The great Czech bassist returns once more to the music of Weather Report, the group he co-founded with Joe Zawinul and Wayne Shorter in 1970. It’s the improvisational freedom of the early Weather Report that most interests Vitous, and he abides by their old rallying call “everyone solos and no one solos”. Well-known Report repertoire re-explored includes “Birdland”, “Seventh Arrow”, “Scarlet Woman”, “Pinocchio” and “Morning Lake” and Miroslav’s group also plays “Acrobat’s Issues” a piece which the first Weather Report line-up played but didn’t record.
Features 24bit digital remastering. Comes with a description. With John McLaughlin, Herbie Hancock, Joe Henderson, and Jack DeJohnette, this group rivaled the best fusion bands of the day. It must have been an intimidating challenge for a young Czech bassist to lead such a group on his debut album as a frontman, especially since he composed five of the six tracks. Recorded in late 1969, roughly the same time as the historic Bitches Brew, and the year before Vitous began a stint with the innovative Weather Report, this was trend-setting fusion. It's produced by Herbie Mann, for whom Vitous played on such albums as Memphis Underground and Stone Flute.
A classy tribute by this masterful trio to the great controversial film director, Pier Paolo Pasolini. The trio excels in their interpretations of some of Pasolini’s best known pictures and includes original compositions by Antonio Faraò, inspired by the works of Pasolini. (Source: CAM Jazz website)
A genuine, pleasurable meeting of minds between 17th-century French lute pieces and 21st-century jazz. A gentle music stamped with midnight brooding. (Source: The Times, UK)
On the surface, Remembering Weather Report possesses little in common with the fusion supergroup that Czech bassist Miroslav Vitous co-founded in the early '70s with keyboardist Joe Zawinul and saxophonist Wayne Shorter, before being summarily removed on the cusp of greater commercial success. Weather Report was a decidedly electric group; Vitous' is unapologetically acoustic, and doesn't really resemble, musically, early albums including WR's remarkable self-titled, 1971 debut and '72 follow-up, I Sing the Body Electric, both on Columbia. ~ AllAboutJazz