Weather Report

Weather Report
Tower Theater
Upper Darby, Pa.
1983.03.18

01. Procession
02. Fast City
03. The Peasent
04. D Flat Waltz
05. Blue Sound
06. Molasses Run
07. Plaza Real
08. Two Lines

the last tunes were either not recorded or I lost
the second tape they were on. I don't remember which....
it's been a long time !!

Sony Stereo Recorder /flac/dime/you

Enjoy!

mee

    length     expanded size    cdr  WAVE problems  fmt   ratio  filename
     9:27.07      100035308 B   ---   --   ---xx   flac  0.5866  01.flac
    10:05.11      106747916 B   ---   --   ---xx   flac  0.5858  02.flac
    10:52.33      115090460 B   ---   --   ---xx   flac  0.5804  03.flac
    15:55.50      168579644 B   ---   --   ---xx   flac  0.5884  04.flac
     9:35.16      101467676 B   ---   --   ---xx   flac  0.5770  05.flac
     7:30.57       79514108 B   ---   --   ---xx   flac  0.5902  06.flac
     6:21.73       67380140 B   ---   --   ---xx   flac  0.5773  07.flac
    20:23.22      215788988 B   ---   --   ---xx   flac  0.5798  08.flac
    90:11.44      954604240 B                            0.5832  (8 files)




Weather Report
Tower Theater
Upper Darby, Pa.
March 18, 1983

Disc 1
1.Procession
2.Fast City
3.The Peasent
4. D Flat Waltz
TT: 46:20

Disc 2
1.Blue Sound
2.Molasses Run
3.Plaza Real
4.Two Lines
TT: 43:51

Josef Zawinul  Keyboards
Wayne Shorter  Saxophones
Victor Bailey  Bass
Jose Rossy  Percussion
Omar Hakim - Drums

Sony Stereo Cassette Recorder/Philips cd burner (dao)/Flac/You

    length     expanded size    cdr  WAVE problems  fmt   ratio  filename
     9:27.07      100035308 B   ---   --   ---xx   flac  0.5908  d1t01.flac
    10:05.11      106747916 B   ---   --   ---xx   flac  0.5903  d1t02.flac
    10:52.33      115090460 B   ---   --   ---xx   flac  0.5839  d1t03.flac
    15:55.50      168579644 B   ---   --   ---xx   flac  0.5919  d1t04.flac
     9:35.16      101467676 B   ---   --   ---xx   flac  0.5802  d2t01.flac
     7:30.57       79514108 B   ---   --   ---xx   flac  0.5944  d2t02.flac
     6:21.73       67380140 B   ---   --   ---xx   flac  0.5802  d2t03.flac
    20:23.22      215788988 B   ---   --   ---xx   flac  0.5826  d2t04.flac
    90:11.44      954604240 B                            0.5867  (8 files)




WEATHER REPORT

DATE: 20 March 1983

LOCATION: Boston, Massachusetts, USA

VENUE: Orpheum Theater

LINEUP:

Victor Bailey - bass
Omar Hakim - drums
Jose Rossy - percussion
Wayne Shorter - saxophones
Joe Zawinul - keyboards

SETLIST:

Vol. 1

01 - Procession
02 - Fast City
03 - The Peasant
04 - dB Waltz
05 - Blue Sound Note 3
06 - Molasses Run

Vol. 2

07 - Two Lines
08 - Plaza Real
09 - Where the Moon Goes
10 - Zawinul/Shorter Duet
11 - Medley: Night Passage/Black Market/Badia/
     A Remark You Made/Rockinâ€™ in Rhythm/Birdland

Accurate to the best of our knowledge, but errors/omissions may yet be
identified by listeners.

RECORDING TYPE: Audience ["AR"]

TAPER: Barry Rogoff (Balrog)

ORIGINAL ART: Gromek

Three concert photos in the package have appeared before, in at least
one case associated with an entirely different tour. Not only are they
genuine PROCESSION tour stage shots, they were taken the very night
previous to this one [New York City, 19 March].

SOURCE AND LINEAGE:

1983 - Nakamichi CM-300/CP1 > Sony WM-D6C (Dolby B in) > Maxell XLII-S

2010 - Maxell XLII-S > Nakamichi Dragon (Dolby B out) > RDL FP-UBC6 >
MOTU 896 > Sound Forge Audio Studio 9.0 > Wave [96kHz/24 bit] >
Izotope RX, CEP 2.0 with Izotope Ozone [mastering and
downsample/conversion to 44.1KHz/16 bit] > Wave > FLAC

REMASTER SUMMARY: EQ and other work to reveal - not mix - extant AR
detail, to every extent possible as the audience heard and felt it. No
attempts to alter band-crowd-venue sound balance, or to suppress crowd
sound as it does not overwhelm either record mikes or band PA output.

No compression or noise reduction applied. Tape hiss is noticeable,
especially during the extremely quite Zawinul-Shorter duet, but even
there the signal to noise ratio remains favorable enough to avoid
risky NR.

INDEPENDENT SOUND ANALYSIS: Several trusted â€˜beta testersâ€™, including
Barry, Gromek and others

FROM AN OFFICIAL "BLIND" WRB83 PROJECT TEST GROUP LISTENER:

"So, where do I possibly begin about WRB83." First and foremost, once
more, you have worked your magic on the record, not only are the
separate instruments clearly discernible, but I can actually hear
subtleties such as the mallets striking the vibraphone, the buzz of
the reeds on the tenor and soprano saxes, the rivets on the crash
cymbals, etc.

Nuances of lower frequencies are present as well, how the bass would
actually sound as amplified in the acoustics of the venue. Rarely can
I just close my eyes and, to state what I feel may be an over-used
phrase, be instantly placed at the performance. As usual, the dynamic
range easily surpasses the best commercial releases (but then, your
work on Barryâ€™s ARs has no equal).

My utmost appreciation for the privilege of another thrilling musical
journey."

A FEW WORDS ON THE WEATHER REPORT PERFORMANCE:

"We would've really been in trouble if [Omar Hakim and Victor Bailey]
couldn't play." -- Joe Zawinul, 1984

When Jaco Pastorius, Peter Erskine and Bobby Thomas Jr. all left
Weather Report at once it came as a shock to me akin to my favorite
â€˜rock fusionâ€™ band, Yes, losing its defining and unique vocalist a
year or so earlier. I just didnâ€™t think there was any way it could
work any more after a personnel upheaval like that. The PROCESSION
album seemed nice enough, but like many I still managed to drift away.

Decades later, as has happened more than once already when setting to
work on a project like this, I now fully realize how shortsighted I
was and what Iâ€™d been missing.

It must be said the new lineup was a bit more â€˜clinicalâ€™ sounding, but
also every bit as  inspired in its own way and creatively brilliant as
any earlier one. My approach to audio work includes a great deal of
listening and re-listening to raw master, work in progress and
tentative final product, over a period of weeks and often months
before release. On the first listen I already liked what I heard a
great deal more than I expected to. The more I listened the more
hooked I became, both on the playing and the new music. To me, a
â€˜puristâ€™ by definition, this was still Weather Report in every way.

What Joe Zawinul was going through at the time trying to keep his band
alive and find the right new musicians to replace so much of it
overnight makes the performance even more remarkable. Perhaps most
impressive of all, apparently PROCESSION  hadnâ€™t even been recorded
yet and its material was still being developed, during this and other
Spring â€™83 concerts!

How Zawinul found his new band mates is storybook material and toward
the end of this document you will find a more complete narrative from
a fan Website, much of it in his own words. Itâ€™s a fascinating read.

In the meantime, I hope this effort helps many others find the same
new joy in PROCESSION-era Weather Report and their music. Given the
stunning recording quality - best by far Iâ€™ve heard from the â€˜83 tour
and rivaling the best analog AR I had ever heard until now - fans
already appreciative of it will no doubt be ecstatic.

SOURCE AND AUDIO WORK AT GREATER LENGTH:

Itâ€™s important to note first off that A-D conversion equipment and
methods vary considerably, and naturally quality varies with them. In
WRB83 as in all BLG projects you have the assurance of the best
possible A-D conversions short of what studios using equipment costing
hundreds of thousands of dollars can do.

The WRB83 source meanwhile is a top shelf pre-1990s AR rivaling any
other both for unbelievable sound capture, and for its own unique
remastering challenges. It offers AR detail across the spectrum
comparable to many from the present era, but had some weird properties
requiring a few changes in approach to get it fully on display without
being â€˜harshedâ€™ or otherwise distorted.

Its one major wart: a mike cable connection problem on the night
caused considerable left-channel dropout with static, but thankfully
itâ€™s almost completely confined to the second track ["Fast City"]. It
presents in just a few other places, and in them is only a second to a
few seconds in length. In this package we have a 'repaired' version
I'm not exactly thrilled with either, but the dropout was truly awful
and something had to be done or the track left out completely.

In both raw master and first set of test EQ runs a â€˜thinâ€™, â€˜piercingâ€™
property in the uppermost frequencies was an annoyance and tended to
obscure detail in others, but a couple of old tools used in a rather
radical new fashion saved the day. Highs like upper cymbal tones
remain VERY strong - something I now ascribe to the Sony record deck
as itâ€™s appeared in three so-recorded shows Iâ€™ve worked with, although
Weather Reportâ€™s 1983 sound system was also a bit on the shrill side.
These highs stop short of distortionâ€™s edge however, and are in
balance with other frequencies. They generated no complaints from the
test group, and softening them any would suppress important natural
tones in many other areas. What may sound at times like sibilance is
actually vivid metal percussion detail, as the above reviewer
suggests, and even provides an interesting illustration of the limits
of early 1980s cassette technology.

Every effort was made to reveal all possible detail in each tone of
each instrument in all frequency bands as far as it occurred in the
bandâ€™s PA mix. Lower crash cymbal tones and even audience clapping are
among the important litmus tests for the entire spectrum, including
low frequencies. Once theyâ€™re natural enough sounding at any playback
volume, everything else usually is too or needs only the tiniest
additional work.

In WRB83 the paramount BLG goals have been achieved - naturally
occurring balance among all instruments across all frequencies, from
the lowest through the mids to the highest, all in the most accurate
natural detail possible, all as the audience experienced them to the
extent possible in a recording. The sterility, coldness and lack of
"space" in soundboards and savage mixing of industry "live" releases
are preferred by many, but if youâ€™re looking for a real 1983 Weather
Report â€˜audience experienceâ€™ having as much or even more sonic detail
you have found it.

