I was first introduced to W.R. via this album during the summer of 1976 by some new friends. At the time I was a long haired 17 year old Rocker who claimed allegiance to Foghat, Ted Nugent, Black Sabbath and Pink Floyd, as well as a host of other favorite bands. It was warm, beautiful michigan summer night, I was at a small party and in 1976 the party favor of this crowd was NOT alcohol but one of a more leafy nature. So having thus properly shared in the popular diversion, someone put "Mysterious Traveler" on the turntable. I did not really care for it at first but none the less, after asking "what the hell are we listening to?" I also asked "who is it?". Since this party, like many parties I went to at that time, ended up lasting all weekend I heard "Mysterious Traveler" several times more and decided that, in fact, it was some of the best music I had ever heard. I have purchased "Mysterious Traveler" on Vinyl, cassette and CD since then. I have a 25 year old son who enjoys them also and I HIGHLY ... er ... GREATLY reccomend "Mysterious Traveler" to first time listeners. People who are familiar with Weather Report will already own it.

Mysterious Traveller, from 1974, continues in the steps of Sweetnighter, focusing on extended groove-driven improvisation with plenty of that wonderfully layered percussion. It was pretty clear on the previous album that the jazzy rhythm section of Miroslav Vitous and Eric Gravatt wasn't quite up to these kinds of rhythms, so here they're replaced by Alphonso Johnson (bass) and Ishmael Wilburn (drums). The jewels of this album are the double-punch of Zawinul's "Cucumber Slumber" and Shorter's "Mysterious Traveller", which like "Boogie Woogie Waltz" on the previous album combine super-catchy melodies with some serious grooving. (Alphonso Johnson is amazing on these tunes.) But this album isn't just about funky jamming -- there's a beautiful piano-soprano duet ("Blackthorn Rose"), an unclassifiable piece ("Scarlet Woman"), some proto-world-beat ("Nubian Sundance"), and a brilliant Zawinul orchetration ("Jungle Book"). On the last two tunes I mention, by the way, Shorter is almost completely absent -- Zawinul's expanding array of synthesizers is becoming the dominant sound of the group. This is the most stylistically diverse of the Weather Report albums and the last truly great one.

In 2007, the main 16 Weather Report Columbia titles were re-released in Japan with new DSD remastering in mini-sleeve format. From an audio quality standpoint, the DSD versions now supercede all the earlier standard-CD-audio U.S. releases (some of the WR catalog are available as SACD's).

Additionally, the Japan editions feature a welcome 2CD restoration of "8:30" to the original 13-track double-LP album configuration, with the proper inclusion of "Scarlet Woman", which had been edited off all domestic editions to allow for a cheaper, single-disc release.

So far, the WR DSD catalog is only available in mini-sleeve format, and all `sleeves are limited edition. If it is your desire to own the latest/greatest audio, then don't delay in picking these up, although it is always possible that Sony Japan will release them again as less expensive jewel case editions somewhere down the road. However, for the true WR fan and vinyl nut, it's great to have the wonderful mini-LP replicas of the original LP covers!

I wanted to provide links for each 2007 `sleeve edition, but unfortunately, Amazon only allows 10 per review. But, by linking to the 2007 DSD remaster of the first Weather Report album, you should be able to use the "Customers Who Bought This Item Also Bought" tool to locate the rest of the 2007 DSD titles (just make sure you verify the release date and Product Description).

Also, of note: In this same release were updated DSD remasters of the following WR-member solo albums, also as mini-sleeves:

Jaco Pastorius (1st album)
Wayne Shorter "Native Dancer"
Joe Zawinul "Di-a-lects"

And, the two Havana Jam albums, both where WR appeared live, also as `sleeves:

Havana Jam 1
Havana Jam 2

And, FINALLY: 2007 witnessed John McLaughlin finally relenting to release the full Trio Of Doom studio & live recordings, the awesome line-up of McLaughlin, Pastorius and Tony Williams, which could only be found previously on the Havana Jam albums, albeit in edited form.

WHAT IS A JAPAN "MINI-LP-SLEEVE" CD?

Have you ever lamented the loss of one of the 20th Century's great art forms, the 12" vinyl LP jacket? Then "mini-LP-sleeve" CD's may be for you.

Mini-sleeve CDs are manufactured in Japan under license. The disc is packaged inside a 13.5MM X 13.5MM cardboard-sleeve, precision-miniature replica of the original classic vinyl-LP album. Also, everything else packaged with the original LP is precisely replicated and included, such as gatefolds, booklets, lyric sheets, posters, printed LP sleeves, stickers, embosses, special LP cover paper/inks/textures and die cuts. An English-language lyric sheet is also included, even if the original LP did not have printed lyrics.

Then, there's the sonic quality: Often (but not always), mini-sleeves have Japan-dedicated remastering (20-Bit, 24-Bit, DSD, K2 or K2HD, and/or HDCD), and can often (but not always) be superior to the audio on the same title anywhere else in the world. There also may be bonus tracks unavailable elsewhere.

Each Japan mini-sleeve has an "OBI" ("oh-bee"), a Japan-language promotional strip. The OBI often also lists the original album's release date, the Japan street date of that particular disc, the catalog number, and mastering info. Bonus tracks are always only listed on the OBI, maintaining the integrity of the original LP artwork.

