Complete List Of Weather Report Band Members

Emerging from the charged, electric atmosphere of Miles Davis’s late-1960s ensembles, Weather Report materialized in 1970 not merely as a band, but as a bold new hypothesis in the language of jazz. The group was officially founded in New York, NY, by a triumvirate of visionary composers and instrumentalists: Austrian keyboardist Joe Zawinul, American saxophonist Wayne Shorter, and Czech bassist Miroslav Vitouš. While Zawinul and Shorter, who had first played together in Maynard Ferguson’s big band in 1959, are often credited with initiating the project, Vitouš has maintained that he and Shorter were the original architects who subsequently brought Zawinul into the fold. Regardless of the precise sequence, this core trio, all of whom were composers and veterans of the Miles Davis sessions that produced seminal albums like In a Silent Way and Bitches Brew, established the initial creative foundation for what would become one of the most enduring and influential groups in post-1960s jazz.

Over its sixteen-year career from 1970 to 1986, Weather Report charted a course of constant musical evolution, perpetually redefining its own sound. The band’s initial phase was characterized by an avant-garde, free-improvising aesthetic, built on collective interplay and ethereal textures, a philosophy encapsulated by Zawinul’s phrase, “We always solo and we never solo”. As the 1970s progressed, however, Zawinul increasingly assumed the role of primary composer and creative director, steering the band toward more structured, groove-oriented compositions that incorporated potent elements of funk, R&B, and what would later be termed “world music”. This stylistic shift was mirrored by the band’s famously fluid lineup, which saw over two dozen musicians pass through its ranks. A defining characteristic of the group’s first eight years was its “revolving door” of drummers, a constant search for the right rhythmic chemistry that only stabilized with the arrival of Peter Erskine in 1978.

The band’s extensive discography, released primarily on Columbia Records and its ARC subsidiary, comprises fourteen studio albums, several official live albums, and numerous compilations that document its remarkable journey. Weather Report achieved significant commercial success, most notably with the 1977 album Heavy Weather, which was certified Platinum by the RIAA and featured the Zawinul-penned hit “Birdland,” a track that transcended the jazz world to become a global standard. The group’s critical acclaim was equally substantial. It won a Grammy Award for Best Jazz Fusion Performance in 1979 for the live album 8:30 and was a dominant force in the annual DownBeat magazine readers’ polls, being voted Jazz Combo or Group of the Year for eight consecutive years from 1971 to 1978 and earning Album of the Year honors for Mysterious Traveller, Tale Spinnin’, Black Market, and Heavy Weather.

Weather Report Band Members

Joe Zawinul

Josef Erich “Joe” Zawinul was the unwavering anchor and primary creative engine of Weather Report. As a founding member, keyboardist, and the band’s most prolific composer, he was active from its inception in 1970 until its dissolution in 1986, and he is the only musician to appear on every official Weather Report release. An Austrian-born prodigy who studied classical music at the Vienna Conservatory, Zawinul moved to the United States in 1959 to attend the Berklee School of Music, though he left within weeks to join the band of trumpeter Maynard Ferguson, where he first met Wayne Shorter.

His pre-Weather Report career was distinguished by a nineteen-month stint as an accompanist for singer Dinah Washington and, most significantly, a nine-year tenure with the Cannonball Adderley Quintet. It was with Adderley that Zawinul honed his skills on the electric piano and composed the 1966 soul-jazz standard “Mercy, Mercy, Mercy”. His work on Miles Davis’s groundbreaking albums In a Silent Way and Bitches Brew placed him at the forefront of the nascent jazz-rock movement, a position he would solidify by co-founding Weather Report.

Zawinul’s musical contributions to Weather Report define the band’s evolutionary arc. In the early era, from the self-titled debut Weather Report (1971) through Sweetnighter (1973), his work on acoustic and electric pianos and organ extended the atmospheric language he had developed with Davis. Compositions like “Orange Lady” exemplified the band’s initial impressionistic style. The album Sweetnighter marked a pivotal shift, with Zawinul’s compositions “Boogie Woogie Waltz” and “125th Street Congress” introducing a deep, infectious funk groove that would become the band’s signature. From 1974 to 1977, on albums like Mysterious Traveller and Heavy Weather, Zawinul’s mastery of the synthesizer, particularly the ARP 2600, became central.

