Weather Report - Black Market (1976)

Been listening to this one a lot lately, so here comes another spotlight on the ever-shifting landscape of 1970s Weather Report.  Percussion-heavy, with plenty of groove to spare, the album kicks off with the bright melodic title track, bass handled by Alphonso Johnson as is the case for most of the album.  Not so for the track that follows, though - here comes the first entry of one of the group's most auspicious arrivals, with the slippery basslines of a 24-year old Floridian who had introduced himself to Zawinul as "the greatest bass player in the world".

There's only one other Pastorious performance on this transitional (even by their standards) Weather Report album, the strutting Barbary Coast from his own pen.  Otherwise, Zawinul and Shorter turn in an increasingly slick set of funky numbers influenced by Latin and African rhythms, some more atmospheric pieces and generally set the stage for Weather Report's commercial superstardom that would follow within a year.

link

pw: sgtg

Previously posted at SGTG:

s/t debut

I Sing The Body Electric

Mysterious Traveller

Hermeto Pascoal - Slaves Mass (1977)

Wanted to give Hermeto Pascoal's music a try after that post of Live-Evil, so here's a jazz fusion classic with plenty of authentic Brazilian flavour thanks to the array of great guest musicians.  Recording in Los Angeles, Pascoal jammed with Weather Reporters Alphonso Johnson and Chester Thompson for one aspect of the album - lengthy fusion improvs led by Pascoal's electric piano.  Only one of these sessions made the album - the stunning opener Mixing Pot (Tacho) - but this CD reissue captures two more as bonus tracks, and at around fifteen minutes apiece both are welcome additions here.

The other lineup on the album centred around Flora Purim and Airto Moreira, married at that time and having shared history with Pascoal in the group Quarteto Novo.  They are joined by Ron Carter on bass and first introduced on the ritualistic, experimental title track - Airto is credited with "live pigs" here, which must've been an interesting recording session.  Side one of the album is filled out by the sunny, melodic Little Cry For Him (Chorinho Pra Ele), which reminded me of Egberto Gismonti circa Circense, and a composition in tribute to Cannonball Adderley that features flute, percussion and varispeed voices.

In another Gismonti similarity, this time to Dança Das Cabeças, Side two of Slaves' Mass starts out with solo piano, in the dazzling runs of Just Listen (Escuta Meu Piano).  The lovely and languid That Waltz (Aquela Valsa), with interplay between Pascoal's soprano sax and Raul De Souza's trombone, gives a bit of a breather before the final track.  The twelve minutes of Cherry Jam (Geleia De Cereja) are a straight trio performance between Pascoal, Carter and Moeira, and run through plenty of electric piano, sax and percussion solos to give a fantastic close to a highly recommended album.  As mentioned earlier, the three bonus outtakes are all worth hearing - a short track that features Pascoal on accordion and vocals, then two lengthy Johnson/Thompson workouts.

link

pw: sgtg