Weather Report
Weather Report was an American jazz fusion band of the 1970s and early 1980s. The band was initially co-led by the Austrian-born keyboard player Joe Zawinul, the American saxophonist Wayne Shorter and Czech bassist Miroslav Vitouš. Other prominent members at various points in the band's lifespan included bassists Alphonso Johnson, Jaco Pastorius and Victor Bailey; and drummers/percussionists Airto Moreira, Chester Thompson, Alex Acuña and Peter Erskine. Throughout most of its existence, the band was a quintet of keyboards, saxophone, bass, drums and percussion.
The band began as an avant-garde jazz group; when Vitouš left Weather Report after a few years, Zawinul increasingly took control and steered the band towards a more funk and R&B-oriented jazz sound incorporating elements of world music and the latest developments in synthesizer technology. During the mid-1970s Weather Report remained one of the defining acts within the jazz form, winning the DownBeat best album award five times in a row.
Alongside Miles Davis's electric bands, the Mahavishnu Orchestra, Return to Forever, and the Headhunters, Weather Report is considered to be one of the pre-eminent early jazz fusion bands.
Musical style
Over their 16-year career, Weather Report explored various areas of music, centered on jazz, but also including various elements of art music, ethnic music, R&B, funk, and rock. While their work was often categorized as "jazz fusion", the band members themselves generally rejected the term.From the start, Weather Report took the unusual and innovative approach of abandoning the traditional "soloist/accompaniment" demarcation of straight-ahead jazz and instead featured opportunities for continuous improvisation by every member of the band. This position remained consistent throughout the life of the band. From the mid-1970s, individual solos became more prominent, but were never allowed to overwhelm the music's collective approach. Initially, the band's music featured a free, extended improvisational method, but by the mid-1970s, this had moved towards more groove-oriented and prestructured music.
Joe Zawinul's playing style was often dominated by quirky melodic improvisations combined with sparse but rhythmic big-band chords or bass lines. Having originally made his name as a pioneering electric piano player, he went on to consistently develop the role of the synthesizer in jazz during his time with Weather Report. Working with companies such as ARP and Oberheim, Zawinul developed new ways of voicing and patching electronic tones for textures, ensemble roles and soloing. In Weather Report, he often employed a vocoder, as well as recorded sounds played through a synthesizer, creating a very distinctive, often beautiful, synthesis of jazz harmonics and "noise". On some Weather Report tunes, however, Zawinul's synthesized arrangements dominated the sound.
Wayne Shorter came to the group with a reputation as a dominant role as an instrumentalist, drawn from both his solo work and his contributions to Miles Davis' "second great quintet" during the 1960s. His choice not to follow the same approach with Weather Report led to some criticism of the group. During his time with Weather Report, Shorter was noted for generally playing saxophone with an economical, "listening" style. Rather than continually taking the lead, he generally added subtle harmonic, melodic, and/or rhythmic complexity by responding to other member's improvisations. As a composer, he chose a more abstract, sometimes atonal and "free jazz" style of music, opposed to the sometimes flamboyant melodicism of the tunes written by Zawinul or Pastorius. Playing both tenor and soprano saxophones, Shorter continued to develop the role of the latter instrument in jazz, taking his cue from previous work by Coltrane, Sidney Bechet, Lucky Thompson, and Steve Lacy.
Weather Report maintained a consistent interest in a textured sound and developments in music technology and processing. Both Zawinul and original bassist Miroslav Vitouš experimented with electronic effects pedals with Zawinul using them on electric piano and synthesizers and Vitouš on his upright bass. The band's third bass player, Jaco Pastorius, popularized the use of fretless bass guitar, melodic bass soloing and extensive use of string harmonics, as well as consolidating the driving R&B pulse in the band's music.
With the exception of a brief quartet period between 1978 and 1979, Weather Report's instrumentation always included both a drummer alongside a percussionist. For its first eight years of existence, the group had difficulty finding a permanent drummer, moving through about one drummer per year until Jaco Pastorius helped to recruit Peter Erskine in 1978. Erskine and Omar Hakim were the only Weather Report drummers who played with the band for more than two years.