He moved beyond using the synthesizer as a mere soloing instrument, instead employing it as a tool for complex orchestration and the creation of unique sonic environments, stating he was “using all the sounds the world generates”. This period yielded his most famous compositions, including the title track for Black Market (1976) and the monumental hit “Birdland” from Heavy Weather (1977), which secured the band’s commercial legacy. In the band’s final phase, from Mr. Gone (1978) to This Is This! (1986), Zawinul’s compositional control became nearly absolute. His pieces grew more through-composed, and his practice of doubling the bass lines with a synthesizer became a hallmark of the later sound, showcased on tracks like the “N.Y.C.” suite from Weather Report (1982). This approach, however, also became a source of creative friction, particularly with bassist Jaco Pastorius.

Zawinul’s vision was not just to play keyboards but to conduct an electronic orchestra. Where many of his contemporaries used synthesizers to mimic existing instruments, he leveraged the technology to build entire sonic architectures that were fundamental to the compositions themselves. This approach transformed Weather Report from a collective of improvisers into a tightly arranged unit built upon his soundscapes. This technological and compositional dominance was the primary force behind both the band’s greatest artistic achievements and the internal creative tensions that characterized its later years. After Weather Report disbanded, Zawinul continued this exploration by forming The Zawinul Syndicate in 1988, a band that fused his signature synthesis with world music rhythms. In a departure from his fusion work, he also composed a symphony, Stories of the Danube, which premiered in 1993.

Wayne Shorter

Wayne Shorter, a co-founder of Weather Report, served as the band’s saxophonist on both tenor and soprano from 1970 until 1985. His presence was a constant through all but the group’s final album, This Is This! (1986), for which he took a leave of absence that became a permanent departure. Before Weather Report, Shorter had already established himself as one of the most important figures in modern jazz. He was a principal composer for Art Blakey’s Jazz Messengers in the early 1960s and then joined Miles Davis’s Second Great Quintet from 1964 to 1970, a period during which he composed enduring jazz standards such as “E.S.P.,” “Footprints,” and “Nefertiti”. Parallel to this, he recorded a series of landmark albums as a leader for Blue Note Records. His collaboration with Joe Zawinul began in 1959 when they briefly played together in Maynard Ferguson’s big band.

Shorter’s role within Weather Report evolved significantly over the band’s lifespan. In the early years, his soprano saxophone became a signature texture of the band’s sound, and his compositions, including “Tears” and “Eurydice” from the 1971 debut, were integral to the collective, free-improvising ethos. As Zawinul’s compositional direction became more dominant and electronically dense, Shorter’s contributions adapted.

His saxophone solos became more concise and “epigrammatic,” serving as potent, lyrical statements that provided a human, melodic counterpoint to the complex synthesizer orchestrations. He remained a key composer, contributing essential pieces like the title tracks for Mysterious Traveller (1974) and “Elegant People” from Black Market (1976). Shorter himself conceptualized the band’s music as a form of “storytelling,” viewing the name Weather Report as a metaphor for the music’s inherent unpredictability. By the mid-1980s, having gradually ceded primary artistic control to Zawinul, Shorter grew restless with his role, leading to his departure after the Sportin’ Life album.

While Shorter entered the band as a co-leader and equal compositional force, his role transformed into that of the group’s “spiritual conscience.” As Zawinul’s synthesizer-driven vision came to dominate the band’s sound, Shorter’s own compositional output for the group lessened. However, his presence remained vital. His saxophone became the lyrical soul of the band, a profound and human voice cutting through the electronic complexity. He provided a philosophical anchor, often speaking of the music in deeper, almost metaphysical terms, and a crucial link to the acoustic jazz tradition from which the band had emerged.

