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Frases de Joe Zawinul

Josef Erich Zawinul, conhecido como Joe Zawinul foi um músico austríaco, de ascendência húngara, tcheca e cigana.Tecladista, compositor e arranjador de jazz foi um dos principais criadores do jazz fusion, juntamente com Chick Corea, Herbie Hancock, John McLaughlin e Miles Davis. Zawinul, Corea e Hancock foram os primeiros músicos a integrar piano elétrico e sintetizador.

Educado por seu avô, iniciou-se na música aos seis anos de idade, tocando música cigana e música tradicional húngara no acordeão. Posteriormente estudou piano clássico e composição no Conservatório de Viena . Nos anos 1950, tocou em programas de rádio com diferentes bandas locais. Mais tarde trabalhou com vários músicos, como o clarinetista Fatty George e o pianista Friedrich Gulda, pela Europa.

Em 1959 participou de um concurso organizado pela revista Down Beat, obtendo uma bolsa de estudos no prestigioso Berklee College of Music, em Boston, Massachusetts, considerada a melhor escola de música moderna dos Estados Unidos. Porém ali permaneceu apenas por poucos dias, juntando-se em seguida ao grupo do trompetista canadense Maynard Ferguson, durante oito meses.

A seguir, atuou com diferentes artistas, como Ella Fitzgerald, Dinah Washington e o saxofonista Ben Webster. A partir de 1961, passou a integrar o quinteto do saxofonista Julian Cannonball Adderley, que se tornara conhecido como integrante da banda de Miles Davis.

No final dos anos 1960, Davis começara a mudar seu stilo, sob influência do rock, notadamente de Jimi Hendrix. Seu jazz tornara-se mais "elétrico", estilo no qual Zawinul era excelente. Assim, em 1970 Zawinul deixa o grupo de Adderley e entra no cenário do jazz rock, gravando com Miles Davis o seminal In a Silent Way e Bitches Brew.

Em 1971, Zawinul junta-se ao saxofonista Wayne Shorter e ao baixista Miroslav Vitous, criando o Weather Report, grupo de jazz rock voltado à experimentação de novas perspectivas sonoras e aberto a outros músicos inovadores como o baixista Jaco Pastorius. O grupo obteve imenso sucesso com algumas canções que se tornaram muito populares, como "Birdland", frequentando regularmente as hit-parades e obtendo diversos prêmios como o Grammy. Além disso foi considerado o "número 1" por quinze vezes consecutivas pela Down Beat, que também qualificou Joe Zawinul como o "melhor pianista" por 22 vezes seguidas.



Com a dissolução do Weather Report, criou o Zawinul Syndicate. Wikipedia  

✵ 7. Julho 1932 – 11. Setembro 2007
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Joe Zawinul: 7   citações 0   Curtidas

Joe Zawinul: Frases em inglês

“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)