In that spirit also, PA system output nuances and venue ambience among
many other things paramount to the depth and realism only a good AR
can provide have been preserved.

One of the factors so damaging to live recordings in official releases
is compression, inflicted with â€˜consumer-friendlyâ€™ playback systems as
a type of red book standard and indeed needed in some of them because
they simply canâ€™t reproduce the kind of dynamic range in a recording
like WRB83. No compression afflicts this or any BLG project, but they
should still be a delight in most if not all playback environments.

Tape noise reduction was considered for WRB83 but ruled out. In an
earlier BLG project involving a 1981 Weather Report recording it was
unavoidable, due to much greater tape hiss amplitude and a lower
Weather Report PA output amplitude. It was highly successful,
generating no artifact or signal damage, but digital noise reduction
technology remains so primitive and dangerous it should not be
attempted by anyone without exceptional hearing acuity and the needed
skills - and then only when absolutely necessary. It wasnâ€™t here.

ACKNOWLEDGEMENTS:

Many thanks to Weather Report for so much incredible music over so
many years!

Special thanks to Gromek for artwork so perfectly evocative of the
showâ€™s energy and this effort.

Endless, endless thanks to Barry for another miraculous AR, the
expertise and bravery it required.

Please share freely but never, even THINK of selling for any sum
anywhere. Reseed or redistribute this product in its complete and
original form only. Should we become aware of an incomplete reseed or
distribution, we will publicly discredit the party responsible.

Last but not least, this effort is dedicated to the memory of Joe
Zawinul and Jaco Pastorius, whose musical gifts to us all just keep on
giving.

Lestat, April 2010

NOTES FROM BARRY:

I don't remember anything about this concert and, as Lestat says, that
says something  by itself. It was uneventful except for the cable
problem. The cables were immediately replaced, of course.

This recording is listenable at concert volume on audiophile-quality
equipment. No constraints are placed on the dynamic range as is the
case in commercial live recordings. For this reason, the peaks may
exceed the capabilities of consumer-quality audio systems resulting in
distortion from frequencies that cannot be properly reproduced.

To obtain audiophile-quality equipment at an affordable price,
consider getting high-end headphones, a headphone amplifier, and a CD
player from eBay or other sources of pre-owned audio equipment. You
will find that it's well worth the expense.

My goal in taping concerts has always been to achieve time travel. I
want go back in time and relive musical experiences that were much too
important to me to allow them be heard once and lost forever. And I
want the experience to be available to everyone who loves the music.

NOTES FROM GROMEK:

This has been one of the easiest and possibly the easiest cover art
projects Iâ€™ve done so far for a BLG package, and yet it came out as
pleasingly as any of the others!

Itâ€™s more of a Gromek cover layout than a Gromek cover design. The
images used are either from the Internet or sent to me by other
members of the BLG team, and appear in the layout "as is" with no
visual editing.

The text layout is all mine of course, as well as the time put into it
;-)

When I sent the test layout to the BLG members they liked it so much
that I was told not to change a thing and go with it as it is now!

So that was an easy decision for me. I hope that you, the listeners,
like it as much too. Itâ€™s not overdone, not too fancy, but we feel it
is just right for the musical imagery created by Weather Report.

So please, enjoy the show, the imagery and all the work that went into
them.

Gromek, April 2010

FROM THE WEATHER REPORT DISCOGRAPHY WEBSITE WWW.BINKIE.NET/WRDISC
[edited here for brevity]

"1982 was supposed to be an off-year for Weather Report, but things
didn't work out that way. Their previous album, the self-titled
Weather Report, was delayed several months and wasn't released until
February 1982.

As a consequence, a planned November 1981 tour had to be canceled, and
the band's management scheduled a new tour in the spring of '82. But
by then, Robert Thomas Jr., Peter Erskine and Jaco Pastorius had
committed themselves elsewhere. Thomas was with Herbie Mann and Monty
Alexander, among others; Jaco was leading his Word of Mouth big band,
which included Erskine, on a tour of Japan; and Erskine was committed
to a summer tour with Steps Ahead. Zawinul and Shorter found
themselves in a bind, as Zawinul explained to Keyboard magazine's Greg
Armbruster in 1984:

By the time the [Weather Report] album was finished, we had no band at
all. I was going back and forth to Austria because my mother was
dying, and then we had problems with our management. As great as they
were for other people, they didn't really know what to do with us.

So it was spring 1982; we had a contract signed and we couldn't change
the tour. We already had several lawsuits because we canceled the
November tour. We had to go out on the road, otherwise we would have
been finished as a band. About three weeks before the tour,

I called [jazz violinist] Michael Urbaniak in New York. He goes to all
the clubs and knows a lot of musicians. He said, 'I know this guy,
Omar Hakim; he's a genius. He's the greatest drummer in New York.' I
got in touch with Omar, and at that time he had a deal coming up with
Warner Bros. to do his own record. He's also a singer and guitar
player. He plays all the instruments and wanted to do his own thing,
so he wasn't sure he could make it. The time for the tour grew closer
and closer, and finally he said he would do it.

We had never met, but I asked him to find a percussionist and a bass
player, because we didn't know anybody who could do the tour with us.
We trusted Omar to bring the right musicians. Omar got [bassist]
Victor Bailey and [percussionist] JosÃ© Rossy and we signed all three
of them before we ever met them; we trusted Hakim. Two and a half
weeks before the tour started, Omar, Victor, and JosÃ© walked in and
started rehearsing. We would've really been in trouble if they
couldn't play. It was just one of those things, and I call this our
real fortunate period, because we could have really been on ice. It
was tough, and after a couple of weeks we hit the road.

After one month playing in the United States, we went into the studio
and recorded the Procession album. Then my mama passed away and my
family spent some time in Austria. We didn't do anything for the rest
of the year.

In 1983 we did 86 concerts with this band and it really developed into
something else. It was not such a flamboyant band as the one we had
before but the compositions were really being played very correctly,
interpreted correctly. [KB84]"

In the spring of 1983 Zawinul compared the current line-up to the
previous Pastorius-Erskine line-up. "It [the Pastorius-Erskine band]
was one of the greatest bands of all time! That band was a hummer! But
I'll tell you, I think this one is developing into an even better one.
Before, we were a knock-out band, we'd dazzle people and they'd have
certain expectations about us, particularly Jaco. Now I didn't mind
all of Jaco's gimmicry. I thought it was strong musically and really
entertaining for the crowd. But look at what's driving the band now:
not any sort of gimmicry but the music itself." [BAM83]

The material for Procession took shape during a month-long tour of the
US. Shorter told Detroit Free Press reporter W. Kim Heron. "I call it
a universal festive feeling," Shorter said of the album's feel. "It's
not really carnival or a party time thing. But it's a celebration,
that's the word (that ends the song) 'Where the Moon Goes.' The mood
came very early and we had to come up with a word that would cover it
without being misleading in any way, so the one we came up with was
'Procession.'" [DFP83]

Heron's article went on to say, "The album is dominated by the thick
layers of synthesized keyboards which have become the Weather Report
trademark. For many, it's hard to listen to his Weather Report playing
and not miss the more expansive and freewheeling style of Shorter's
pre-Weather Report days. But Shorter sees all of his playing as a
whole. 'It may not always be in the same form, but the same essence
comes out,' said Shorter of his past and his present. 'You don't hang
up your lightweight gloves when you move on to the heavyweight gloves,
heavyweight meaning the larger audiences.'" [DFP83]

Blair Jackson interviewed Zawinul and Shorter in mid-April 1983 for a
BAM article: Jackson: Even with all the personnel changes Weather
Report has undergone over the years, there is an unmistakable
continuity from album to album. Is this because the two of you are
responsible for nearly all the music? Zawinul: Yes, it's always been
our music. And in the last few years, I've written more of it than
Wayne, so it's followed a certain line. When I write something or when
Wayne writes something we are usually writing the whole composition,
even the other players' parts. Now that will change with different
players and with differences in style, but the stock of the music is
more or less the same as it was twelve years ago.

Shorter: The concept of the band hasn't changed; we're sticking to the
form of the original musical conversations we had. We haven't let that
thing that happens to so many bands happen to us, which is they forget
why they got together in the first place. [BAM83]"

    length     expanded size    cdr  WAVE problems  fmt   ratio  filename
     9:25.72       99835388 B   ---   --   ---xx   flac  0.6648  d1t01V1.flac
    11:07.33      117736460 B   ---   --   ---xx   flac  0.6761  d1t02V1.flac
    11:54.21      125999036 B   ---   --   ---xx   flac  0.5813  d1t03V1.flac
    17:51.03      188931500 B   ---   --   ---xx   flac  0.6830  d1t04V1.flac
    11:57.53      126603500 B   ---   --   ---xx   flac  0.6007  d1t05V1.flac
     7:27.51       78970796 B   ---   --   ---xx   flac  0.6806  d1t06V1.flac
    22:21.50      236670044 B   ---   --   ---xx   flac  0.6534  d2t01V2.flac
     7:36.29       80506652 B   ---   --   ---xx   flac  0.6235  d2t02V2.flac
    14:08.20      149634284 B   ---   --   ---xx   flac  0.6671  d2t03V2.flac
    11:29.40      121633724 B   ---   --   ---xx   flac  0.5041  d2t04V2.flac
    19:00.01      201098396 B   ---   --   ---xx   flac  0.6612  d2t05V2.flac
   144:19.73     1527619780 B                            0.6396  (11 files)




WEATHER REPORT

DATE: 20 March 1983

LOCATION: Boston, Massachusetts, USA

VENUE: Orpheum Theater

LINEUP:

Victor Bailey - bass
Omar Hakim - drums
Jose Rossy - percussion
Wayne Shorter - saxophones
Joe Zawinul - keyboards

SETLIST:

Vol. 1

01 - Procession
02 - Fast City
03 - The Peasant
04 - dB Waltz
05 - Blue Sound Note 3
06 - Molasses Run

Vol. 2

07 - Two Lines
08 - Plaza Real
09 - Where the Moon Goes
10 - Zawinul/Shorter Duet
11 - Medley: Night Passage/Black Market/Badia/
     A Remark You Made/Rockinâ€™ in Rhythm/Birdland

Accurate to the best of our knowledge, but errors/omissions may yet be
identified by listeners.