His departure in 1985 marked the definitive end of the original partnership’s spirit, dissolving the creative balance that had defined the group for fifteen years. Shorter’s post-Weather Report career was immensely fruitful. He toured with artists like Carlos Santana, contributed a memorable solo to Don Henley’s 1989 hit “The End of the Innocence,” and in 2000, formed his highly acclaimed acoustic quartet with Danilo Pérez, John Patitucci, and Brian Blade. His lifetime of work was recognized with numerous honors, including twelve Grammy Awards, a Kennedy Center Honor in 2018, and a Grammy Lifetime Achievement Award in 2014. In 2021, he realized a lifelong dream with the premiere of his opera, (Iphigenia).

Miroslav Vitouš

Miroslav Vitouš was a founding member and the original bassist of Weather Report, active with the group from 1970 to 1973. A classically trained musician from the Czech Republic, Vitouš was a critical part of the initial creative triumvirate alongside Zawinul and Shorter, with his own account suggesting that he and Shorter conceived of the band before bringing Zawinul aboard. His virtuosic and highly melodic approach to both the acoustic and electric bass was a defining characteristic of the band’s early, revolutionary sound. Before co-founding Weather Report, Vitouš had already built an impressive resume, having played with jazz luminaries such as Stan Getz, Herbie Mann, and Chick Corea.

Vitouš’s instrumental voice is prominent on the first three Weather Report studio albums: Weather Report (1971), I Sing the Body Electric (1972), and Sweetnighter (1973). He also received a composition credit for “American Tango” on Mysterious Traveller (1974), an album released after his departure. His playing embodied the band’s initial philosophy of “we always solo and we never solo,” treating the bass as an equal partner in the improvisation rather than a mere timekeeping instrument. His compositions, such as “Seventh Arrow,” highlight this interactive and democratic approach. Vitouš’s tenure ended due to significant creative disagreements with Joe Zawinul, who was determined to push the band in a more groove-oriented, funk-based direction. This new vision required a different style of bass playing, leading to Vitouš’s replacement and a fundamental shift in the group’s sound.

The transition from Miroslav Vitouš to his successor, Alphonso Johnson, was more than a simple personnel change; it was an ideological schism made manifest in the bass chair. Vitouš represented the collective, avant-garde spirit of the original band, where free interplay and shared improvisational space were paramount. His melodic, often classically-inflected style was perfectly suited to this democratic ideal. Zawinul’s ambition, however, was to create a more rhythmically direct and accessible music, which necessitated a bassist who could provide a solid, funky foundation.

The replacement of Vitouš marked the moment Zawinul’s vision for a groove-based, commercially potent fusion band definitively won out over the more esoteric, European-influenced aesthetic of the founding trio. After leaving Weather Report, Vitouš embarked on a distinguished solo career, frequently recording for the influential ECM label. He led his own ensembles and collaborated with artists such as Jan Garbarek and Chick Corea. In his later work, he revisited the spirit of his early years with the band on albums like Remembering Weather Report (2009) and Music of Weather Report (2016), which used acoustic instrumentation to explore the free, improvisational ethos of the group’s formative period.

Alphonso Johnson

Alphonso Johnson served as Weather Report’s electric bassist from 1973 to 1976, a period of critical transition for the band. He was recruited by Wayne Shorter after the band witnessed him performing with flugelhornist Chuck Mangione’s quartet, for which Weather Report was the headlining act. Johnson was brought in specifically to provide the propulsive funk element that Joe Zawinul felt was necessary for the band’s evolution, replacing the more free-form style of his predecessor, Miroslav Vitouš.

Johnson’s tenure is documented on three pivotal albums: Mysterious Traveller (1974), Tale Spinnin’ (1975), and Black Market (1976). His impact was immediate. On Mysterious Traveller, his fluid and deeply funky playing, particularly on the track “Cucumber Slumber,” provided a new rhythmic anchor for the band, grounding their sound in a way that was both powerful and accessible. He supplied a foundation that was solid yet melodically inventive, creating the perfect platform for Zawinul’s and Shorter’s explorations. On Black Market, he played on all but two tracks, effectively passing the torch to his successor, Jaco Pastorius. His departure was amicable; Johnson recognized that Zawinul had become “enamored with Jaco’s playing” and that it was the right time for him to pursue other opportunities, which he promptly did by joining drummer Billy Cobham’s band.