History
1970: Inception and formation
Joe Zawinul and Wayne Shorter had first met and become friends in 1959 while they were playing in Maynard Ferguson's Big Band. Zawinul went on to play with Cannonball Adderley's group in the 1960s, while Shorter joined Art Blakey's Jazz Messengers and then, in 1964, Miles Davis' second great quintet. During this decade, both men made names for themselves as being among the best composers in jazz.Zawinul later joined Shorter in contributing to the initial fusion music recordings of Miles Davis, and both men were part of the studio groups that recorded the key Davis albums In a Silent Way and Bitches Brew. Consequently, Weather Report has often been seen as a spin-off from the Miles Davis bands of the late 1960s and early 1970s, although Zawinul was never part of Davis's touring line-up. Weather Report was initially formed to explore a more impressionistic and individualistic music.
There's some dispute over how Weather Report initially formed. According to Zawinul, it began when he and Shorter recruited another Miles Davis associate, the classically trained Czech-born bass player Miroslav Vitouš, who had previously played with each of them separately. According to Vitouš himself, it was he and Shorter who actually founded Weather Report, with Shorter bringing in Zawinul afterwards. Whichever story is true, it was those three musicians – all composers – who formed the initial core of the project.
To complete the band, Zawinul, Shorter and Vitouš brought in former McCoy Tyner drummer Alphonse Mouzon and began recording their debut album while looking for a full-time auxiliary percussionist. The initial recruits were session percussion player Don Alias and symphony orchestra percussionist Barbara Burton. During recording, Alias quarreled with Zawinul and the innovative Brazilian percussionist Airto Moreira was brought in to complete the record. Guitarist John McLaughlin was also invited to join the group, but decided to pursue his solo career, instead.
1971–1972: Avant-garde collective
Weather Report's debut album Weather Report caused a sensation in the jazz world on its arrival, due to the various talents of the group's members and their unorthodox approach to their music. The album featured a softer sound than would be the case in later years, predominantly using acoustic bass, with Shorter exclusively playing soprano saxophone. It built on the avant-garde experiments which Zawinul and Shorter had pioneered with Miles Davis on Bitches Brew, including an avoidance of head-and-chorus composition in favor of continuous rhythm and movement. DownBeat magazine described the album as "music beyond category".Although Airto Moreira completed the recording of the debut Weather Report album, his existing commitments to Miles Davis prevented him from performing live with the group. Barbara Burton performed at Weather Report's first residency, but could not come to business terms with Zawinul over tour plans. Zawinul subsequently removed both her album credit and that of Alias, leaving Moreira as the only percussionist credited. For the upcoming concerts, former Brazil '66 member Dom Um Romão was recruited as the group's new percussionist on Moreira's own recommendation.
After further gigs in Philadelphia, Weather Report went on to a tour of Europe. Following disagreements on tour, Mouzon was replaced by another former McCoy Tyner drummer, Eric Gravatt.
In 1972, Weather Report released its second album, I Sing the Body Electric. The first side featured new studio recordings, while the second side was taken from live recordings of a concert in Tokyo, featuring the full-band lineup of Zawinul, Shorter, Vitouš, Gravatt, and Um Romão. The studio side used extended versions of the band including various guest performers, suggesting that Weather Report was not necessarily an integral jazz band, but might possibly work as an expandable project set up to realise the music of its three composers. The album also featured Zawinul's first use of a synthesizer and of sound effects.
I Sing the Body Electric also showed the first signs of a shift in the balance of control within the band, away from the more collective approach of the debut album. During the following year, this tendency would develop further.
1973: Move towards groove
On 1973's Sweetnighter, Weather Report began to abandon the primarily acoustic group improvisation format, and the band started to take a new direction. Primarily at Zawinul's instigation, Weather Report became more jazz funk- and groove-oriented, drawing more heavily on R&B influences and dense electric keyboard work while adding more structure to both the prewritten and the improvisational sections.The change in approach affected the band deeply. Repetitive funk did not suit Vitouš' talents. Zawinul judged Gravatt's approach to be unsuitable for some of the new pieces he had written. Andrew White III had returned to play occasional English horn on the album, but Zawinul also employed him on bass guitar on three tracks to get the style of funk playing required. For similar reasons, the studio-based drummer/composer Herschel Dwellingham played drums on four of the album's six tracks, replacing Gravatt entirely on three of them, on "Non-Stop Home" Dwellingham and Gravatt played together, with Gravatt the sole drummer only on "125th Street Congress". Muruga Booker also contributed percussion to the sessions alongside Dom Um Romão.)