RECORDING TYPE: Audience ["AR"]

TAPER: Barry Rogoff (Balrog)

ORIGINAL ART: Gromek

Three concert photos in the package have appeared before, in at least
one case associated with an entirely different tour. Not only are they
genuine PROCESSION tour stage shots, they were taken the very night
previous to this one [New York City, 19 March].

SOURCE AND LINEAGE:

1983 - Nakamichi CM-300/CP1 > Sony WM-D6C (Dolby B in) > Maxell XLII-S

2010 - Maxell XLII-S > Nakamichi Dragon (Dolby B out) > RDL FP-UBC6 >
MOTU 896 > Sound Forge Audio Studio 9.0 > Wave [96kHz/24 bit] >
Izotope RX, CEP 2.0 with Izotope Ozone [mastering and
downsample/conversion to 44.1KHz/16 bit] > Wave > FLAC

REMASTER SUMMARY: EQ and other work to reveal - not mix - extant AR
detail, to every extent possible as the audience heard and felt it. No
attempts to alter band-crowd-venue sound balance, or to suppress crowd
sound as it does not overwhelm either record mikes or band PA output.

No compression or noise reduction applied. Tape hiss is noticeable,
especially during the extremely quite Zawinul-Shorter duet, but even
there the signal to noise ratio remains favorable enough to avoid
risky NR.

INDEPENDENT SOUND ANALYSIS: Several trusted â€˜beta testersâ€™, including
Barry, Gromek and others

FROM AN OFFICIAL "BLIND" WRB83 PROJECT TEST GROUP LISTENER:

"So, where do I possibly begin about WRB83." First and foremost, once
more, you have worked your magic on the record, not only are the
separate instruments clearly discernible, but I can actually hear
subtleties such as the mallets striking the vibraphone, the buzz of
the reeds on the tenor and soprano saxes, the rivets on the crash
cymbals, etc.

Nuances of lower frequencies are present as well, how the bass would
actually sound as amplified in the acoustics of the venue. Rarely can
I just close my eyes and, to state what I feel may be an over-used
phrase, be instantly placed at the performance. As usual, the dynamic
range easily surpasses the best commercial releases (but then, your
work on Barryâ€™s ARs has no equal).

My utmost appreciation for the privilege of another thrilling musical
journey."

A FEW WORDS ON THE WEATHER REPORT PERFORMANCE:

"We would've really been in trouble if [Omar Hakim and Victor Bailey]
couldn't play." -- Joe Zawinul, 1984

When Jaco Pastorius, Peter Erskine and Bobby Thomas Jr. all left
Weather Report at once it came as a shock to me akin to my favorite
â€˜rock fusionâ€™ band, Yes, losing its defining and unique vocalist a
year or so earlier. I just didnâ€™t think there was any way it could
work any more after a personnel upheaval like that. The PROCESSION
album seemed nice enough, but like many I still managed to drift away.

Decades later, as has happened more than once already when setting to
work on a project like this, I now fully realize how shortsighted I
was and what Iâ€™d been missing.

It must be said the new lineup was a bit more â€˜clinicalâ€™ sounding, but
also every bit as  inspired in its own way and creatively brilliant as
any earlier one. My approach to audio work includes a great deal of
listening and re-listening to raw master, work in progress and
tentative final product, over a period of weeks and often months
before release. On the first listen I already liked what I heard a
great deal more than I expected to. The more I listened the more
hooked I became, both on the playing and the new music. To me, a
â€˜puristâ€™ by definition, this was still Weather Report in every way.

What Joe Zawinul was going through at the time trying to keep his band
alive and find the right new musicians to replace so much of it
overnight makes the performance even more remarkable. Perhaps most
impressive of all, apparently PROCESSION  hadnâ€™t even been recorded
yet and its material was still being developed, during this and other
Spring â€™83 concerts!

How Zawinul found his new band mates is storybook material and toward
the end of this document you will find a more complete narrative from
a fan Website, much of it in his own words. Itâ€™s a fascinating read.

In the meantime, I hope this effort helps many others find the same
new joy in PROCESSION-era Weather Report and their music. Given the
stunning recording quality - best by far Iâ€™ve heard from the â€˜83 tour
and rivaling the best analog AR I had ever heard until now - fans
already appreciative of it will no doubt be ecstatic.

SOURCE AND AUDIO WORK AT GREATER LENGTH:

Itâ€™s important to note first off that A-D conversion equipment and
methods vary considerably, and naturally quality varies with them. In
WRB83 as in all BLG projects you have the assurance of the best
possible A-D conversions short of what studios using equipment costing
hundreds of thousands of dollars can do.

The WRB83 source meanwhile is a top shelf pre-1990s AR rivaling any
other both for unbelievable sound capture, and for its own unique
remastering challenges. It offers AR detail across the spectrum
comparable to many from the present era, but had some weird properties
requiring a few changes in approach to get it fully on display without
being â€˜harshedâ€™ or otherwise distorted.

Its one major wart: a mike cable connection problem on the night
caused considerable left-channel dropout with static, but thankfully
itâ€™s almost completely confined to the second track ["Fast City"]. It
presents in just a few other places, and in them is only a second to a
few seconds in length. In this package we have a 'repaired' version
I'm not exactly thrilled with either, but the dropout was truly awful
and something had to be done or the track left out completely.

In both raw master and first set of test EQ runs a â€˜thinâ€™, â€˜piercingâ€™
property in the uppermost frequencies was an annoyance and tended to
obscure detail in others, but a couple of old tools used in a rather
radical new fashion saved the day. Highs like upper cymbal tones
remain VERY strong - something I now ascribe to the Sony record deck
as itâ€™s appeared in three so-recorded shows Iâ€™ve worked with, although
Weather Reportâ€™s 1983 sound system was also a bit on the shrill side.
These highs stop short of distortionâ€™s edge however, and are in
balance with other frequencies. They generated no complaints from the
test group, and softening them any would suppress important natural
tones in many other areas. What may sound at times like sibilance is
actually vivid metal percussion detail, as the above reviewer
suggests, and even provides an interesting illustration of the limits
of early 1980s cassette technology.

Every effort was made to reveal all possible detail in each tone of
each instrument in all frequency bands as far as it occurred in the
bandâ€™s PA mix. Lower crash cymbal tones and even audience clapping are
among the important litmus tests for the entire spectrum, including
low frequencies. Once theyâ€™re natural enough sounding at any playback
volume, everything else usually is too or needs only the tiniest
additional work.

In WRB83 the paramount BLG goals have been achieved - naturally
occurring balance among all instruments across all frequencies, from
the lowest through the mids to the highest, all in the most accurate
natural detail possible, all as the audience experienced them to the
extent possible in a recording. The sterility, coldness and lack of
"space" in soundboards and savage mixing of industry "live" releases
are preferred by many, but if youâ€™re looking for a real 1983 Weather
Report â€˜audience experienceâ€™ having as much or even more sonic detail
you have found it.

In that spirit also, PA system output nuances and venue ambience among
many other things paramount to the depth and realism only a good AR
can provide have been preserved.

One of the factors so damaging to live recordings in official releases
is compression, inflicted with â€˜consumer-friendlyâ€™ playback systems as
a type of red book standard and indeed needed in some of them because
they simply canâ€™t reproduce the kind of dynamic range in a recording
like WRB83. No compression afflicts this or any BLG project, but they
should still be a delight in most if not all playback environments.

Tape noise reduction was considered for WRB83 but ruled out. In an
earlier BLG project involving a 1981 Weather Report recording it was
unavoidable, due to much greater tape hiss amplitude and a lower
Weather Report PA output amplitude. It was highly successful,
generating no artifact or signal damage, but digital noise reduction
technology remains so primitive and dangerous it should not be
attempted by anyone without exceptional hearing acuity and the needed
skills - and then only when absolutely necessary. It wasnâ€™t here.

ACKNOWLEDGEMENTS:

Many thanks to Weather Report for so much incredible music over so
many years!

Special thanks to Gromek for artwork so perfectly evocative of the
showâ€™s energy and this effort.

Endless, endless thanks to Barry for another miraculous AR, the
expertise and bravery it required.

Please share freely but never, even THINK of selling for any sum
anywhere. Reseed or redistribute this product in its complete and
original form only. Should we become aware of an incomplete reseed or
distribution, we will publicly discredit the party responsible.

Last but not least, this effort is dedicated to the memory of Joe
Zawinul and Jaco Pastorius, whose musical gifts to us all just keep on
giving.

Lestat, April 2010

NOTES FROM BARRY:

I don't remember anything about this concert and, as Lestat says, that
says something  by itself. It was uneventful except for the cable
problem. The cables were immediately replaced, of course.

This recording is listenable at concert volume on audiophile-quality
equipment. No constraints are placed on the dynamic range as is the
case in commercial live recordings. For this reason, the peaks may
exceed the capabilities of consumer-quality audio systems resulting in
distortion from frequencies that cannot be properly reproduced.

To obtain audiophile-quality equipment at an affordable price,
consider getting high-end headphones, a headphone amplifier, and a CD
player from eBay or other sources of pre-owned audio equipment. You
will find that it's well worth the expense.

My goal in taping concerts has always been to achieve time travel. I
want go back in time and relive musical experiences that were much too
important to me to allow them be heard once and lost forever. And I
want the experience to be available to everyone who loves the music.

NOTES FROM GROMEK:

This has been one of the easiest and possibly the easiest cover art
projects Iâ€™ve done so far for a BLG package, and yet it came out as
pleasingly as any of the others!

Itâ€™s more of a Gromek cover layout than a Gromek cover design. The
images used are either from the Internet or sent to me by other
members of the BLG team, and appear in the layout "as is" with no
visual editing.

The text layout is all mine of course, as well as the time put into it
;-)

When I sent the test layout to the BLG members they liked it so much
that I was told not to change a thing and go with it as it is now!

So that was an easy decision for me. I hope that you, the listeners,
like it as much too. Itâ€™s not overdone, not too fancy, but we feel it
is just right for the musical imagery created by Weather Report.

So please, enjoy the show, the imagery and all the work that went into
them.

Gromek, April 2010

FROM THE WEATHER REPORT DISCOGRAPHY WEBSITE WWW.BINKIE.NET/WRDISC
[edited here for brevity]

"1982 was supposed to be an off-year for Weather Report, but things
didn't work out that way. Their previous album, the self-titled
Weather Report, was delayed several months and wasn't released until
February 1982.