Alphonso Johnson’s role in Weather Report’s history can be seen as that of the essential bridge. The band needed to evolve from the avant-garde leanings of the Vitouš era to a more structured and commercially viable funk sound, but the radical innovation of Jaco Pastorius may have been too abrupt a leap. Johnson was the perfect transitional figure. He possessed the authentic R&B and funk sensibility that Zawinul craved, yet his playing remained rooted in jazz harmony and melodicism, thus honoring the band’s origins.

By establishing and stabilizing the band’s new groove-centric identity on Mysterious Traveller and Tale Spinnin’, he effectively prepared the band and its audience for the revolution that Pastorius would bring. Without Johnson’s tenure, the path to Heavy Weather might have been far less certain. Following his time with Weather Report, Johnson forged a prolific and diverse career, recording and touring with an eclectic roster of artists including Santana, Phil Collins, George Duke, and members of the Grateful Dead in the project Jazz Is Dead. He also became a highly respected educator, holding faculty positions at the University of Southern California and the California Institute of the Arts.

Jaco Pastorius

John Francis Anthony “Jaco” Pastorius was Weather Report’s electric bassist from 1976 to 1982, and his tenure marks the band’s period of greatest fame and influence. The story of his recruitment is the stuff of music legend: a supremely confident young musician from Florida, Pastorius approached Joe Zawinul after a 1974 concert, famously introduced himself as “the greatest bassist in the world,” and provided a demo tape that substantiated his claim. This led to him being invited to play on two tracks for the 1976 album Black Market—the Zawinul ballad “Cannon Ball” and his own composition, “Barbary Coast.” His performance was so compelling that he was immediately integrated as a full member of the band.

Pastorius’s impact on Weather Report’s sound was immediate and transformative. He performed on the albums Black Market (1976), Heavy Weather (1977), Mr. Gone (1978), the Grammy-winning live album 8:30 (1979), Night Passage (1980), and his final studio recording with the group, Weather Report (1982). He fundamentally redefined the role of the electric bass in jazz and popular music. Using a fretless Fender Jazz Bass, he produced a singing, lyrical tone and employed a stunning command of artificial harmonics, chords, and blistering melodic runs that elevated the instrument to a lead voice.

His charismatic stage presence and virtuosic ability made him a third focal point of the band, a rock-star-like figure alongside the more reserved Zawinul and Shorter. He was also a significant composer for the group, contributing staples like “Teen Town” (on which he famously played both bass and drums), “Havona,” and “Punk Jazz”. His lyrical playing on Zawinul’s ballad “A Remark You Made” from Heavy Weather remains one of the most iconic moments in the band’s discography.

The genius of Jaco Pastorius was a double-edged sword for Weather Report. His unprecedented musicality and star power were instrumental in propelling the band to its commercial zenith; Heavy Weather became one of the best-selling jazz albums of all time, in no small part due to his revolutionary sound. However, this same powerful personality inevitably disrupted the established dynamic between Zawinul and Shorter. As his own creative ambitions grew, they began to clash with Zawinul’s increasingly autocratic, synthesizer-heavy compositional style.

Tensions mounted, particularly over Zawinul’s practice of doubling bass lines with synthesizers, which Pastorius viewed as a creative infringement. This friction, combined with Pastorius’s increasingly unpredictable behavior, led to the dissolution of the classic lineup, with both him and drummer Peter Erskine departing in 1982. Outside of Weather Report, Pastorius released a landmark self-titled solo album in 1976 and collaborated extensively with singer-songwriter Joni Mitchell on influential albums such as Hejira and Mingus. He also formed his own acclaimed Word of Mouth Big Band. His life and career were tragically cut short when he died in 1987 at the age of 35 following injuries sustained in a violent altercation.

Peter Erskine

Peter Erskine served as Weather Report’s drummer from 1978 to 1982, and returned to play on the band’s final album, This Is This!, in 1986. His arrival was a crucial stabilizing force for the group. After years of a “revolving door” of drummers, Erskine was recommended for the position by Jaco Pastorius, who had been impressed by his playing in Maynard Ferguson’s big band. Erskine’s partnership with Pastorius formed Weather Report’s most celebrated and longest-lasting rhythm section, providing the foundation for the band’s most popular era.