Gravatt took his replacement in the studio sessions badly and quit the band at the end of recording, moving to Minneapolis to join the band Natural Life. Many years later, Zawinul paid tribute to Gravatt's skills and stated that he had been the finest of the band's "pure jazz" drummers as well as being "from the jazz side... my favorite of them all." With Gravatt gone and Dwellingham unavailable for touring, former Sly & the Family Stone drummer Greg Errico played on the Sweetnighter tour, but did not stay with the band afterwards.
At this point, Vitouš and Zawinul found themselves at creative loggerheads, since the former preferred Weather Report's original approach and the latter wished to continue further along the road to funk. Retrospectively, Zawinul accused Vitouš of being unable to play funk convincingly and claimed that he had not provided enough music for the band. Vitouš countered that he had in fact brought in compositions, but that Zawinul had been unable to play them. Vitouš has also accused Zawinul of having been "a first-class manipulator" primarily interested in commercial success. When Shorter sided with Zawinul, the original three-man partnership broke down acrimoniously and Vitouš left Weather Report, moving on to an illustrious career leading his own band and winning respect as a composer. His final contribution to Weather Report was to play bass on a single track, which appeared on the band's 1974 album Mysterious Traveller.
Vitouš' departure marked the end of the first phase of Weather Report and the shift of overall creative dominance of the band to Josef Zawinul, although Shorter remained an integral, influential, and vital part of the project. Vitouš has subsequently accused both Zawinul and Shorter of having used foul play to edge him out of the band, to deny the scale of his contribution to Weather Report's history and creative approach, and to cheat him out of remuneration.
1974–1975: Further into groove
Vitouš' replacement was the Philadelphian electric bass guitarist Alphonso Johnson. Recruited by Shorter, Johnson was a supple player more than capable of providing the funk element which Zawinul desired. He was also an early advocate of the Chapman Stick, which he can be heard playing on some of the live Weather Report recordings of the period.Weather Report's breakout album was 1974's Mysterious Traveller, which also featured the debut of new drummer Ishmail Wilburn. The album continued Sweetnighter
According to Zawinul, Wilburn apparently "lost heart" on tour. To shore up the music, the band hired another drummer, Darryl Brown, to play alongside him. At the end of the tour, both Wilburn and Brown left the band and Weather Report was, once again, drummerless.
For the next set of studio sessions, Weather Report added a new Brazilian percussionist and a new drummer - Chuck Bazemore of The Delfonics. Bazemore turned out to be unsuitable for the band and departed early in the sessions, with none of his recorded contributions being retained. Instead, the band called in the former Herbie Hancock drummer Leon "Ndugu" Chancler, who had been working on another project in an adjacent studio. Ndugu recorded with Weather Report for a week and recorded all of the drum tracks for the forthcoming album. However, he declined to join as a permanent member, opting instead to continue with Santana. Johnson recommended his friend Chester Thompson, who joined as drummer in time for the next tour.
The new album, Tale Spinnin', was released in 1975. It was the first Weather Report album to feature a consistent rhythm section since their debut. The album also made further strides in using technological improvements in synthesizers, even making use of the gigantic studio-based TONTO array.
During the same year, Shorter also recorded Native Dancer under his own name. Tale Spinnin won the DownBeat best album award for 1975 and Native Dancer was the runner-up.
1976: In transition
1976's Black Market album was perhaps the most rock-oriented work which the group had produced to date. Weather Report's music had evolved further from open-ended funk jams into more melody-oriented, concise forms, which also offered a greater mass-market appeal. Zawinul further consolidated his use of keyboard synthesizers, while Shorter experimented with an early form of wind synthesizer, the Lyricon.However, the album was recorded during yet another period of change for the group, with multiple personnel shuffles. Although Alyrio Lima played percussion on one track, he was replaced during the sessions by Don Alias and by Alex Acuña. Alphonso Johnson was also worn out from the strain put on the rhythm by the band's frequent changes of drummer. During a break in activity halfway through the recording of Black Market, Johnson opted to leave Weather Report to play with the Billy Cobham/George Duke Band.
Prior to his departure, Johnson played on all but two of the new album's tracks. His replacement was Jaco Pastorius, a virtuoso fretless bass guitarist from Florida, who had been in touch with Zawinul for several years, and who came in to play on "Cannon Ball" and his own composition "Barbary Coast". Zawinul and Shorter had assumed that Chester Thompson would be departing alongside his friend Johnson, and for the second set of sessions they replaced him with the former Mahavishnu Orchestra drummer Narada Michael Walden. Although Walden played on several album tracks, he ultimately proved unsuitable. Thompson returned for the final Black Market sessions, but left again after failing to gel as a rhythm section with Pastorius. Thompson subsequently joined Genesis as their touring drummer.