The enthusiasm of mini-sleeve collecting must be tempered, however, with avoiding fake copies of Japan `sleeves manufactured in Russia and distributed throughout the world, primarily on eBay. They are inferior in quality, worthless in collectable value, a total waste of money, and should be avoided at all costs.

Also, there are older Japan mini-sleeve releases that have been supplanted with newer ones, usually with updated audio (such as JVC-Japan replacing older K2-mastered titles with new K2HD mastered releases).

All mini-sleeve releases are limited edition, but re-pressings/re-issues are becoming more common with some of the Japanese companies (but, again, not always). Mini-sleeve collecting can get expensive quickly, so, if you're a novice, it is highly advisable to seek the advice of an experienced `sleeve collector!

When this album was released in 1974, Weather Report finally received critical acclaim for really nailing it. The first three albums were praised for their experimentation but never considered masterpieces; the unifying concept was never strong enough and thus the music was a little schizophrenic. But with this album, even Downbeat acknowledged that Wayne Shorter and Joe Zawinul had something and knew what to do with it. They had long been hailed as two of jazz's greatest geniuses, and finally they had found a mode of expression which allowed their genius to come out. Thus the critics' expectations were fulfilled.

I came to Weather Report through classic jazz via Wayne Shorter, but the first album I bought was "Heavy Weather," which came as quite a shock at first because it was so unlike traditional jazz, at least on the surface. I actually didn't like it, but then I picked it up again after a year and really listened. Thus I was able to appreciate its brilliant use of color and the integration of so many different styles of music into a whole. I decided then to start at the beginning of Weather Report's discography and work my way back up to "Heavy Weather," since it is quite far into the sequence. The first two albums, the self titled debut and "I Sing The Body Electric" were quite different than the classic Weather Report sound, but I found them to be extremely interesting experiments that my inner post-bop snob was able to appreciate. But I was disappointed in "Sweetnighter," the third album, which integrated more rock and funk elements and was supposed to be the album to define the Weather Report classic sound. "Sweetnighter" was a transitional album, due in large part to the old band not being able to cope with the new approach, especially acoustic bassist Miroslav Vitous. This led to his dismissal from the band in favor of electric bassist Alphonso Johnson, who really fit the new direction well. This album, the one to follow "Sweetnighter," is truly the first to define the Weather Report sound that would become famous. Thus, for me, this is the point in the lineage where the band stops being a "Wayne Shorter and Joe Zawinul" album and begins to be a "Weather Report" album. It was everything I expected in terms of the sound and yet still held surprises and it sounds fresh every time I listen to it. Thus my expectations were also met after worrying through the first three albums.

Many people come to earlier Weather Report in search of something that sounds like "Heavy Weather" or at least in that vein. They are often disappointed by the rough, experimental early albums, but this one is the first fully realized album. So for those who have come in through the most famous album in the discography, "Heavy Weather," this is the best place to go when looking at the earlier music, as the albums before this may be something of a turnoff (though I enjoy them).

As for the music, the aforementioned unifying concept or theme is probably stronger here than on any other Weather Report album. The album cover, a shooting star, is the first indicator of the cosmic sounds contained within. "Nubian Sundance" is an energetic yet enigmatic tune whose synthesizers make it sound like it's from another planet, yet it's grounded enough to be accessible. "Cucumber Slumber" and the title track are funky, though not as overtly as, say, Herbie Hancock. Instead, they achieve their funk through quirky rhythmic figures and sonic textures, and thus are very creative and interesting in addition to being funky. "Scarlet Woman" and "Jungle Book" are more atmospheric, with sound effects used in provocative ways supplementing simple but strong melodies. The highlight of this album for me, though, is "Blackthorn Rose," a duet between Shorter on soprano saxophone and Zawinul on synthesizers but mainly acoustic piano. In all ways, melodically, harmonically, and rhythmically, this piece is just so beautiful in unexpected and untried ways. The only detraction for me is the use of synthesizer colors interjected among the more sparse piano punctuations. They are interesting, but to hear them through the filter of today's "ambient" music makes the sounds a little dated, even if they weren't when this was recorded. Not Weather Report's fault. The only complaints I have about the program come from "American Tango," a quirky but fairly uninteresting sketch by Miroslav Vitous, who appears as a holdover on this one tune. Also, the drumming here is weaker than on other albums; the two drummers seem along for the ride instead of in the rhythmic driver's seat.

All in all, this album is fairly accessible and wouldn't be overtly offensive to any listener. Fans of classic Weather Report really come on board here and so if you liked "Black Market" and "Heavy Weather," this is the album that started that sound and is every bit as good as those two. This is not, however, a great bridge from rock to jazz, as it is more atmospheric and less funky.

I liked this album back in the day, and I still like it now. Although it points the way toward the Zawinul-dominated band Weather Report would become, at least Zawinul still had interesting ideas at this point. Mysterious Traveler is their break away from their Miles Davis-influenced sound, and it would eventually yield mixed results. Here, though, it all sounds pretty fresh. Sure, there are lots of synthesizers and electronics, and if that bothers you, stay away. I tend to like it. Their previous album, Sweetnighter, was their best, but I like this one almost as much.