As a consequence, a planned November 1981 tour had to be canceled, and
the band's management scheduled a new tour in the spring of '82. But
by then, Robert Thomas Jr., Peter Erskine and Jaco Pastorius had
committed themselves elsewhere. Thomas was with Herbie Mann and Monty
Alexander, among others; Jaco was leading his Word of Mouth big band,
which included Erskine, on a tour of Japan; and Erskine was committed
to a summer tour with Steps Ahead. Zawinul and Shorter found
themselves in a bind, as Zawinul explained to Keyboard magazine's Greg
Armbruster in 1984:

By the time the [Weather Report] album was finished, we had no band at
all. I was going back and forth to Austria because my mother was
dying, and then we had problems with our management. As great as they
were for other people, they didn't really know what to do with us.

So it was spring 1982; we had a contract signed and we couldn't change
the tour. We already had several lawsuits because we canceled the
November tour. We had to go out on the road, otherwise we would have
been finished as a band. About three weeks before the tour,

I called [jazz violinist] Michael Urbaniak in New York. He goes to all
the clubs and knows a lot of musicians. He said, 'I know this guy,
Omar Hakim; he's a genius. He's the greatest drummer in New York.' I
got in touch with Omar, and at that time he had a deal coming up with
Warner Bros. to do his own record. He's also a singer and guitar
player. He plays all the instruments and wanted to do his own thing,
so he wasn't sure he could make it. The time for the tour grew closer
and closer, and finally he said he would do it.

We had never met, but I asked him to find a percussionist and a bass
player, because we didn't know anybody who could do the tour with us.
We trusted Omar to bring the right musicians. Omar got [bassist]
Victor Bailey and [percussionist] JosÃ© Rossy and we signed all three
of them before we ever met them; we trusted Hakim. Two and a half
weeks before the tour started, Omar, Victor, and JosÃ© walked in and
started rehearsing. We would've really been in trouble if they
couldn't play. It was just one of those things, and I call this our
real fortunate period, because we could have really been on ice. It
was tough, and after a couple of weeks we hit the road.

After one month playing in the United States, we went into the studio
and recorded the Procession album. Then my mama passed away and my
family spent some time in Austria. We didn't do anything for the rest
of the year.

In 1983 we did 86 concerts with this band and it really developed into
something else. It was not such a flamboyant band as the one we had
before but the compositions were really being played very correctly,
interpreted correctly. [KB84]"

In the spring of 1983 Zawinul compared the current line-up to the
previous Pastorius-Erskine line-up. "It [the Pastorius-Erskine band]
was one of the greatest bands of all time! That band was a hummer! But
I'll tell you, I think this one is developing into an even better one.
Before, we were a knock-out band, we'd dazzle people and they'd have
certain expectations about us, particularly Jaco. Now I didn't mind
all of Jaco's gimmicry. I thought it was strong musically and really
entertaining for the crowd. But look at what's driving the band now:
not any sort of gimmicry but the music itself." [BAM83]

The material for Procession took shape during a month-long tour of the
US. Shorter told Detroit Free Press reporter W. Kim Heron. "I call it
a universal festive feeling," Shorter said of the album's feel. "It's
not really carnival or a party time thing. But it's a celebration,
that's the word (that ends the song) 'Where the Moon Goes.' The mood
came very early and we had to come up with a word that would cover it
without being misleading in any way, so the one we came up with was
'Procession.'" [DFP83]



Heron's article went on to say, "The album is dominated by the thick
layers of synthesized keyboards which have become the Weather Report
trademark. For many, it's hard to listen to his Weather Report playing
and not miss the more expansive and freewheeling style of Shorter's
pre-Weather Report days. But Shorter sees all of his playing as a
whole. 'It may not always be in the same form, but the same essence
comes out,' said Shorter of his past and his present. 'You don't hang
up your lightweight gloves when you move on to the heavyweight gloves,
heavyweight meaning the larger audiences.'" [DFP83]

Blair Jackson interviewed Zawinul and Shorter in mid-April 1983 for a
BAM article: Jackson: Even with all the personnel changes Weather
Report has undergone over the years, there is an unmistakable
continuity from album to album. Is this because the two of you are
responsible for nearly all the music? Zawinul: Yes, it's always been
our music. And in the last few years, I've written more of it than
Wayne, so it's followed a certain line. When I write something or when
Wayne writes something we are usually writing the whole composition,
even the other players' parts. Now that will change with different
players and with differences in style, but the stock of the music is
more or less the same as it was twelve years ago.

Shorter: The concept of the band hasn't changed; we're sticking to the
form of the original musical conversations we had. We haven't let that
thing that happens to so many bands happen to us, which is they forget
why they got together in the first place. [BAM83]"


    length     expanded size    cdr  WAVE problems  fmt   ratio  filename
     9:25.965     325996004 B   cxx   --   ---xx   flac  0.6388  01.flac
    11:07.439     384444746 B   cxx   --   ---xx   flac  0.6455  02.flac
    11:54.284     411427442 B   cxx   --   ---xx   flac  0.5887  03.flac
    17:51.039     616918748 B   cxx   --   ---xx   flac  0.6520  04.flac
    11:57.704     413397440 B   cxx   --   ---xx   flac  0.6021  05.flac
     7:27.669     257857388 B   cxx   --   ---xx   flac  0.6501  06.flac
    22:21.679     772807304 B   cxx   --   ---xx   flac  0.6345  07.flac
     7:36.380     262874846 B   cxx   --   ---xx   flac  0.6127  08.flac
    14:08.271     488604302 B   cxx   --   ---xx   flac  0.6422  09.flac
    11:29.530     397169588 B   cxx   --   ---xx   flac  0.5409  10.flac
    19:00.000     656640044 B   cxx   --   ---xx   flac  0.6376  11.flac
   144:19.961    4988137852 B                            0.6247  (11 files)





Weather Report
Orpheum Theater
Boston, Mass.
March 20, 1983
performance quality: B+
recording quality: B to B+
source: 1st generation audience tape
runtime:
  1st set (tracks 1-6) 70:58
  2nd set and encores (tracks 7-11) 75:42
lineage:
  Sony 310 cassette recorder w/built in mikes >
  Maxell XLII master cassettes > (my copy (same) >
  soundforge 4.5 > FLAC 6 > torrentially yours.
sorry, no setlist available
comments:
  This is a complete (except a couple of tape flips) recording
of a nice long Weather Report concert, their last in Boston
before resuming as "Weather Update" in 1984. Generally the 310
is an okay, not particularly good recorder for live shows, but
I have 2 WR shows recorded on them that came out nice and clearly,
and this is one of them. I did not EQ it and don't think it needs
any, but if you're good at EQ you could make this a B+ quality
without alot of effort. Not much crowd noise during the music at all,
and alot of very nice jazz music here. This is part of glasnostrd19's
Torrentribute to Joe Zawinul, and his historic collaberations with
Wayne Shorter and various friends over the years. I had 3rd row
center tickets to see Weather Update, but I didn't go because I
was psyched for the opener (Mahavishnu) and they cancelled out
so Weather Update played about 3 hours instead. Oh well...
Do not sell this recording.
Trade freely and losslessly.

    length     expanded size    cdr  WAVE problems  fmt   ratio  filename
     9:26.56       99975212 B   -b-   --   ---xx   flac  0.5763  01.flac
    11:09.57      118145068 B   -b-   --   ---xx   flac  0.6031  02.flac
     0:24.25        4292652 B   -b-   --   ---xx   flac  0.5867  03 band introductions.flac
    12:09.08      128614440 B   -b-   --   ---xx   flac  0.5677  04.flac
    17:41.22      187211660 B   -b-   --   ---xx   flac  0.5981  05 spliced.flac
    20:07.35      212996476 B   -b-   --   ---xx   flac  0.5779  06.flac
    22:45.08      240804228 B   -b-   --   ---xx   flac  0.5855  07 second set percussion drums into end cuts.flac
     7:15.73       76906540 B   -b-   --   ---xx   flac  0.5810  08.flac
    14:19.03      151534852 B   -b-   --   ---xx   flac  0.6034  09.flac
    12:21.11      130738732 B   -b-   --   ---xx   flac  0.5264  10.flac
    19:00.70      201261096 B   -b-   --   ---xx   flac  0.6008  11 encore medley.flac
   146:40.68     1552480956 B                            0.5838  (11 files)

shntool after sbe fix using Xact

    length     expanded size    cdr  WAVE problems  fmt   ratio  filename
     9:26.56       99974156 B   ---   --   ---xx   flac  0.5763  01-FIXED.flac
    11:09.57      118145708 B   ---   --   ---xx   flac  0.6031  02-FIXED.flac
     0:24.25        4292444 B   ---   --   ---xx   flac  0.5867  03 band introductions-FIXED.flac
    12:09.08      128614460 B   ---   --   ---xx   flac  0.5677  04-FIXED.flac
    17:41.22      187212188 B   ---   --   ---xx   flac  0.5981  05 spliced-FIXED.flac
    20:07.34      212994812 B   ---   --   ---xx   flac  0.5779  06-FIXED.flac
    22:45.08      240804860 B   ---   --   ---xx   flac  0.5856  07 second set percussion drums into end cuts-FIXED.flac
     7:15.73       76905740 B   ---   --   ---xx   flac  0.5810  08-FIXED.flac
    14:19.03      151534700 B   ---   --   ---xx   flac  0.6034  09-FIXED.flac
    12:21.12      130740668 B   ---   --   ---xx   flac  0.5263  10-FIXED.flac
    19:00.71      201263036 B   ---   --   ---xx   flac  0.6008  11 encore medley-FIXED.flac
   146:40.69     1552482772 B                            0.5838  (11 files)




Weather Report
Warner Theatre, Washington D.C.
March 25 1983
Source: Unknown generation audience recording

Lineage:  Maxell Epitaxial XLII Cassette>Nakamichi CR-7A cassette deck>
Tascam US-122L>Sound Forge Pro 10.0 (record/edits/resample)>FLAC Level 8

Obtained from: The trash
Transferred By: Drew51
Edited By: pbuzby
Speed suggestions: Flambay

Zawinul - keyboards
Wayne Shorter - tenor and soprano sax
Victor Bailey - bass
Omar Hakim - drums
Jose Rossy - percussion

01 Procession
02 Fast City
03 The Peasant
04 Db Waltz
05 Blue Sound - Note 3
06 Molasses Run
07 Plaza Real
08 Two Lines (cuts)

