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Joe Zawinul's Birdland in Vienna
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seraph
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PostPosted: Sat Mar 20, 2004 3:00 pm    Post subject: Joe Zawinul's Birdland in Vienna Reply with quote  Mark this post and the followings unread

Calendar Event: May 25, 2004

Joe Zawinul's Birdland in Vienna: The new jazz and music club will open on May 25, 2004

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Politics is the entertainment division of the military industrial complex - Frank Zappa

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seraph
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PostPosted: Sat Mar 20, 2004 3:10 pm    Post subject: Reply with quote  Mark this post and the followings unread

This picture was taken at the Umbria Jazz Festival in Perugia, Italy in 1990.
For one week I was his assistant/translator during the Music Synthesis Seminar at the "Berklee Summer School at Umbria Jazz Clinics '90"


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PostPosted: Sat Mar 20, 2004 10:39 pm    Post subject: Reply with quote  Mark this post and the followings unread

Looking cool, Carlo. Cool

When you want to start electro-jazz.com, let me know. Wink
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elektro80
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PostPosted: Sun Mar 21, 2004 8:41 am    Post subject: Reply with quote  Mark this post and the followings unread

perhaps we will resurrect bebop-o-tronics in a compilation some day?

That Zawinul dude is a mean lean playing machine!

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PostPosted: Sun Mar 21, 2004 9:13 am    Post subject: Reply with quote  Mark this post and the followings unread

That photo is already 14 years old. Someday people will look at multi-keyboard setups like that and it will look very obsolete.
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seraph
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PostPosted: Sun Mar 21, 2004 2:21 pm    Post subject: Reply with quote  Mark this post and the followings unread

Do you see that thing on the lower right corner of the photo?
That was a remote controller for a midi patch bay he had on his rack (that a technician had made for him), each keyboard and module was on midi channel 1 and he had a pedal for each one of them to control volume (there were at least 10 pedals on the floor!). This set up made possible to him to change midi assignment and midi volume on the spot every day. Isn't obsolete already Question

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PostPosted: Sun Mar 21, 2004 2:30 pm    Post subject: Reply with quote  Mark this post and the followings unread

elektro80 wrote:
That Zawinul dude is a mean lean playing machine!

not only that, he's a nice guy too

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PostPosted: Sun Mar 21, 2004 2:41 pm    Post subject: Reply with quote  Mark this post and the followings unread

Interesting. I was thinking that with one really good keyboard controller which you can instantly reconfigure, you don't need multiple keyboards.

There are probably lots of arguements for multiple boards though; different keyboards feel better playing different music for one. Maybe this kind of setup makes sense for the right performer.
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seraph
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PostPosted: Sun Mar 21, 2004 3:37 pm    Post subject: Reply with quote  Mark this post and the followings unread

mosc wrote:
Interesting. I was thinking that with one really good keyboard controller which you can instantly reconfigure, you don't need multiple keyboards.

He is not the type of guy who knows in advance what he's going to do, he's a true improviser: that year I saw his band playing at Umbria jazz festival for six consecutive days (I had a pass for all concerts Very Happy ) and the outcome of each concert was very different from the other ones.

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PostPosted: Sun Mar 21, 2004 4:17 pm    Post subject: Reply with quote  Mark this post and the followings unread

I love that. That's the way we are in Xeroid Entity.
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jkn



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PostPosted: Sun Mar 21, 2004 5:46 pm    Post subject: Reply with quote  Mark this post and the followings unread

That appears to be a Korg DSS-1 beast on the left. I've had one since about '87/'88 - I love it - it's my main synth still.

I caught a concert on tv not so long ago of Hancock, Corea, and Zawinul recorded in the early 80's. Very fun.
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PostPosted: Mon Mar 22, 2004 7:04 am    Post subject: Reply with quote  Mark this post and the followings unread

this picture shows his set up that year (it comes from a review on an Italian newspaper)
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PostPosted: Mon Mar 22, 2004 11:50 am    Post subject: Reply with quote  Mark this post and the followings unread

Cool!
I wish I could see a diagram like this for every performance.
I'm as fascinated by people's operations, organization and techniques as I am by the music.
How did he keep track of which pedal was for which synth?
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PostPosted: Mon Mar 22, 2004 1:44 pm    Post subject: Reply with quote  Mark this post and the followings unread

You really can't tell that he was a Korg endorser can you?
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PostPosted: Mon Mar 22, 2004 2:24 pm    Post subject: Reply with quote  Mark this post and the followings unread

Him? A Korg endorser? Man.. how did you ever get that idea?
Shocked Cool

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PostPosted: Mon Mar 22, 2004 2:45 pm    Post subject: Reply with quote  Mark this post and the followings unread

http://www.zawinulfans.org/italiano/dibiagio.htm

(note - in Italian - which I can't read...) - but there's a photo of his setup on there similar to the one seraph posted - probably only a year or two later.
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PostPosted: Mon Mar 22, 2004 3:17 pm    Post subject: Reply with quote  Mark this post and the followings unread

jkn wrote:
http://www.zawinulfans.org/italiano/dibiagio.htm

(note - in Italian - which I can't read...) - but there's a photo of his setup on there similar to the one seraph posted - probably only a year or two later.

those pictures were taken during that seminar in 1990, I remember the guy who wrote that article (he was an attendee)
P.S.
at the bottom of the article he acknowledges a few people, among them me.