Erskine’s drumming is featured on the albums Mr. Gone (1978), 8:30 (1979), Night Passage (1980), and Weather Report (1982), in addition to his final appearance on This Is This!. His style was a perfect complement to the powerful and often complex musical environment created by Zawinul and Pastorius. He possessed a rare combination of precision, dynamic control, and deep musicality that allowed him to navigate everything from the high-velocity funk of tracks like “Fast City” to the subtle nuances of the band’s ballads. His performance on the Grammy-winning live album 8:30 is considered a masterclass in modern fusion drumming. Erskine chose to leave the band in 1982 along with Pastorius, citing a growing frustration with the band’s direction, which he felt was becoming increasingly through-composed and offered less room for the spontaneous interplay that had once defined the group.

Before joining Weather Report, Erskine had already built a strong reputation through his work with the Stan Kenton Orchestra and the Maynard Ferguson big band. His career after leaving the group has been exceptionally diverse and successful. He was a key member of the influential fusion band Steps Ahead and Marc Johnson’s acclaimed group Bass Desires. As a highly sought-after session musician, he has appeared on over 700 albums and film scores, collaborating with a vast range of artists including Joni Mitchell, Steely Dan, Diana Krall, and Chick Corea. He is also a respected author of several instructional books and a dedicated educator, serving as a Professor of Practice and the Director of Drumset Studies at the University of Southern California’s Thornton School of Music. In 2015, he played a vital role in curating and producing the 4-disc archival box set, The Legendary Live Tapes: 1978–1981, which chronicled his classic lineup with the band.

Victor Bailey

Victor Bailey held the challenging position of Weather Report’s electric bassist from 1982 to the band’s dissolution in 1986, succeeding the legendary Jaco Pastorius. A Philadelphia native from a highly musical family, Bailey was recommended for the role by drummer Omar Hakim, with whom he would form the band’s final, formidable rhythm section. He joined the group for the recording of the 1983 album Procession, stepping into one of the most scrutinized roles in modern jazz at the time.

Bailey’s tenure with Weather Report is documented on the band’s last four studio albums: Procession (1983), Domino Theory (1984), Sportin’ Life (1985), and This Is This! (1986). His role in the band was markedly different from that of his predecessor. While he was a powerful and virtuosic player in his own right, known for his signature “scat-bass” solos, his primary function was to serve the increasingly structured and synthesizer-dominated compositions of Joe Zawinul’s later period. He provided a solid, funky, and impeccably reliable foundation that anchored the band’s final musical explorations. The Bailey/Hakim rhythm section represented a shift from the volatile creative friction of the Pastorius/Erskine lineup to a new model: a band of supremely talented professionals hired to execute a singular artistic vision with precision and power.

Following the disbandment of Weather Report, Victor Bailey embarked on a successful solo career, launching his first album, Bottom’s Up, in 1989, followed by other releases such as Low Blow and That’s Right!. He also continued his musical relationship with Joe Zawinul, becoming a member of his post-Weather Report band, The Zawinul Syndicate. Bailey was a highly regarded session musician and a respected educator, serving as a faculty member at the prestigious Berklee College of Music. His career was unfortunately curtailed by health issues, as he battled Charcot-Marie-Tooth disease and ALS for many years before his passing in 2016 at the age of 56.

Omar Hakim

Omar Hakim was Weather Report’s final drummer, serving from 1982 to 1986 and contributing to the band’s last four studio albums. He joined in 1982 alongside bassist Victor Bailey to form the new rhythm section for the album Procession. According to some accounts, Hakim was recommended to Joe Zawinul by none other than Miles Davis, a testament to his burgeoning reputation in the New York music scene.

