose, airy feel of this: a "Papa Was a Rollin' Stone"-like song that feels as if the musicians are adding their contributions in small doses, not constantly or into an already-established weave (other than the percussion play). Also, I see/feel this as a response to Deodato's "Also Sprach Zarathustra." Amazing how consistent is the restraint shown by the four core members: bassist Miroslav Vitous, keyboardist Joe Zawinul, soprano sax player Wayne Shorter, as well as Andrew White's electric bass guitar. Might be a stretch too long, but . . . (23/25)

2. "Manolete" (5:55) a very pleasant Wayne-Shorter soprano sax-led song that shows off some wonderful experimental wah-volume-controlled electric piano play by Joe Zawinul along with some great double bass and percussion play from supplemental percussionists Herschel Dwellingham on drums and Steve "Muruga" Booker on timpani. (9.25/10)

3. "Adios" (2:59) wind-chime-like hand percussives and serene keyboard washes provide the backdrop for Joe and Wayne to issue some very relaxing waves of their own. Nice tune. (9/10)

4. "125th Street Congress" (12:13) based on a free-form funk bass "line" that, for me, seems to preview all of the rap and hip for the next 15 years. Another weave from the percussion section (and two drummers) is surprisingly open and spacious, creating the perfect groove for Miroslav and Wayne to create their magic while at the same time allowing for lots of room for meditation--at least until the fifth minute when Joe chimes in with some rather abrasive and aggressive keyboard "noise." This soon disappears, leaving the groovy percussive groove for Miroslav and Wayne to feed off. Joe's next reentries are a little less alarming and usually a little more reflective of the work that Wayne is doing though for a time becoming part of (or bouncing off of) the "percussion" weave. A very engaging and eminently entertaining song. (22.5/25)

5. "Will" (6:20) a testural weave of percussives, both hand and cymbal play, coupled with Joe Zawinul's steady chord arpeggi of wah-effected electric piano provide the steady foundation for Miroslav and Wayne to play with the presentation of their own inputs: one short bursts of creative bass chords, the other long-held sedating breaths of soprano saxophone. Very hypnotic. (9/10)

6. "Non-stop Home" (3:52) another amorphous exploration of texture built with experimental sounds over the tight drumming of Eric Gravatt. After 80 seconds, Andrew White's deep electric bass, a second drummer, and an uncredited organ accompany the main melody as delivered through Wayne's sonorous (background) soprano sax notes and Joe's electric piano. Interesting. I like it. It's like a sort of étude. (9.25/10)

Total time 44:22

As I gert to know the world and music of Joe Zawinul and Wayne Shorter I'm coming to believe that their vision is to explore textures more than form--to see how many permutations and combinations of textures they can come up with that will calm and/or soothe the audience/listener into contentment.

A-/five stars; a minor masterpiece of jazz-rock fusion--one that explores the gentler, more hypnotic groovin' side of said fusion.