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PostPosted: Mon Mar 22, 2004 3:32 pm    Post subject: Reply with quote  Mark this post and the followings unread

That's hilarious that I grabbed the same session...and your name is in the article... wow. Why I thought it was a little later is I saw the A3's in the rack on the website, but didn't notice them in the drawing you'd posted.

Eh - that's what I get for skimming too quickly!
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PostPosted: Mon Mar 22, 2004 4:40 pm    Post subject: Reply with quote  Mark this post and the followings unread

egw wrote:
How did he keep track of which pedal was for which synth?

if you look closely at the picture on the abovementioned article:
http://www.zawinulfans.org/italiano/dibiagio.htm
you'll see that each pedal is labelled with white tape

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PostPosted: Mon Mar 22, 2004 4:44 pm    Post subject: Reply with quote  Mark this post and the followings unread

the Custom Keyboard Switching Box (the remote controller for the midi patch bay I was talking about) was built by JIM SWANSON

Greg Armbruster wrote:
JIM SWANSON
ZAWINUL'S KEYBOARD MANAGER

COPENHAGEN: "We've only got 105 volts on stage?" Yugoslavia: "The Emulator won't accept a disk?" Japan: "What's wrong with this vibrato?" Vienna: 'We don't have enough set-up time! " Dealing with these and any other problems with Josef Zawinul's keyboards is the responsibility of 25-year-old Jim Swanson. 'It's my job to get all the keyboards set up, warmed UP, tuned up, and fixed up if they're broken. When Joe walks out for the soundcheck, he should be able to just sit down and play. He shouldn't be worried whether this patch is here or that program is there: He expects it - that's why I'm here."


Jim Swanson is the latest in a long line of keyboard equipment managers stretching back to I97I, when Weather Report was first formed: Brian Risner [see Keyboard, Sept. '77I, Alan Howarth [Keyboard, FebA4I, Scott Morgan, and Scott Hemmingsen. Since ZawinuI's equipment has changed over the last decade, each equipment manager has had to deal with a slightly different set of problems: Brian Risner and the two ARP 2600s, Alan Howarth and one of the first Sequential Circuits Prophet-5s, and nowjim Swanson and the Rhodes Chroma, the Emulator, and the repackaged Oberheim Eight-Voice. "if you ever sat to the left in the concert hall, you never saw Joe because he was behind this big, monstrous Oberheim," Jim admits "As a fan, I was a victim of that. I worked at Oberheim for four years, from mechanical assembler to audio tech, and I remember thinking, What would I do if I had that setup?"' In I98I, he got the chance to find out.


'I built a separate keyboard controller for the Oberheim Eight-Voice," Jim recalls, II with five octaves instead of four, and repackaged the voice modules into a separate frame. There are eight programming switches on the keyboard controller, as well as all the basic controls needed in performance; unison, VCF, and so on. Joe doesn't have to look at the modules during a show; he can do program changes right from the keyboard controller."


In concert, Zawinul's arsenal of keyboards is usually arranged in three sections. When he faces the audience, he has the rev 2 Prophet-S directly in front of him, with the Rhodes Chroma below. "The Prophet-5 is his main keyboard," affirms Jim. " He always bases his moves around it. Since we have two Prophets, the one in front is called Prophet one. It also has a memory modification, so it holds 160 programs instead of 40. Prophet two is a rev 3.2, which has 120 programs. We've connected the two Prophets together, but it's strictly a monophonic interface; one voice on Prophet two can be triggered from Prophet one. We would like to have a polyphonic hookup between them, but that depends on whether or not the rev 2 Prophet can be retrofit with a digital interface [MIDI]." At Zawinul's left is a stack of three keyboards: On top is the ARP Quadra, below that is the rev 3.2 Prophet, then the Swanson keyboard controller for the Oberheim Eight-Voice, with the programmers and controllers f or the Oberheim plus the Poly-Sequencer for Prophet two on the bottom. To his right is the Emulator. "Our grand piano is 5-I/4" square now," Jim laughs. "it's a disk that goes in the Emulator. For as little as Joe uses an acoustic piano sound, it's not practical to carry one around." Sandwiched between the ARP Quadra and the number one Prophet is the Korg Vocoder.


'I've streamlined the keyboard setup time to where it takes less than 30 minutes," Jim states. 'I have all the cable runs and everything pre-positioned. Usually, I would mix the keyboards stage right; but once I get the levels set, there's really no need for me to use the mixer, so in the future we might keep it near Joe's instruments. We're also experimenting with some effects. On the Procession tour, we didn't use any effects with Joe's keyboards, but now we're playing with the Korg Digital Delay [STD 3000] and some other things."


Swanson also works for Fairlight in Los Angeles, but when he's not in the office, he's up at Zawinul's house working with the keyboard stack, preparing for the next album or tour. "This gig is the ultimate," Jim exclaims. 'It sure beats the Navy for seeing the world. Plus, you're never going to see a band like this on stage - nobody's going to play music like this!"

http://web.archive.org/web/19991009150133/www.zawinul.demon.co.uk/keyboard6.html

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