Hakim’s powerful, versatile, and distinctly modern drumming style was a perfect match for the final phase of Weather Report. He played on Procession (1983), Domino Theory (1984), Sportin’ Life (1985), and This Is This! (1986). His ability to seamlessly blend the intricate language of jazz fusion with the solid grooves of pop and rock made him an ideal fit for Zawinul’s evolving compositions. Furthermore, Hakim was an early adopter of electronic drums and drum programming, a skill set that complemented Zawinul’s own deep dive into music technology and synthesis. This new rhythm section, while different from the iconic Pastorius/Erskine pairing, was a powerhouse of precision and adaptability, expertly navigating the highly orchestrated material of the band’s later years.

Hakim’s career is a testament to his extraordinary versatility. Even while he was a member of Weather Report, he was simultaneously making a major impact in the pop world, most notably playing the drums on David Bowie’s multiplatinum 1983 album, Let’s Dance. After Weather Report disbanded, he became one of the most in-demand session drummers on the planet. His extensive list of credits includes landmark recordings and tours with a diverse array of major artists, including Sting (on the album The Dream of the Blue Turtles), Dire Straits (on Brothers in Arms), Madonna, Mariah Carey, Bryan Ferry, and Daft Punk, for whom he played on the Grammy-winning hit “Get Lucky”. In addition to his prolific work as a sideman, Hakim has released solo projects and co-led the group Trio of Oz with his wife, pianist Rachel Z. In 2017, he was appointed Chair of the Percussion Department at Berklee College of Music, cementing his status as both a master performer and a respected educator.

Alphonse Mouzon

Alphonse Mouzon was a founding member and the original drummer for Weather Report, active with the band from 1970 to 1972. His powerful and explosive drumming style was a defining element of the band’s aggressive, early fusion sound, as heard on their self-titled debut album, Weather Report (1971). Mouzon left the group before the recording of their second album. His career outside of Weather Report was extensive and influential. He was a key figure in the fusion movement, leading his own band, The Eleventh House, with guitarist Larry Coryell, and releasing a series of solo albums, including the acclaimed Mind Transplant. He also worked with a wide range of artists, including McCoy Tyner, Herbie Hancock, Stevie Wonder, and Eric Clapton, and pursued an acting career, appearing in the Tom Hanks film That Thing You Do!.

Airto Moreira

Airto Moreira, the influential Brazilian percussionist, had a brief but crucial tenure with Weather Report in 1971. A veteran of Miles Davis’s electric bands, Moreira was brought in to complete the recording of the debut album, Weather Report, after a creative dispute led to the departure of the band’s initial percussionist, Don Alias. Moreira’s authentic and innovative approach to Brazilian percussion was instrumental in establishing the “world music” component of the band’s DNA from its very inception, adding a layer of rhythmic and textural complexity that would remain a hallmark of their sound.

Dom Um Romão

Dom Um Romão served as Weather Report’s percussionist from 1971 to 1974, making him a key figure in the band’s formative years. The Brazilian musician replaced Airto Moreira and his work is featured on the albums I Sing the Body Electric (1972), the Japan-only release Live in Tokyo (1972), Sweetnighter (1973), and Mysterious Traveller (1974). Romão’s tenure spanned the band’s critical evolution from a free-form improvisational collective to a more funk-oriented ensemble. His rich array of percussive textures was vital to the sound of this era. After leaving Weather Report, he released several solo albums and worked with a diverse list of artists, including Frank Sinatra, Tony Bennett, and Ron Carter.

Eric Gravatt

Eric Gravatt was Weather Report’s drummer from 1972 to 1973, a period of intense creative output for the band. His powerful, driving style propelled the group on the albums I Sing the Body Electric (1972), Live in Tokyo (1972), and Sweetnighter (1973). Gravatt’s tenure coincided with the band’s shift towards a funkier, more groove-based sound on Sweetnighter. He ultimately left the group as this new direction, which was less aligned with his personal style, became more pronounced. After his time with Weather Report, Gravatt moved to Minneapolis and, for many years, worked as a prison guard while continuing to play music locally. He later returned to music full-time, touring and recording with pianist McCoy Tyner and leading his own band, Source Code.