Black Market continued Weather Report's ongoing run of success, selling well and being the fourth of the band's albums to win the album of the year award from DownBeat magazine. For the subsequent tour, Alex Acuña moved from percussion to the drum kit, and Don Alias was replaced by the young Puerto Rican percussionist Manolo Badrena, who had previously played with various Latin rock bands and with Art Blakey. The band made a very well-received appearance in July at the Montreux Jazz Festival 1976, which was filmed for future release.
1977–1979: Jazz-rock stars
The recruitment of Jaco Pastorius helped to push Weather Report to the height of its popularity. Already a rising star in his own right, Pastorius brought a very musical, melodic quality to the bass. He could play muscular, lightning-fast groove lines influenced by R&B or funk, as well as demonstrating an extraordinary solo control of tone and string harmonics, often sounding more like a horn player. Pastorius was also a multi-instrumentalist, a gifted composer, and a useful production foil for Zawinul due to his knowledge of recording studios and techniques. Finally, Pastorius' stagecraft and aggressive showmanship helped the band to bring in a new audience.The band's next album was 1977's acclaimed Heavy Weather, which proved to be the band's most successful recording in terms of sales, while still retaining wide critical acclaim. It contained the band's biggest hit, the propulsive and danceable "Birdland", which became a pop hit and later became a jazz standard. Weather Report appeared on the Burt Sugarman-produced series The Midnight Special, performing both "Birdland" and "Teen Town". Heavy Weather dominated Weather Report's disc awards, including their last DownBeat Album of the Year award.
During this period, Pastorius' strong professional connection with Joni Mitchell led to another musical connection. Over the next few years, Mitchell hired the Weather Report line-up en masse to play on her studio albums Don Juan's Reckless Daughter and Mingus.
During August 1978 the band joined Maurice White's vanity label ARC at Columbia. At the time they were once again without either a full-time drummer and percussionist, with Alex Acuña having returned to Las Vegas for a career as a studio musician and Manolo Badrena having been fired for "non-musical reasons". Shorter had been focusing most of his attention and compositional ideas into his solo work, while Zawinul was sketching out ideas for a solo album of his own, which involved moving away from a raw group sound in favor of constructing a far more orchestrated and experimental studio-based recording with multiple overdubs. However, Weather Report's contract and work schedule required another album, so Zawinul's solo work was absorbed into what became Weather Report's eighth album, Mr. Gone.
The studio sessions made use of a variety of drummers – Pastorius played the kit on two tracks and further contributions came from Tony Williams, Steve Gadd, and Peter Erskine. Erskine became a full member of the band for the next tour and remained with Weather Report until 1982. The album also featured guest appearances from Deniece Williams and Earth Wind and Fire leader Maurice White.
The album rose to No. 1 on the Billboard Jazz Albums chart.
Notoriously, Mr. Gone received only a one-star review rating from DownBeat after a string of group releases which had all pulled a five-star rating. The group arranged for a rebuttal interview with the magazine to defend their efforts. Zawinul and Pastorius were defiant in their responses to the interviewer, Shorter more philosophical, and Erskine the most reticent of the four.
By the late '70s, Weather Report was a quartet of Zawinul, Shorter, Pastorius, and Erskine, and had dispensed with the auxiliary percussionist role, which had been integral since the band's inception. Instead, all four members doubled on percussion at various points in live performances. Zawinul commented that this sleeker, less crowded sound provided more listening range and made the music less chaotic now that the band were focusing more on melody and harmony.
The larger scale and multimedia staging of the band's tours began to take on the kind of rock-star proportions mostly unknown in jazz circles. The 1979 double live album was recorded on the Mr. Gone tour and captured the direct power and energy of this lineup of Weather Report. Zawinul would later describe this lineup as "one of the greatest bands of all time! That band was a hummer!"
Between March 2 and 4, 1979, Weather Report traveled to Havana, Cuba, to participate in the historic Havana Jam festival, a break in mutual Cuban/American political hostilities, which had American artists such as Stephen Stills, the CBS Jazz All-Stars, Bonnie Bramlett, Kris Kristofferson, Rita Coolidge, and Billy Joel play alongside Cuban artists such as Irakere, Pacho Alonso, Tata Güines, and Orquesta Aragón. Another featured performance was by the Trio of Doom. Weather Report's performance featured in Havana Jam '79, Ernesto Juan Castellanos' documentary celebrating the event.