Notes:
Credits: Thanks to Al, Cal, and Pat for rescue, and giving the tapes to me!

    length     expanded size    cdr  WAVE problems  fmt   ratio  filename
    10:19.23      109245740 B   ---   --   ---xx   flac  0.5769  01 Procession.flac
    12:23.16      131102876 B   ---   --   ---xx   flac  0.5825  02 Fast City.flac
    12:18.44      130286732 B   ---   --   ---xx   flac  0.5780  03 The Peasant.flac
    18:45.37      198537068 B   ---   --   ---xx   flac  0.5782  04 Db Waltz.flac
    11:36.28      122840300 B   ---   --   ---xx   flac  0.5759  05 Blue Sound - Note 3.flac
     7:26.23       78728540 B   ---   --   ---xx   flac  0.5827  06 Molasses Run.flac
     7:12.30       76275404 B   ---   --   ---xx   flac  0.5768  07 Plaza Real.flac
     6:09.03       65098700 B   ---   --   ---xx   flac  0.5741  08 Two Lines.flac
    86:10.54      912115360 B                            0.5783  (8 files)





"An Evening With Weather Report"
April 14, 1983
Warfield Theater, San Francisco
AUD Recording


Joe Zawinul
Wayne Shorter
Omar Hakim
Victor Bailey
Jose Rossy

Brought to you from the archives at www.jazzrockworld.com

This is the raw recording  (First Generation Cassette Tape) I made during the performance. I'll leave it to better engineers than I, to do any editing or upgrading. My apologies for not editing the show for immediate Cdr burning, however, my Cassette to Hard Drive skills are extremely limited. Hopefully someone can take this raw material and create a significant upgrade.  If anwyone is interested in the original WAV files, let me know and we'll work something out.

Lineage:
Sony WA-11 Cassette-Corder (with ext. Radio Shack Microphone)> Sony LNX 90 (normal bias) cassette tape> Sony TC-K81 3-Head Stereo Cassette Deck>Carvin Studio Mate SM162> Creative Labs Audigy Z2 Platinum Pro Breakout Box> Nero (7) Wave Editor "Record What You Hear" >PCM .WAV> FLAC Frontend version 1.7.1 Etree edition (level 6)>You


Concert Notes:

This version of Weather Report w/Hakim and Bailey doesn't usually get the credit they deserve. I taped the 1982 "first performance" (in the SF Bay Area) of this band and the difference is staggering. I was going to post the 82 show, but there's no comparison - they really got it all together for this performance.

Also, for those that don't remember this particular show, the group had a "warm up" gig the night before in San Jose at a Country Western bar called The Saddlerack. It sucked. The Saddlerack tried booking many Jazz Rock bands in those days and nothing helped - they went out of business. Nothing lost...

Enjoy this show!!!

We No Speak


    length     expanded size    cdr  WAVE problems  fmt   ratio  filename
    44:17.08      468713516 B   -b-   --   ---xx   flac  0.5698  Tape A Side 1.flac
    46:47.17      495194156 B   -b-   --   ---xx   flac  0.5922  Tape A Side 2.flac
    37:45.46      399654956 B   -b-   --   ---xx   flac  0.5888  Tape B Side 1.flac
   128:49.71     1363562628 B                            0.5835  (3 files)




A Robert Collins Master Recording.

Artist / Title:        Weather Report
Date                   April 15, 1983
Location:              Hollywood Bowl, Hollywood, CA
Seats:                 Middle section, middle area
Deck:                  Nakamichi 350
Mics:                  Nakamichi CM-300 (L, R)
Source:                A:C Master Tape, 2-Mic Stereo
Sample Rate            44.1Khz, 16-bit (CD) (FLAC)
Rating:                A/A-
Length:                130 Minutes


Also Available:
* DVD-Audio, 96 Khz, 24-bit version of this show is also available.

-----

Musicians:
Josef Zawinul               Keyboards
Wayne Shorter               Saxophones
Victor Bailey               Bass Guitar
Omar Hakim                  Drums
Jose Rossy                  Percussion, Concertina

-----

About this recording:
This concert has another story of its own, and is another reason I waited so long
to create this Weather Report memorial concert series.  Like the Starlight Bowl
concert, this is another of my favorites.  But the recording has problems, and the
problems take a lot of time and effort to fix.  So instead of working on this a
long time ago, I waited all of these years to gain the motivation to work on it.

This show is a solid A-rated show, and the recording quality is for the most part
A-rated as well.  The new band has been together for a year by now, and they perform
like a well oiled machine.  Like the Starlight Bowl show, there are moments of pure
magic on this recording.  One such moment is during the encore, during an improvised
piece I called "Delicate Fantasy."  Synthesizer technology was just starting to get
real interesting.  For the very first times, synthesizers were able to perfectly mimic
an actual instrument.  But this wasn't the magical moment.  But during an interplay
between Wayne and Joe, Zawinul dials up a perfect Tympani on his synthesizer.  But
as Joe moves up the scale on his synthesized Tympani, the instrument (and it's
waveform) morphs into a perfect French Horn.  That was a pure magical moment back
in 1983.

Another moment came during the second encore of "Where the Moon Goes."  We've all
heard jazz players do a form of call and response.  But in this case, the challenger
was Joe Zawinul, and the response came from Omar Hakim on Drums.  Yes, it's a
synthesizer vs. drums on call and response.  That was another truly magical moment.

But alas, the recording has problems.  The first minute of the recording doesn't
sound so good.  You will hear that.  The beginning of the concert the levels were
sporadic (at best) and there was lots of microphone muffling.  To fix this, I was
lucky enough to have a second source recording the same concert.  The quality isn't
the best, and you can hear this during the first minute of the concert.  There are
also times during the concert where there is apparent oversaturation of the tape
recording.  This isn't on the master tape.  The master tape levels are sufficiently
low that this oversaturation should not have occurred during recording.  But I
noticed this at least three places on the recording, and all three places original
levels were not set incorrectly.  I can only conclude this oversaturation sound came
from the house PA system, possibly caused by overdriving the preamps of the mixing
console.

The original recording also suffered two very bad tape turns.  In both cases, the
song had ended while the tape was turning.  That's very hard to fix.  Using the
second source recording, you would think it was possible to get complete versions
of each song.  Nope, he turn the tapes during the same songs as I did.  To fix
one of them, I had to take what I had, and use the very end that was captured on
the alternate recording to create a false ending.  That means about 16-bars of
music are missing.  The second tape turn was much more fortunate.  My recording
captured longer before the tape turn than the alternate second source.  I was
able to splice the two back together to fix the song.  The sonic quality of the
second source is noticeably poor.  But I did the best I could to make the
equalization sound the same.  Finally, one of the microphone cords was cutting
in and out during the encore.  There was just enough sonic material to perfectly
fix this in almost every case; but it was very time consuming.  In the three or
so cases that were too excessive to fix, I had to revert to mono; but usually only
a second or so at a time.

But even with all of these warts, the show is one of my favorites.  It's an
A-quality show with an A-quality recording.  It's a must have for any Weather
Report collection.


Weather Report Memorial Concert Series
This has been long overdue, and will still take a while to complete.
I wanted to release all of my Weather Report, Wayne Shorter, and Jaco
Pastorius recordings as part of a "Memorial" to Weather Report and its
members.  Some of these recordings were given to friends many years ago, but
most have never had a proper mastering or released.  So to most people, I
think these will be completely new recordings.  And when you see how many of
them and how good the recording quality and show quality is, then you'll
probably ask:  WTF...why haven't these ever been released?  Answer is
simple:  time.  I knew releasing this many previously unreleased recordings
was going to take a lot of time.

Some people may have copies of these one or more generations down from the
master.  All of these will be coming to you directly from the master
recordings.

Here's what to expect in the series, and in the order to be released:

Date 		Artist 			Venue 								Recording 	Show 	Release status
1980-02-29	Weather Report		Perkins Palace, Pasadena California				B	A-	Previously unreleased
1981-06-21	Weather Report		Playboy Jazz Festival, Hollywood Bowl, Hollywood California	A-	A	Previously unreleased
1982-06-01	Weather Report		Starlight Bowl, San Diago California				A	A+	Previously unreleased
1982-06-19	Weather Report		Playboy Jazz Festival, Hollywood Bowl, Hollywood California	B/B+	B+	Previously unreleased
1983-04-15	Weather Report		Universal Amphitheatre, Universal City California		A/A-	A	Previously unreleased
1984-06-16	Weather Report		Playboy Jazz Festival, Hollywood Bowl, Hollywood California	A-	TBD	Remastered
1988-07-08	Zawinul Syndicate	Hollywood Palace, Hollywood California				A	TBD	Previously unreleased
1990-08/25	Zawinul Syndicate	Concord Pavilion, Concord California				A-	TBD	Previously unreleased
1997-08-31	Zawinul Syndicate	Yoshi's, Oakland California					A+	A	Previously unreleased
1998-09-12	Zawinul Syndicate	Yoshi's, Oakland California					A+	TBD	Previously unreleased
1999-09-02	Zawinul Syndicate	Yoshi's, Oakland California					A+	TBD	Previously unreleased
2000-05-06	Zawinul Syndicate	Palace of Fine Arts, San Francisco California			A-	TBD	Previously unreleased
1979-09-16	Joni Mitchell		Greek Theatre, Los Angeles California				B+	A	Remastered
1982-01-10	Jaco Pastorius		Dorothy Chandler Pavilion, Los Angeles California		A-	A-	Remastered
1982-04-15	Jaco Pastorius		Rissmiller Country Club, Reseda California			B+	A-	Previously unreleased
1983-11-20	Jaco Pastorius		Beverly Theatre, Los Angeles, California			A	TBD	Previously unreleased
1984-06-17	Jaco Pastorius		Playboy Jazz Festival, Hollywood Bowl, Hollywood California	A	Note*	Previously unreleased
1997-09-04	Hancock / Shorter	Villa Montalvo Mountain Winery, Saratoga California		A-	A-	Re-seed

Note:  This is the "rumored" Jaco recording written about in a Jaco biography.
The author writes about a "rumored" recording made at the Playboy Jazz Festival
when Jaco tore the stage apart and his own musicians eventually refused to play
for him.  Playboy Jazz promoters eventually turned the stage on Jaco to put an
end to his set.  This is the recording referenced in the book.  It's
depressing.

