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Josef Erich „Joe“ Zawinul war ein österreichischer Musiker und einer der einflussreichsten Jazz-Musiker des 20. Jahrhunderts.Joe Zawinul prägte zunächst als Pianist und Keyboarder, dann auch als Komponist, Bandleader und Arrangeur mehrere Jahrzehnte lang die internationale Musikszene. 1966 schrieb er für das Cannonball Adderley Quintet den Hit Mercy, Mercy, Mercy, der zu einer Referenzaufnahme des Soul Jazz wurde. 1969 komponierte er das Titelstück von Miles Davis' LP In a Silent Way, eines der ersten Fusion Jazz-Alben, an dem er ebenso entscheidend beteiligt war wie an dessen „revolutionärer“ LP Bitches Brew . Ende 1970 gründete er mit Wayne Shorter die stilprägende Fusion-Gruppe Weather Report, mit vielen Auszeichnungen gewürdigt und als „die beste Jazzband der letzten 30 Jahre“ von Josef Woodard in Down Beat bezeichnet.

Neben seinen Erfolgen als Komponist, Arrangeur und Bandleader gilt Zawinul auch als Pionier beim Einsatz elektronischer Instrumente. Er war einer der wenigen Musiker, der auf einem Synthesizer einen eigenen Ton entwickelte. Das zentrale Merkmal seiner späteren Kompositionen ist die Integration ethnischer Musizierstile und Elemente in den Jazzkontext. Er entwickelte diese Klangwelt mit Weather Report und der nachfolgenden Gruppe The Zawinul Syndicate zur Meisterschaft und erhielt dazu auf seinen Welttourneen weitere Anregungen. Wikipedia  

✵ 7. Juli 1932 – 11. September 2007
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Joe Zawinul: Zitate auf Englisch

“I ain’t scared of Beethoven or nobody when it comes to composing.”

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Joe Zawinul

As quoted on Silvert, Conrad, “Joe Zawinul: Wayfaring Genius–Part II,” Down Beat, Jun. 15, 1978, pp. 20-22

“In the beginning let's say Weather Report was a joint thing. Then, after the second album there's no question about it, it became more and more my group. Wayne wanted it like that, but we were always 'partners in crime.”

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Joe Zawinul

No Wayne, no Weather Report.
As quoted in Nicholson, Stuart. "Jazz-Rock: A History". Schirmer Books. 1998.

“Jazz music is a lifestyle. It’s not notes, chords and arpeggios. Today’s improvisation is too based on the knowledge of chords and the way they practice the chords. It’s not a melodic thing anymore like the older days. It was much more important to play shorter and to play more variable, valid stuff. Today, a lot of solos are long and uninteresting and the influence usually comes from John Coltrane’s group. He himself was a master musician, but he put so much emphasis on chord knowledge and technique, and now the kids want to show how fast they can play. This is the same with piano players and most instrumentalists—it’s speed. That’s gonna change again and hopefully the kids who are now 16 and 17 years old have a little more sense and maybe some more stories to tell.”

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Joe Zawinul

Reflecting on the new generation's take on jazz music
Prasad interview (1997)

“[Weather Report] has never put out a record that we didn’t believe in, and there’s no way in the world that anybody was ever involved in a one star album. This is a heavy thing, man. I mean, even if somebody doesn’t like the record, just for the compositions alone it’s got to be five stars. We played it very well; we worked hard on this record. Anybody who gives this record one star has got to be insane.”

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Joe Zawinul

As quoted in Birnbaum, Larry, “Weather Report Answers Its Critics,” Down Beat, Feb. 8, 1979, pp. 44-45. Down Beat Magazine. http://www.weatherreportdiscography.org/mr-gone/

“To me, this is very boring music—most of it. It has nothing happening. Nothing is sticking. They’re playing music perfectly with wonderful intonation and technique, but it’s dangerous for jazz itself. I do wish these people all the best.”

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Joe Zawinul

On Wynton Marsalis and the revival of traditional jazz
Prasad interview (1997)

“An instrument is not important. It is the way one plays that is important. Instruments don’t play by themselves. A piano is certainly not a better instrument than a synthesizer, but if a synthesizer is played like a piano, it becomes a very bad instrument. It doesn’t work. You can’t play a trumpet like a violin—it doesn’t go. That’s the problem—the players, not the instrument. Any instrument is a wonderful thing.”

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Joe Zawinul

On how a musician's way of playing is important
Prasad interview (1997)

“Everything is in decline the moment you stop giving the artist freedom. That goes for everywhere, but it is happening in America right now. I think record companies are at great fault. In general, they don’t want to develop talent, but rather get the most out of them in the short term. They’re steering people to do things they perhaps wouldn’t do but have to do and not everyone has the integrity to say “No way.” People are hungry and they have to make money and take care of their families, so it’s a great pressure. Only when you can afford it from an artistic or financial point of view can you express what you want to express.”

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Joe Zawinul

On how the record industry in America represses artist freedom and talents from upcoming artists
Prasad interview (1997)

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