1980-1982: A tighter arrangement
During 1979's touring, Shorter had begun to feel sidelined by the current Weather Report's aggressive drive and by the sometimes overly macho musical interplay between Pastorius and Zawinul, which on at least one occasion squeezed him out of band performance. At one point, he claimed to a journalist that he would be leaving the band within a few months. In the event, Shorter resolved his major differences with his bandmates - but the near-split appeared to inform Weather Report's next development, which was a step back towards a purer jazz approach.At the beginning of 1980, Pastorius recruited hand-drummer Robert Thomas Jr. into the band. Thomas featured on the 1980 album Night Passage. A tighter and more traditional recording than previous releases, the record featured a more prominent role for Shorter, a strong element of bebop, and a nod to jazz's golden age via a high-speed cover of Duke Ellington's "Rockin' in Rhythm".
By now, Pastorius was displaying signs of the mental instability and substance abuse problems that ultimately wrecked his career; and the close relationship he'd previously shared with Zawinul was becoming strained as Zawinul grew tired of Pastorius' showmanship onstage. Towards the end of the year, Pastorius began working on his long-delayed second solo album in New York, while Zawinul worked on new Weather Report material in California.
Weather Report's next album Weather Report - their second eponymous release following their 1971 debut - was recorded in 1981, although it was not released for another year. Zawinul's dominance as instrumentalist and composer was even more pronounced on this album. Much of the band's music was increasingly written out rather than improvised. In the event, Pastorius spent more of his creative attention on the Word of Mouth project: his only writing for the Weather Report album being his contribution to a single, group-composed piece. Shorter was already taking a more philosophical approach. He later commented, "for a long time in Weather Report, I abstained. I elected not to do things."
The delay in releasing the 1982 Weather Report album had the side effect of breaking up the current line-up of the band. By late 1981, Pastorius was putting together the Word of Mouth Big Band for concert dates in Japan, on the assumption that 1982 would be a Weather Report rest year. However, previously canceled tour dates had left the band open to potentially crippling lawsuits and an obligation to play replacement concerts. When scheduled, these clashed with the Word of Mouth concerts and led to Pastorius leaving Weather Report, albeit relatively amicably. As Zawinul put it, "We had no choice. We had to find another bass player... Basically, Jaco went his way and we had to go ours."
Erskine's own commitment to Word of Mouth meant that he, too, had to be replaced, while Robert Thomas Jr., was simply dismissed. Reduced to a duo, and with tour commitments looming, Zawinul and Shorter were obliged to quickly assemble a new band.
1982–1985: A new band
On the recommendation of Michał Urbaniak, Zawinul and Shorter recruited the 23-year-old drummer Omar Hakim, a talented session player and multi-instrumentalist, who had played with a variety of musicians. Hakim was immediately entrusted with recruiting the rest of the new lineup. Having failed to secure Marcus Miller as bass guitarist, he selected Victor Bailey. Hakim also recruited percussion/concertina player José Rossy, with whom he had worked in Labelle.The new Weather Report went straight onto tour. The music developed on tour was later recorded for the 1983 album Procession, which showed the band beginning to make something of a return to the "world music" approach which it had pioneered in the mid-1970s, and featured a cameo appearance from The Manhattan Transfer.
Continuing with the same lineup, Weather Report recorded the Domino Theory album in 1984, with Hakim stepping into Jaco Pastorius' old role as Zawinul's co-producer. The album was Weather Report's first album to employ drum machines and samplers, deepening the band's involvement with cutting-edge music technology, and also featured a guest vocal from Carl Anderson. However, by this point in time the band's profile was beginning to suffer due to the revival of more traditionally styled jazz, which made it harder to market jazz fusion.
Percussionist and singer Mino Cinélu replaced Rossy in the spring of 1984 and appeared on the band's video release Live in Japan. The same lineup played on 1985's Sportin' Life album, which included a cover of Marvin Gaye's "What's Going On" and appearances by singers Bobby McFerrin and Carl Anderson. In keeping with Zawinul's technological curiosity, the album heralded the arrival of MIDI, which allowed him to rapidly and inexpensively write, demonstrate, and record music via a set of synthesizers.
By the time of the release of Sportin' Life Shorter and Zawinul had opted not to tour the material. Instead, they took a break for long-delayed solo projects. Despite Weather Report's inactivity, Zawinul and Shorter still claimed that the band was still a going concern.