-----

Lineage:
AUD> Nakamichi 350
---> Nakamichi Dragon (playback)
---> Korg MR1000 (5.6 Mhz, 1-bit master tape)
---> Down sample to 96Khz, 32-bit using Korg Audiogate
---> iZotope RX-Advanced (noise reduction, spectral editing)
---> Sound Forge (put the concert back together)
---> iZotope RX-Advanced (downsample, dither)
---> CD Architect (CD Audio)
---> EAC
---> FLAC

-----

Sound Samples:
Sample-1 (Molasses Run):
http://www.rcollins.org/concerts/mp3/WR-19830415-Sample-1.mp3

Sample-1 (Delicate Fantasy):
http://www.rcollins.org/concerts/mp3/WR-19830415-Sample-2.mp3

Sample-1 (Where the Moon Goes):
http://www.rcollins.org/concerts/mp3/WR-19830415-Sample-3.mp3

-----

Song List:
Disc-1:
       Start           End        Length  Name
------------  ------------  ------------  --------------------------
00:00:00.000  00:10:32.101  00:10:32.101  Procession
00:10:32.101  00:19:54.430  00:09:22.329  Fast City
00:19:54.430  00:30:13.012  00:10:18.582  The Peasant
00:30:13.012  00:45:48.981  00:15:35.969  D-Flat Waltz
00:45:48.981  00:58:54.556  00:13:05.575  Blue Sound - Note 3
00:58:54.556  01:05:03.832  00:06:09.276  Molasses Run

Disc-2:
       Start           End        Length  Name
------------  ------------  ------------  --------------------------
00:00:00.000  00:07:55.975  00:07:55.975  Plaza Real
00:07:55.975  00:11:21.393  00:03:25.418  Percussion Solo
00:11:21.393  00:28:03.057  00:16:41.664  Two Lines
00:28:03.057  00:29:46.106  00:01:43.050  8:30
00:29:46.106  00:31:01.310  00:01:15.203  Black Market
00:31:01.310  00:31:32.726  00:00:31.417  Elegant People
00:31:32.726  00:33:12.056  00:01:39.330  Badia
00:33:12.056  00:36:47.526  00:03:35.470  A Remark You Made
00:36:47.526  00:41:08.257  00:04:20.730  Birdland
00:41:08.257  00:52:19.371  00:11:11.114  Delicate Fantasy
00:52:19.371  01:05:14.283  00:12:54.912  Where The Moon Goes


FFP Fingerprints:
Disc-1:
1.01 Procession.flac:5c2a8ab8dff988998a98ea93773f9aa6
1.02 Fast City.flac:19b967e975df23094f413889b9332054
1.03 The Peasant.flac:ed0bdca44ef9f97efb201df2e0cece75
1.04 D-Flat Waltz.flac:56092d886e00a74bde57f76835a200ac
1.05 Blue Sound - Note 3.flac:a41567285ea9822ab1d0cb9e0871695a
1.06 Molasses Run.flac:17efc3ca3f2432123cd03005efcb2648

Disc-2:
2.01 Plaza Real.flac:062a4de3b537b51c44c43e9a59a7f51f
2.02 Percussion Solo.flac:bcc6022725fddf0e1088f06993438fa3
2.03 Two Lines.flac:a8455d376c4c210543918ba3261cec59
2.04 8-30.flac:3ae2c44b6582c115c1a6df5b089e325c
2.05 Black Market.flac:e2cc8d74074e74b3ff632f3fa23ae09e
2.06 Elegant People.flac:2cd70d1fa8712ed18210ce3e36bc38fb
2.07 Badia.flac:1d67831e0770a3951db455b050cb8d88
2.08 A Remark You Made.flac:25b28fce72a8170fcfd7fdc68f99e53d
2.09 Birdland.flac:c5c2eb316a24b9e0d0fa4695bda43a68
2.10 Delicate Fantasy.flac:28f389bc7bbd5254eea10e4e90eac5c5
2.11 Where The Moon Goes.flac:2f695f26fb61a29641d72abcb17dc2e4

    length     expanded size    cdr  WAVE problems  fmt   ratio  filename
    10:32.07      111501308 B   ---   --   ---xx   flac  0.6280  1.01 Procession.flac
     9:22.25       99195644 B   ---   --   ---xx   flac  0.6706  1.02 Fast City.flac
    10:18.43      109116380 B   ---   --   ---xx   flac  0.5502  1.03 The Peasant.flac
    15:35.73      165105740 B   ---   --   ---xx   flac  0.6371  1.04 D-Flat Waltz.flac
    13:05.43      138575180 B   ---   --   ---xx   flac  0.5158  1.05 Blue Sound - Note 3.flac
     6:09.22       65143388 B   ---   --   ---xx   flac  0.6111  1.06 Molasses Run.flac
     7:55.73       83961740 B   ---   --   ---xx   flac  0.5619  2.01 Plaza Real.flac
     3:25.31       36234956 B   ---   --   ---xx   flac  0.4623  2.02 Percussion Solo.flac
    16:41.50      176694044 B   ---   --   ---xx   flac  0.6245  2.03 Two Lines.flac
     1:43.03       18176300 B   ---   --   ---xx   flac  0.5984  2.04 8-30.flac
     1:15.16       13267676 B   ---   --   ---xx   flac  0.6146  2.05 Black Market.flac
     0:31.31        5541356 B   ---   --   ---xx   flac  0.6281  2.06 Elegant People.flac
     1:39.25       17522444 B   ---   --   ---xx   flac  0.5571  2.07 Badia.flac
     3:35.35       38008364 B   ---   --   ---xx   flac  0.5199  2.08 A Remark You Made.flac
     4:20.55       45993404 B   ---   --   ---xx   flac  0.6038  2.09 Birdland.flac
    11:11.08      118383260 B   ---   --   ---xx   flac  0.3945  2.10 Delicate Fantasy.flac
    12:54.70      136698284 B   ---   --   ---xx   flac  0.5760  2.11 Where The Moon Goes.flac
   130:18.10     1379119468 B                            0.5747  (17 files)




A Robert Collins Master Recording.

Artist / Title:        Weather Report
Date                   April 15, 1983
Location:              Hollywood Bowl, Hollywood, CA
Seats:                 Middle section, middle area
Deck:                  Nakamichi 350
Mics:                  Nakamichi CM-300 (L, R)
Source:                A:C Master Tape, 2-Mic Stereo
Sample Rate            44.1Khz, 16-bit (CD) (FLAC)
Rating:                A/A-
Length:                130 Minutes


Also Available:
* CD-Audio, 44.1 Khz, 16-bit version of this show is also available.


-----

Musicians:
Josef Zawinul               Keyboards
Wayne Shorter               Saxophones
Victor Bailey               Bass Guitar
Omar Hakim                  Drums
Jose Rossy                  Percussion, Concertina

-----

About this recording:
This concert has another story of its own, and is another reason I waited so long
to create this Weather Report memorial concert series.  Like the Starlight Bowl
concert, this is another of my favorites.  But the recording has problems, and the
problems take a lot of time and effort to fix.  So instead of working on this a
long time ago, I waited all of these years to gain the motivation to work on it.

This show is a solid A-rated show, and the recording quality is for the most part
A-rated as well.  The new band has been together for a year by now, and they perform
like a well oiled machine.  Like the Starlight Bowl show, there are moments of pure
magic on this recording.  One such moment is during the encore, during an improvised
piece I called "Delicate Fantasy."  Synthesizer technology was just starting to get
real interesting.  For the very first times, synthesizers were able to perfectly mimic
an actual instrument.  But this wasn't the magical moment.  But during an interplay
between Wayne and Joe, Zawinul dials up a perfect Tympani on his synthesizer.  But
as Joe moves up the scale on his synthesized Tympani, the instrument (and it's
waveform) morphs into a perfect French Horn.  That was a pure magical moment back
in 1983.

Another moment came during the second encore of "Where the Moon Goes."  We've all
heard jazz players do a form of call and response.  But in this case, the challenger
was Joe Zawinul, and the response came from Omar Hakim on Drums.  Yes, it's a
synthesizer vs. drums on call and response.  That was another truly magical moment.

But alas, the recording has problems.  The first minute of the recording doesn't
sound so good.  You will hear that.  The beginning of the concert the levels were
sporadic (at best) and there was lots of microphone muffling.  To fix this, I was
lucky enough to have a second source recording the same concert.  The quality isn't
the best, and you can hear this during the first minute of the concert.  There are
also times during the concert where there is apparent oversaturation of the tape
recording.  This isn't on the master tape.  The master tape levels are sufficiently
low that this oversaturation should not have occurred during recording.  But I
noticed this at least three places on the recording, and all three places original
levels were not set incorrectly.  I can only conclude this oversaturation sound came
from the house PA system, possibly caused by overdriving the preamps of the mixing
console.

The original recording also suffered two very bad tape turns.  In both cases, the
song had ended while the tape was turning.  That's very hard to fix.  Using the
second source recording, you would think it was possible to get complete versions
of each song.  Nope, he turn the tapes during the same songs as I did.  To fix
one of them, I had to take what I had, and use the very end that was captured on
the alternate recording to create a false ending.  That means about 16-bars of
music are missing.  The second tape turn was much more fortunate.  My recording
captured longer before the tape turn than the alternate second source.  I was
able to splice the two back together to fix the song.  The sonic quality of the
second source is noticeably poor.  But I did the best I could to make the
equalization sound the same.  Finally, one of the microphone cords was cutting
in and out during the encore.  There was just enough sonic material to perfectly
fix this in almost every case; but it was very time consuming.  In the three or
so cases that were too excessive to fix, I had to revert to mono; but usually only
a second or so at a time.

But even with all of these warts, the show is one of my favorites.  It's an
A-quality show with an A-quality recording.  It's a must have for any Weather
Report collection.


Weather Report Memorial Concert Series
This has been long overdue, and will still take a while to complete.
I wanted to release all of my Weather Report, Wayne Shorter, and Jaco
Pastorius recordings as part of a "Memorial" to Weather Report and its
members.  Some of these recordings were given to friends many years ago, but
most have never had a proper mastering or released.  So to most people, I
think these will be completely new recordings.  And when you see how many of
them and how good the recording quality and show quality is, then you'll
probably ask:  WTF...why haven't these ever been released?  Answer is
simple:  time.  I knew releasing this many previously unreleased recordings
was going to take a lot of time.

Some people may have copies of these one or more generations down from the
master.  All of these will be coming to you directly from the master
recordings.