Alex Acuña

Alex Acuña was a pivotal member of Weather Report from 1975 to 1978, uniquely serving as both percussionist and drummer. The Peruvian-born musician initially joined as a percussionist, and his work in this role can be heard on the 1976 album Black Market. For the subsequent tour and the recording of the landmark 1977 album Heavy Weather, Acuña moved to the drum kit, with Manolo Badrena taking over the percussion chair. His masterful ability to blend complex Latin rhythms with the power and precision of jazz and funk drumming was a cornerstone of the sound on Heavy Weather, the band’s most commercially successful album. After his tenure with Weather Report, Acuña established himself as one of Los Angeles’s most in-demand session musicians, contributing to recordings by an astonishing array of artists, including Paul McCartney, U2, Joni Mitchell, and Herbie Hancock, as well as playing on countless film scores.

Manolo Badrena

Manolo Badrena, a percussionist and vocalist from Puerto Rico, was a member of Weather Report from 1976 to 1978. He joined the band for the tour supporting Black Market and made his recording debut on the seminal 1977 album, Heavy Weather. His vibrant array of percussion and distinctive vocalizations were an integral part of the album’s sound, most famously on the hit track “Birdland”. He also appeared on the following album, Mr. Gone (1978). Badrena has had an extensive and eclectic career outside of Weather Report, collaborating with artists such as the Rolling Stones, Talking Heads, Blondie, Joni Mitchell, and maintaining a long-standing musical relationship with pianist Ahmad Jamal. He also later reunited with Joe Zawinul as a member of The Zawinul Syndicate.

Chester Thompson

Chester Thompson served as Weather Report’s drummer during a transitional period in 1975 and 1976. His playing is featured on the 1976 album Black Market. A versatile and powerful drummer from Baltimore, Thompson was recommended for the position by bassist Alphonso Johnson. Prior to joining Weather Report, he had a notable tenure playing complex music with Frank Zappa and the Mothers of Invention. Shortly after his time with Weather Report, Thompson began the role for which he is most widely known, serving as the long-time touring drummer for the rock band Genesis and for Phil Collins’s solo projects. His career also includes work with Santana and George Duke.

Narada Michael Walden

Narada Michael Walden had a brief but impactful tenure as a drummer for Weather Report in 1976. A veteran of the Mahavishnu Orchestra, Walden was brought into the band on the recommendation of Jaco Pastorius to play on the second set of recording sessions for the album Black Market. His fiery and dynamic drumming can be heard on two of the album’s key tracks: the title track, “Black Market,” and “Cannon Ball”. Though his time with the band was short, he left a distinct mark. Walden went on to achieve immense success as a solo artist and, most notably, as a Grammy-winning producer, crafting major hits for a host of pop and R&B superstars, including Whitney Houston, Aretha Franklin, and Mariah Carey.

Leon “Ndugu” Chancler

Leon “Ndugu” Chancler was the drummer on Weather Report’s 1975 album, Tale Spinnin’. His involvement was unique; at the time, he was the full-time drummer for Carlos Santana’s band and was essentially “moonlighting” with Weather Report for the recording sessions after being recruited by Joe Zawinul. Although he was asked to join the band permanently, he declined in order to remain with Santana. Chancler’s career was filled with iconic moments; he played with jazz legends like Miles Davis and George Duke, and he is credited with creating and performing the unforgettable drum beat on Michael Jackson’s 1982 global hit, “Billie Jean”.

Mino Cinélu

Mino Cinélu, a French multi-instrumentalist, was a member of Weather Report during its final years, from 1984 to 1986. He contributed percussion, vocals, and guitar to the band’s last two studio albums, Sportin’ Life (1985) and This Is This! (1986). He also composed the track “Confians,” which appeared on Sportin’ Life and featured his vocals. Before joining Weather Report, Cinélu had toured and recorded with Miles Davis. Following the dissolution of the band, he built a distinguished career as a solo artist and as a collaborator with a wide range of international stars, including Sting, Peter Gabriel, Herbie Hancock, and Kate Bush.