1986: Final split
Weather Report's contract with Columbia Records expired in 1986, leaving both parties open to other options. By this point, both Zawinul and Shorter were beginning to realise that the refreshing nature of other projects was more satisfying than Weather Report work, and both generally felt that the band had run its course.Since Columbia Records was contractually owed one more Weather Report record, the band delivered it in the shape of their 1986 album This Is This!, which was assembled during gaps in various players' schedules. With Hakim now too busy with Sting to play drums on more than one of the album's tracks, Zawinul recruited Peter Erskine to play the rest. Mino Cinelu and Victor Bailey were both flown in for a few days to record, and contributed one composition each, with the remainder being written by Zawinul. For two tracks, Zawinul brought in guitarist Carlos Santana as a contributor.
However, Shorter spent barely any more time on the project than Bailey or Cinelu did: he contributed no compositions at all, and was not even present on many of the album's tracks.
In February 1986, the San Diego Union-Tribune announced that Shorter had left the band to concentrate on solo work. Having reluctantly agreed with Shorter that he would no longer use the band name, Zawinul then ended Weather Report.
1986-present: After Weather Report
Having split the band, Zawinul promptly attempted to reform it - after a fashion - as Weather Update. For this project, he reunited with recent Weather Report alumni Victor Bailey, Mino Cinélu and Peter Erskine, but replaced Shorter with guitarist John Scofield. This lineup was short-lived, with Los Angeles session guitarist Steve Khan and former Weather Report percussionist Robert Thomas Jr. replacing Scofield and Cinelu prior to live appearances. Weather Update toured in 1986 and 1987 before Zawinul dissolved the band. From 1988 onwards, Zawinul went on to enjoy a successful nineteen-year career leading the world music/jazz ensemble The Zawinul Syndicate.Rather than form another collective band, Wayne Shorter concentrated on his solo career and on work as a bandleader, which continues to the present day.
In spite of the band's enduring popularity, a Weather Report reunion never occurred. The nearest that the band ever came to reuniting was when Zawinul and Shorter both played live with Miles Davis on July 10, 1991, in Paris. A projected mid-'90s reunion CD for Verve never materialized; according to Zawinul, disappointing sales for Shorter's 1995 CD High Life may have played a part in ending the idea.
Four of the band's members have since died. Zawinul himself died on September 11, 2007, in Vienna from skin cancer. He was predeceased by mid-period bass player Jaco Pastorius, who died on September 21, 1987, following a fatal beating in his hometown of Fort Lauderdale, Florida. Pastorius' successor on bass guitar, Victor Bailey, died on November 11, 2016. Alphonse Mouzon, the first drummer, died on December 25, 2016 from cardiac arrest after neuroendocrine cancer.
Lineups
Timeline
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Releases since the band's breakup
A "post band" Weather Report double CD called Live and Unreleased was made available in 2002, featuring vintage live recordings made during the late 1970s/early 1980s with various personnel. In September 2006, Columbia/Legacy released a Weather Report boxed set, . It includes three CDs of mostly previously released material and a DVD of the entire September 29, 1978, performance in Offenbach, Germany, not previously available. A DVD video of the 1976 Montreux Jazz Festival performance has become available, as well. Columbia/Legacy have also re-released the 1984 Live in Japan concert on DVD.In 2011, the Zawinul estate, in conjunction with an independent label, released a 40th-anniversary commemorative trilogy of previously unavailable Weather Report live shows: In March Live in Berlin 1975 was released both on vinyl and as a CD/DVD set; in June the Live in Offenbach 1978 DVD was re-released together with a previously unavailable double CD of the complete show; in October Live in Cologne 1983 was released as both DVD and double CD.
Grammy Awards
The Grammy Awards are awarded annually by the National Academy of Recording Arts and Sciences of the United States. Weather Report won one Grammy from six nominations.See also: List of Awards and Nominations of Weather Report
Studio albums
This table shows the main studio albums released by Weather Report. For more detailed information, please see: Weather Report discography.| Year | Album |
| 1971 | Weather Report |
| 1972 | I Sing the Body Electric |
| 1973 | Sweetnighter |
| 1974 | Mysterious Traveller |
| 1975 | Tale Spinnin' |
| 1976 | Black Market |
| 1977 | Heavy Weather |
| 1978 | Mr. Gone |
| 1980 | Night Passage |
| 1982 | Weather Report |
| 1983 | Procession |
| 1984 | Domino Theory |
| 1985 | Sportin' Life |
| 1986 | This Is This! |