Here's what to expect in the series, and in the order to be released:

Date 		Artist 			Venue 								Recording 	Show 	Release status
1980-02-29	Weather Report		Perkins Palace, Pasadena California				B	A-	Previously unreleased
1981-06-21	Weather Report		Playboy Jazz Festival, Hollywood Bowl, Hollywood California	A-	A	Re-seed
1982-06-01	Weather Report		Starlight Bowl, San Diago California				A	A+	Previously unreleased
1982-06-19	Weather Report		Playboy Jazz Festival, Hollywood Bowl, Hollywood California	B/B+	B+	Previously unreleased
1983-04-15	Weather Report		Universal Amphitheatre, Universal City California		A/A-	A	Previously unreleased
1984-06-16	Weather Report		Playboy Jazz Festival, Hollywood Bowl, Hollywood California	A-	TBD	Remastered
1988-07-08	Zawinul Syndicate	Hollywood Palace, Hollywood California				A	TBD	Previously unreleased
1990-08/25	Zawinul Syndicate	Concord Pavilion, Concord California				A-	TBD	Previously unreleased
1997-08-31	Zawinul Syndicate	Yoshi's, Oakland California					A+	A	Previously unreleased
1998-09-12	Zawinul Syndicate	Yoshi's, Oakland California					A+	TBD	Previously unreleased
1999-09-02	Zawinul Syndicate	Yoshi's, Oakland California					A+	TBD	Previously unreleased
2000-05-06	Zawinul Syndicate	Palace of Fine Arts, San Francisco California			A-	TBD	Previously unreleased
1979-09-16	Joni Mitchell		Greek Theatre, Los Angeles California				B+	A	Remastered
1982-01-10	Jaco Pastorius		Dorothy Chandler Pavilion, Los Angeles California		A-	A-	Remastered
1982-04-15	Jaco Pastorius		Rissmiller Country Club, Reseda California			B+	A-	Previously unreleased
1983-11-20	Jaco Pastorius		Beverly Theatre, Los Angeles, California			A	TBD	Previously unreleased
1984-06-17	Jaco Pastorius		Playboy Jazz Festival, Hollywood Bowl, Hollywood California	A	Note*	Previously unreleased
1997-09-04	Hancock / Shorter	Villa Montalvo Mountain Winery, Saratoga California		A-	A-	Re-seed

Note:  This is the "rumored" Jaco recording written about in a Jaco biography.
The author writes about a "rumored" recording made at the Playboy Jazz Festival
when Jaco tore the stage apart and his own musicians eventually refused to play
for him.  Playboy Jazz promoters eventually turned the stage on Jaco to put an
end to his set.  This is the recording referenced in the book.  It's
depressing.

-----

Lineage:
AUD> Nakamichi 350
--> Nakamichi Dragon (playback)
---> Korg MR1000 (5.6 Mhz, 1-bit master tape)
---> Down sample to 96Khz, 32-bit using Korg Audiogate
---> iZotope RX-Advanced (noise reduction, spectral editing)
---> Sound Forge (put the concert back together)
---> FLAC

-----

Sound Samples:
Sample-1 (Molasses Run):
http://www.rcollins.org/concerts/mp3/WR-19830415-Sample-1.mp3

Sample-1 (Delicate Fantasy):
http://www.rcollins.org/concerts/mp3/WR-19830415-Sample-2.mp3

Sample-1 (Where the Moon Goes):
http://www.rcollins.org/concerts/mp3/WR-19830415-Sample-3.mp3

-----

       Start           End        Length  Name
------------  ------------  ------------  --------------------------
       Start           End        Length  Name
------------  ------------  ------------  --------------------------
00:00:00.000  00:10:32.101  00:10:32.101  Procession
00:10:32.101  00:19:54.430  00:09:22.329  Fast City
00:19:54.430  00:30:13.012  00:10:18.582  The Peasant
00:30:13.012  00:45:48.981  00:15:35.969  D-Flat Waltz
00:45:48.981  00:58:54.556  00:13:05.575  Blue Sound - Note 3
00:58:54.556  01:05:03.832  00:06:09.276  Molasses Run
01:05:03.832  01:12:59.807  00:07:55.975  Plaza Real
01:12:59.807  01:16:25.225  00:03:25.418  Percussion Solo
01:16:25.225  01:33:06.889  00:16:41.664  Two Lines
01:33:06.889  01:34:49.938  00:01:43.050  8:30
01:34:49.938  01:36:05.141  00:01:15.203  Black Market
01:36:05.142  01:36:36.558  00:00:31.417  Elegant People
01:36:36.558  01:38:15.888  00:01:39.330  Badia
01:38:15.888  01:41:51.358  00:03:35.470  A Remark You Made
01:41:51.358  01:46:12.089  00:04:20.730  Birdland
01:46:12.089  01:57:23.203  00:11:11.114  Delicate Fantasy
01:57:23.203  02:10:18.114  00:12:54.912  Where The Moon Goes


FFP Fingerprints:
01. Procession.flac:a5044d1ffd32bae2fc3599c937d23033
02. Fast City.flac:41368b4f12e4208977b0b9dd4ffa3f14
03. The Peasant.flac:e173ecd2cfbb2bafd7314688c195dfb6
04. D-Flat Waltz.flac:70ea5e5dea69c6d0cd734c22341b6148
05. Blue Sound - Note 3.flac:9e13afdc466355b8320c4c6b5373ecb6
06. Molasses Run.flac:55777aa213da7a315d50de3158451249
07. Plaza Real.flac:e30b2cf14de5d361f33fd8accdd2e2c2
08. Percussion Solo.flac:19ed1de885d4f4e9f8827e9c32bb396e
09. Two Lines.flac:c4ee3ad53fe1e60f174a7484d9efeb5b
10. 8-30.flac:631540664dc1585563f37ebb2bd420c0
11. Black Market.flac:c568bad68fda699459fee75f3e22a706
12. Elegant People.flac:987663f7918022c8d2f98423550ed099
13. Badia.flac:2af9f9bef0dbcd676876476802610f51
14. A Remark You Made.flac:c0d78286e8c54c27ff2d93561c6acf98
15. Birdland.flac:eae19d6708c3c4cca74d827600fb9d0e
16. Delicate Fantasy.flac:86a44757c12f855c2ed09e2a868c976a
17. Where The Moon Goes.flac:7a45d8fe92d45cdb3172985a01fda16d

    length     expanded size    cdr  WAVE problems  fmt   ratio  filename
    10:32.101     364090220 B   cxx   --   ---xx   flac  0.6394  01. Procession.flac
     9:22.329     323901548 B   cxx   --   ---xx   flac  0.6676  02. Fast City.flac
    10:18.582     356303276 B   cxx   --   ---xx   flac  0.6235  03. The Peasant.flac
    15:35.969     539118188 B   cxx   --   ---xx   flac  0.6520  04. D-Flat Waltz.flac
    13:05.575     452491094 B   cxx   --   ---xx   flac  0.6096  05. Blue Sound - Note 3.flac
     6:09.276     212703038 B   cxx   --   ---xx   flac  0.6448  06. Molasses Run.flac
     7:55.975     274161506 B   cxx   --   ---xx   flac  0.6271  07. Plaza Real.flac
     3:25.418     118320836 B   cxx   --   ---xx   flac  0.5923  08. Percussion Solo.flac
    16:41.664     576958508 B   cxx   --   ---xx   flac  0.6524  09. Two Lines.flac
     1:43.050      59356634 B   cxx   --   ---xx   flac  0.6078  10. 8-30.flac
     1:15.203      43317158 B   cxx   --   ---xx   flac  0.6162  11. Black Market.flac
     0:31.417      18096014 B   cxx   --   ---xx   flac  0.6222  12. Elegant People.flac
     1:39.330      57214088 B   cxx   --   ---xx   flac  0.5857  13. Badia.flac
     3:35.470     124110800 B   cxx   --   ---xx   flac  0.5680  14. A Remark You Made.flac
     4:20.730     150180770 B   cxx   --   ---xx   flac  0.6120  15. Birdland.flac
    11:11.114     386561762 B   cxx   --   ---xx   flac  0.5211  16. Delicate Fantasy.flac
    12:54.912     446349224 B   cxx   --   ---xx   flac  0.5998  17. Where The Moon Goes.flac
   130:18.114    4503234664 B                            0.6203  (17 files)


Weather Report
Sartory Saal
Cologne, Germany
5-13-83

Satelite TV-Broadcast (mono) > Hifi-Video > CD (Hifi CD-Recorder) > EAC > SHN

Joe Zawinul - keyboards
Wayne Shorter - sax
Omar Hakim - drums
Victor Bailey - bass
Jose Rossy - percussion

CD1:
01. procession
02. fast city
03. singapore
04. db waltz
05. ballad

CD2:
01. two lines
02. plaza real
03. medley: black market
04. Zawinul/Shorter duo
05. where the moon goes

    length     expanded size    cdr  WAVE problems  fmt   ratio  filename
    10:08.66      107406476 B   ---   --   ---xx   flac  0.5233  wr83-05-13d1t01.flac
     8:49.08       93334460 B   ---   --   ---xx   flac  0.5661  wr83-05-13d1t02.flac
     9:56.01      105136796 B   ---   --   ---xx   flac  0.4998  wr83-05-13d1t03.flac
    12:55.57      136844108 B   ---   --   ---xx   flac  0.5677  wr83-05-13d1t04.flac
     9:12.54       97499852 B   ---   --   ---xx   flac  0.4917  wr83-05-13d1t05.flac
    14:48.17      156683228 B   ---   --   ---xx   flac  0.5391  wr83-05-13d2t01.flac
     7:40.20       81191084 B   ---   --   ---xx   flac  0.4993  wr83-05-13d2t02.flac
    12:22.18      130931180 B   ---   --   ---xx   flac  0.5459  wr83-05-13d2t03.flac
     7:31.68       79716380 B   ---   --   ---xx   flac  0.3669  wr83-05-13d2t04.flac
    12:36.72      133527788 B   ---   --   ---xx   flac  0.4982  wr83-05-13d2t05.flac
   106:02.06     1122271352 B                            0.5163  (10 files)





LDB Special Series #323 (RLR collection)

Out of my 7,000+ shows and radio broadcasts, I have many concerts that were special for some reasons: the setlist, the
musicians, the venue or unexpected events. These are the ones I'd like to propose you. Most of these come from my
cassettes collection, so they will be released at a slower pace than my Master Series! But you won't be disappointed!
I will try to gather the most unusual things I have in my collection and, as always, your feedback and comments will be my
reward for all the work involved in this project.