José Rossy

José Rossy, a percussionist from Puerto Rico, was part of the final incarnation of Weather Report from 1982 to 1984. His work, which included percussion and concertina, can be heard on the albums Procession (1983) and Domino Theory (1984). He is also featured on the archival compilation Live and Unreleased. Rossy studied at the Conservatory of Music in Puerto Rico before moving to New York, where he built a career working with a variety of pop, R&B, and soul artists both before and after his tenure with Weather Report, including Labelle, Chic, Robert Palmer, and Patti LaBelle.

Robert Thomas, Jr.

Robert Thomas, Jr. served as Weather Report’s hand percussionist from 1980 to 1982. He joined the group for the Night Passage tour and album in 1980 and also appeared on the 1982 Weather Report album. His inventive and rhythmic hand-drumming was an integral part of the sound of the classic quintet lineup that also featured Zawinul, Shorter, Pastorius, and Erskine. His playing from this era is extensively documented on the 4-disc box set, The Legendary Live Tapes: 1978–1981.

Contributing Artists and Touring Members

Barbara Burton

Barbara Burton was one of the original percussionists in Weather Report. Her contribution is documented on the band’s debut self-titled album, Weather Report, released in 1971. She was part of the initial lineup assembled by Zawinul, Shorter, and Vitouš to realize their vision of a collective, improvisational ensemble.

Don Alias

Don Alias was an American percussionist who had two distinct stints with Weather Report. He was an original member in 1970 and played on the debut album, Weather Report (1971). However, he left during the recording sessions following a creative dispute with Joe Zawinul over the direction of the percussion parts. He later returned to the band from 1975 to 1977, contributing his percussion work to the seminal 1976 album, Black Market.

Andrew White

Andrew White contributed to Weather Report on English horn and electric bass. His playing can be heard on two of the band’s early albums, I Sing the Body Electric (1972) and Sweetnighter (1973). His unique instrumental additions helped to color the textural palette of the band during its transition from free-form exploration to more structured compositions.

Herschel Dwellingham

Herschel Dwellingham was a drummer who made a specific and crucial contribution to the 1973 album Sweetnighter. He was brought in by Joe Zawinul for his deep funk sensibilities and played on key tracks that signaled the band’s definitive shift toward a groove-based sound, most notably “125th Street Congress” and “Boogie Woogie Waltz”.

Greg Errico

Greg Errico, the original and celebrated drummer for Sly & the Family Stone, toured with Weather Report in 1973 following the departure of Eric Gravatt. While he never appeared on any of the band’s official studio recordings, his powerful live performances with the group are documented on archival recordings. Joe Zawinul was particularly fond of his playing, stating that no one played the tune “Boogie Woogie Waltz” better than Errico.

Ishmael Wilburn

Ishmael Wilburn was the drummer on the 1974 album Mysterious Traveller. A drummer with roots in R&B and gospel music from Philadelphia, Wilburn was recruited by Zawinul and Shorter after they heard a demo tape and were particularly impressed with his powerful bass drum technique. His playing was instrumental in establishing the new, funkier direction of the band on that album.

Darryl Brown

Darryl Brown was a drummer from Philadelphia who toured with Weather Report from July through December of 1974, playing in a two-drummer format alongside Ishmael Wilburn. Although he was a key part of the live band during the Mysterious Traveller tour, he did not record on any of the band’s studio albums. Brown later left the music profession to pursue a career in medicine, practicing as a doctor in Arizona until his death in 2017.

Alyrio Lima

Alyrio Lima was a Brazilian percussionist who contributed to Weather Report’s 1975 album, Tale Spinnin’. He replaced Dom Um Romão in the percussion chair for that recording. Lima was inspired to move to the United States and pursue music after witnessing a powerful performance by Weather Report during one of their tours in his native Brazil.

Chuck Bazemore

Chuck Bazemore was a funk drummer from Philadelphia who was initially chosen to be the drummer for the 1975 album Tale Spinnin’. He was recruited by his friend and fellow Philadelphian, bassist Alphonso Johnson, and rehearsed extensively with the band in California for several weeks in preparation for the recording sessions. Tragically, just before recording was to begin, Bazemore had to return home due to a death in his family. The emotional toll of the event made it impossible for him to continue, and his recordings were never released. The drum chair for the album was ultimately filled by Leon “Ndugu” Chancler.

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