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BassPlayer.com >> This Month >> The Bass World Remembers Joe Zawinul
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Click on the Images The Bass World Remembers Joe Zawinul| January, 2008 Storied keyboardist/composer Joe Zawinul, who died on September 11 of Merkel cell carcinoma (a form of skin cancer), was widely known as “the Maestro.” The nickname had numerous implications, including his cornerstone role in electrifying jazz, and his fingers-on work at the forefront of synthesizers. Throughout the bass world, however, the term alluded to his forceful frontman role. Indeed, in the hearts and minds of bassists, Zawinul was among music’s most important bandleaders. Beginning with Weather Report and continuing in his own groups, Zawinul introduced and featured such thick-stringers as Miroslav Vitous, Alphonso Johnson, Jaco Pastorius, Victor Bailey, Matt Garrison, and Richard Bona. As a result, the Maestro’s bass chair became more of a coveted, symbolic seat, with the expectation that whoever filled this thumper throne would be a major force on the instrument. Josef Erich Zawinul was born in Vienna, Austria, on July 7, 1932, and received extensive classical training in piano and composition. His passion for jazz, however, led him to emigrate to the U.S. in 1958. Quick stints at Berklee College of Music and in Maynard Ferguson’s big band culminated in his nine years as a member of Cannonball Adderley’s quintet (mostly with Sam Jones on upright). There, he contributed the standard “Mercy, Mercy, Mercy” and began to explore soul jazz and the electric piano. This placed him in the thick of the burgeoning jazz-rock scene, leading to his appearance on such seminal Miles Davis sides as In a Silent Way (for which he wrote the title track) and Bitches Brew. In late 1970, Zawinul formed Weather Report with saxophonist Wayne Shorter. Combining funk and world-music grooves with jazz, the group, in its various editions, would spend the next 15 years as the consensus leading-edge contemporary jazz ensemble. Weather Report’s commercial peak coincided with Jaco’s six years and six albums with the band, yielding the classic disc Heavy Weather and its signature track, “Birdland.” Zawinul then put in another 20 years with his similarly themed Zawinul Syndicate (at first called Weather Update). We asked a handful of veteran Joe Z bassists for some insight into the mind and musical prowess of this low-end-savvy legend. Alphonso Johnson“The best thing I can say about Joe is he was always honest. When he liked something, he really loved it, and when he didn’t like something, he would not hesitate to say so. He could look you in the eye without blinking and see if you were for real or not. His sense of humor was so African-American, but with an Austrian twist that would make you laugh not at what he said, but the way he expressed it to you. I will be forever grateful for the way Joe took me under his wing as a young man and gave me guidance, without trying to be a father figure. He would always make me question why I did certain things, and ask me if I could face the consequences of my decisions. Without a doubt the most impressive piece of music that Joe and I played together was ‘Cucumber Slumber’ [from Mysterious Traveller, Columbia]. He took a simple bass riff and turned it into a masterpiece. His use of harmony was unique and so specific to him that I believe it’s what the musical community will miss most of all. Needless to say, I miss him dearly.” Victor Bailey“Over the 27 years we played together, Joe and I got along great. He always encouraged me; he told me from the first day I met him that I was going to be a bandleader one day. The key lesson I took from him and Wayne is that the music itself is what’s most important. They both had mastered their craft and their talent to the point where they could care less about chops; they weren’t trying to prove anything, it was purely about working on the quality of the music. Joe once said to me, “When you have your own band someday, make sure your music is good enough that you can do an entire show without anybody taking a solo, and still blow the audience away.” Playing with Joe was a musical and personal highpoint in my career. I’m sad he’s gone, but he lived an incredible life. As an artist, he was able to do exactly and only what he wanted to do, right up until his final gig. There are very few musicians who can say the same.” Jaco Pastorius“I love Joe Zawinul like nobody else in the world. Joe and Wayne Shorter are the greatest, and that’s it. They are the two best men I know. And, of course, my two biggest teachers to date.” [From Guitar Player, August ’84.] Matt Garrison“I played with Joe for about two years, and that period was critical in my development as a musician—and furthermore, as a human being. Joe was tough, but when the time was right, his heart would shine through and it was a true honor being around him. He was hard on the band sometimes, but we all knew deep down it was about trying to get the best out of us and himself. I didn’t always agree with the method, but I understood the direction. His stories, his wisdom, and of course his music were all some of the great moments in my life, and I’ll always cherish the memories.” Linley Marthe“I get a lot of inspiration from Joe. I play with more dynamics now. Most groups’ dynamics are either high or low, but Joe’s music has many different dynamic levels. The first time I played with Joe he said, [imitating Joe’s Austrian accent] ‘Yeah, my good brother, play like that. That’s cool.’ I feel very lucky that he liked how I played. I was happy to join the band and was quite surprised. I like the music, but I also like having his friendship. Playing powerful and beautiful music with Joe and the band is the best!” [BP, April ’07] Gerald Veasley“When it comes to the character of musicians, I believe people are as they play. You can tell a lot about the creator by listening to what they’ve created. I’ve tested this maxim through the years and found it to be completely true. The life and work of Joe Zawinul proves it. Listen to Zawinul’s music and you know it’s not the product of a timid, uncertain man. When you hear Zawinul, you are coming face to face with a force of nature. Often, he was misunderstood for his directness, his over-the-top confidence, and his intolerance for mediocrity. Here’s what people may have missed about Joe: He was as demanding of himself as he was of others. He had a tireless work ethic and shrugged off the petty inconveniences other musicians incessantly gripe about. In spite of his much-photographed scowl, Joe was the picture of ‘positive thinking.’ Was he gruff? Yes, but he was also optimistic that if you’re willing to sweat, things will work out. My favorite Zawinul memory is from 1993, while we were touring in Italy. Joe learned that wildfires were threatening his house in Malibu. His reaction? ‘That’s okay—I’ll move to New York.’ I swear there was a twinkle in his eye. In the face of tragedy, and at age 61, he was looking forward to a new beginning. In the end, his Malibu home was spared. Guess what? He moved to New York anyway. In nearly eight years of touring and recording with Zawinul, I learned a great deal about music—that’s what happens when you ride a tour bus with a genius—but more important, I learned about living. Thank you, Joe.” Essential Joe ZawinulSolo albums/Zawinul Syndicate The Rise & Fall of the Third Stream [Vortex, 1965] (Sam Jones, Richard Davis, and Bob Cranshaw on bass) With Weather Report I Sing the Body Electric [Columbia, 1971] (Miroslav Vitous, Andrew White, Will Lee) With Cannonball Adderley Mercy, Mercy, Mercy! Live at “The Club” [EMI, 1966] (Victor Gaskin) With Miles Davis Bitches Brew [Columbia, 1969] (Dave Holland, Harvey Brooks) |
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