DO NOT share this music on mp3, just convert it for your own use. Sharing mp3's is the right way to make me stop sharing
music here.

WEATHER REPORT
Milano, Teatro Tenda Lampugnano
May 19, 1983

01.Procession
02.Fast City
03.The Peasant
04.dB Waltz
05.Blue Sound Note 3
06.Omar Hakim drums solo / Two Lines
07.Plaza Real
08.Medley: Night Passage / Black Market / Badia / A Remark You Made /
09.Medley cont: Rockinâ€™ in Rhythm / Birdland
10.Zawinul / Shorter Duet
11.Where The Moon Goes

TT 121:42

Lineage: Unknown recording device > low generation tape > Aiwa Tape Deck TC-WE475 > Audiophile 2496 Soundblaster > HD >
SoundForge 7.0 > CD Wave > FLAC Frontend (level 6)

Victor Bailey - bass
Omar Hakim - drums
Jose Rossy - percussion
Wayne Shorter - saxophones
Joe Zawinul - keyboards

I think I have something really special to share with all Dimers, but first a bit of background. RLR has been a very active
trader back in the early 80Â´s with very wide musical tastes: he could go from Kiss to Joni Mitchell; from Genesis to Deep
Purple, Queen, Simple Minds, The Who, Springsteen and many more. In the part I could access his enormous collection to get
many U2 tapes some of which I have been sharing with you folks.

RLR had all sorts of tapes in his collection, traded not long after the show happened so most of them are low generation, in
particular tons of shows recorded in Italy which to me are some of the most interesting. Some of them, I had never seen
circulating in the trading circuit. Unfortunately he did not care about generation so this info, except for the shows he
has as masters, is not available.

RLR has kindly given me access once again to his collection. It was like a "kid in a toy shop" situation: it was hard to
select tapes and at the end I came home with some 250 tapes to listen and eventually to transfer in the digital domain. Some
of them will be shared here, possibly the most interesting ones.

To start of, here is something I havenÂ´t seen circulating. Actually this gig is not even listed in the WR tourography on
the web. It was recorded at the infamous Teatro Tenda Lampugnano and performed by the last incarnation of the band. Still,
this is great music. Soundwise, I would rate this as 7 out of 10: it sounds clear although a bit boomy. I have tried to
improve the overall sound while editing. It is enjoyable, though.

Watch these screens for more shows from the RLR collection. And of course all appreciation goes to him for "opening the
vaults"...

ldb


    length     expanded size    cdr  WAVE problems  fmt   ratio  filename
     9:40.57      102446108 B   ---   --   ---xx   flac  0.5877  Weather Report 19830519 Milano01.flac
    11:11.25      118423244 B   ---   --   ---xx   flac  0.5898  Weather Report 19830519 Milano02.flac
    10:18.61      109158716 B   ---   --   ---xx   flac  0.5753  Weather Report 19830519 Milano03.flac
    14:03.32      148780508 B   ---   --   ---xx   flac  0.5691  Weather Report 19830519 Milano04.flac
    10:23.22      109948988 B   ---   --   ---xx   flac  0.5656  Weather Report 19830519 Milano05.flac
    20:23.57      215871308 B   ---   --   ---xx   flac  0.5919  Weather Report 19830519 Milano06.flac
     7:40.27       81207548 B   ---   --   ---xx   flac  0.5906  Weather Report 19830519 Milano07.flac
     8:48.32       93214508 B   ---   --   ---xx   flac  0.5899  Weather Report 19830519 Milano08.flac
     7:10.38       75941420 B   ---   --   ---xx   flac  0.5807  Weather Report 19830519 Milano09.flac
     8:49.05       93327404 B   ---   --   ---xx   flac  0.5559  Weather Report 19830519 Milano10.flac
    13:13.14      139917292 B   -b-   --   ---xx   flac  0.5801  Weather Report 19830519 Milano11.flac
   121:42.70     1288237044 B                            0.5803  (11 files)





Weather Report
August 11, 1983 Nagano Bunka Kaikan, Nagano, Japan

Source: Unknown generation audience recording

Lineage: Maxell XLII-S Cassette>Nakamichi CR-7A cassette deck>Tascam US-122L>
         Sound Forge Pro 10.0 (record/edits/resample)>
         CDWav (tracking) -> FLAC 8 -> FLAC

Obtained from: The trash
Transferred By: Calculus
Edited By: Calculus
Setlist/Tracking: pbuzby

Line Up:
Zawinul: keyboards
Wayne Shorter: tenor and soprano sax
Victor Bailey: bass
Omar Hakim: drums
Jose Rossy: percussion

01 Procession
02 Fast City
03 The Peasant
04 Db Waltz
05 Blue Sound - Note 3
06 Drum/Percussion Intro
07 Two Lines


Credits: Thanks to the unknown taper! Thanks to AB for recovering this tape from the city dump.
2010  03 07 - Calculus


    length     expanded size    cdr  WAVE problems  fmt   ratio  filename
    11:37.09      122972012 B   ---   --   ---xx   flac  0.5448  01 Procession.flac
    12:45.53      135070700 B   ---   --   ---xx   flac  0.5725  02 Fast City.flac
    14:37.71      154869836 B   ---   --   ---xx   flac  0.5463  03 The Peasant.flac
    16:17.18      172385180 B   ---   --   ---xx   flac  0.5811  04 Db Waltz.flac
    12:17.71      130173836 B   ---   --   ---xx   flac  0.5157  05 Blue Sound - Note 3.flac
     4:04.11       43067516 B   ---   --   ---xx   flac  0.5421  06 Drum - Percussion Intro.flac
    16:57.00      179398844 B   ---   --   ---xx   flac  0.5668  07 Two Lines.flac
    88:37.08      937937924 B                            0.5557  (7 files)




SHNID	Date	Venue	City	State
146505	1983-03-18	Tower Theater	Philadelphia	PA
flac16/44.1khz Sony Stereo Recorder /flac/dime/you via mee
146506	1983-03-18	Tower Theater	Philadelphia	PA
flac16/44.1khz Sony Stereo Cassette Recorder/Philips cd burner (dao)/Flac/You
146503	1983-03-20	Orpheum Theatre	Boston	MA
flac16/44.1khz RECORDING TYPE: Audience ["AR"] TAPER: Barry Rogoff (Balrog) SOURCE AND LINEAGE: 1983 - Nakamichi CM-300/CP1 > Sony WM-D6C (Dolby B in) > Maxell XLII-S 2010 - Maxell XLII-S > Nakamichi Dragon (Dolby B out) > RDL FP-UBC6 > MOTU 896 > Sound Forge Audio Studio 9.0 > Wave [96kHz/24 bit] > Izotope RX, CEP 2.0 with Izotope Ozone [mastering and downsample/conversion to 44.1KHz/16 bit] > Wave > FLAC
146504	1983-03-20	Orpheum Theatre	Boston	MA
flac24/96khz RECORDING TYPE: Audience ["AR"] TAPER: Barry Rogoff (Balrog) SOURCE AND LINEAGE: 1983 - Nakamichi CM-300/CP1 > Sony WM-D6C (Dolby B in) > Maxell XLII-S 2010 - Maxell XLII-S > Nakamichi Dragon (Dolby B out) > RDL FP-UBC6 > MOTU 896 > Sound Forge Audio Studio 9.0 > Wave [96kHz/24 bit] > Izotope RX, CEP 2.0 with Izotope Ozone [mastering and downsample/conversion to 44.1KHz/16 bit] > Wave > FLAC
146507	1983-03-20	Orpheum Theatre	Boston	MA
flac16/44.1khz source: 1st generation audience tape lineage: Sony 310 cassette recorder w/built in mikes > Maxell XLII master cassettes > (my copy (same) > soundforge 4.5 > FLAC 6 > torrentially yours.
146508	1983-03-25	Warner Theatre	Washington	DC
flac16/44.1khz Source: Unknown generation audience recording Lineage: Maxell Epitaxial XLII Cassette>Nakamichi CR-7A cassette deck> Tascam US-122L>Sound Forge Pro 10.0 (record/edits/resample)>FLAC Level 8
146502	1983-04-14	Warfield Theater	San Francisco	CA
flac16/44.1khz Sony WA-11 Cassette-Corder (with ext. Radio Shack Microphone)> Sony LNX 90 (normal bias) cassette tape> Sony TC-K81 3-Head Stereo Cassette Deck>Carvin Studio Mate SM162> Creative Labs Audigy Z2 Platinum Pro Breakout Box> Nero (7) Wave Editor "Record What You Hear" >PCM .WAV> FLAC Frontend version 1.7.1 Etree edition (level 6)>You
146509	1983-04-15	Universal Amphitheatre	Los Angeles	CA
flac16/44.1khz A Robert Collins Master Recording. Seats: Middle section, middle area Deck: Nakamichi 350 Mics: Nakamichi CM-300 (L, R) Source: A:C Master Tape, 2-Mic Stereo Sample Rate 44.1Khz, 16-bit (CD) (FLAC)
146510	1983-04-15	Universal Amphitheatre	Los Angeles	CA
flac24/96khz A Robert Collins Master Recording. Deck: Nakamichi 350 Mics: Nakamichi CM-300 (L, R) Source: A:C Master Tape, 2-Mic Stereo
146501	1983-05-13	Sartory Saal	KÃ¶ln	Germany
flac16/44.1khz Satelite TV-Broadcast (mono) > Hifi-Video > CD (Hifi CD-Recorder) > EAC > SHN
146500	1983-05-19	Teatro Tenda Lampugnano	Milano	Italy
flac16/44.1khz Lineage: Unknown recording device > low generation tape > Aiwa Tape Deck TC-WE475 > Audiophile 2496 Soundblaster > HD > SoundForge 7.0 > CD Wave > FLAC Frontend (level 6)
146499	1983-08-11	Nagano Bunka Kaikan	Nagano	Japan
flac16/44.1khz Source: Unknown generation audience recording Lineage: Maxell XLII-S Cassette>Nakamichi CR-7A cassette deck>Tascam US-122L> Sound Forge Pro 10.0 (record/edits/resample)> CDWav (tracking) -> FLAC 8 -> FLAC Obtained from: The trash Transferred By: Calculus Edited By: Calculus Setlist/Tracking: pbuzby

Live Concert Database