It’s worth immersing yourself into each of the records released during his remarkable, prolific, late-60s run. ‘Expansions’ finds Tyner leading a septet featuring Wayne Shorter-tenor sax/clarinet, Woody Shaw-trumpet, Gary Bartz-alto sax/flute, Ron Carter-cello, Herbie Lewis-bass, and Freddie Waits-drums. “Vision” opens the record—a high-speed modal exploration with Tyner’s left hand serving as timekeeper and taskmaster, while his right hand dances madly and melodically. A series of musical conversations unfold over the next twelve minutes, some veering into edgy territory. It’s an exciting listen, though it comes in second among the four Tyner originals here. Top slot goes to “Peresina,” which is one of my fave Tyner tunes ever. Here, Tyner establishes a compelling piano groove before launching into a beautiful solo accompanied by a subtle yet perfect horn arrangement—one has to believe that producer Duke Pearson had more than a little arranging input—leading into a classic Wayne Shorter solo. The handoff back to Tyner is like butter, and Tyner takes another solo that revels in melodic joy before it’s all over after what feels like a short ten minutes. The whole record is pretty great—Shaw never fails to deliver, and it’s interesting to hear Carter on cello, even though he’s a stronger bassist than a cellist. This is a 1985 French DMM (Direct Metal Mastering) pressing BST 84338 as part of the Cadre Rouge Audiophile series. I’ve not compared it to any other pressing, but it sounds fine to my ears, and it came with this nifty poster (photos 2 and 3). I don’t know if the poster was included with all DMM pressings or if it was a retailer-specific thing…can any other collector’s shed light on this?
Night—with all of its mysterious energy and unsettled calm—is beautifully realized by Wayne Shorter on his Blue Note debut, ’Night Dreamer.’ It all comes together—the overall vibe of the music, the compositions (all by Shorter), the artwork, and the stellar playing of the quintet which featured Lee Morgan (trumpet), McCoy Tyner (piano), Reggie Workman (bass) & Elvin Jones (drums). Even the album title ’Night Dreamer’ was evocative and perfect. This album was one of several remarkable beginnings for Shorter that year—he’d soon be a key part of next Big Bang, the formation of the @milesdavis Second Great Quintet. And it was a busy year for Shorter he also recorded ‘Indestructible’ and ‘Free For All’ with Art Blakey and ’Search For the New Land’ with Lee Morgan. I like taking the entire album in as I think it’s particularly well-sequenced and works best as a whole. If I had to choose highlights, ‘Virgo,’ the ballad that closes Side A is GORGEOUS. Wayne Shorter’s solo is wonderful, and the rhythm section is remarkable. Another highlight is “Armageddon.” While the title might suggest a mood of anger, chaos, or explosive energy, the vibe is more contemplative. There’s a quiet urgency and an unsettling undercurrent that keeps the atmosphere slightly charged—it’s extraordinary. This session was recorded on this day, 29 April, 1964. Shorter would only level up from here. This Music Matters 33 pressing is a joy
Modal, spiritual, and soul-jazz blend beautifully on a record that packs a lot of power. I’m fussy about jazz vocal records, and I don’t reach for them often, but this one is FANTASTIC. Jean Carn’s vocals convey a sense of purpose. Of clarity. Of hope. Things that seem to be in short supply in so many places at the moment. The lyrics (which all have a spiritual/inspirational vibe) were written by her husband, leader, and keyboardist Doug Carn. He then worked them into new arrangements of compelling compositions by Wayne Shorter (“Infant Eyes”), John Coltrane (“Acknowledgement”), Horace Silver (“Peace”), and Bobby Hutcherson (“Little B’s Poem”). All are knockout performances. You’ll also hear impressive instrumentals, including a killer take on McCoy Tyner’s “Passion Dance,” and the Doug Carn original “Moon Child.” The band is top-notch: in addition to Jean’s vocals and sizzling organ/piano playing by Doug, you’ve got George Harper (tenor sax, flute), Bob Frazier (trumpet, flugelhorn), Henry “The Skipper” Franklin (bass), Al Hall, Jr. (trombone), and Michael Carvin (drums). ‘Infant Eyes’ was originally released on Gene Russell’s legendary Black Jazz Records in 1971. The label released a total of 20 albums in its short four-year existence, all of which share two properties: excellence and rarity. This one seems to have been reissued (and bootlegged) more than some of the others, though, so it’s findable, and you can also stream/download it on most digital platforms. If you’re looking to take a deep breath and lower your shoulders a couple of inches, while at the same time be inspired by a soaring, uplifting, deep, well-played jazz album, Doug Carn’s ‘Infant Eyes’ may be the record for you. It’s a lovely, sunny, Saturday morning here in the NYC area, and this record is making for fine listening. Make it a great day
The entirety of Wayne Shorter’s legendary @bluenoterecords run is some of the greatest jazz ever recorded. ‘Speak No Evil’ has a special magic: every time I play it I enjoy it a bit more. I don’t know that there’s a bigger or better endorsement of an album. It’s everything one could ask for: thrilling compositions that are memorable, engaging and full of surprises; a band that plays with gravitas, swing and telepathy; and a recording that captures the energy, power and nuances of the session. If this were the first jazz record you ever heard, you’d have picked a fantastic entry point. Veteran jazz listeners return to it again and again for good reason. On this Christmas Eve 1964 session, Wayne brought along two of his @milesdavis Second Great Quintet bandmates: Herbie Hancock (piano) and Ron Carter (bass). By this point, they had enough stage and studio experiences with @wayne.shorter to knock it out of the park. Add firebrand trumpeter Freddie Hubbard and drum powerhouse Elvin Jones and it’s no wonder that ‘Speak No Evil’ rises above great. The secret sauce here is bassist Ron Carter, whose creativity and unwavering sense of groove liberates both Hancock and Jones to make the most of Shorter’s compositions. Carter’s center-of-gravity was clear to engineer Rudy Van Gelder, who places Carter prominently in the mix. As a result, his playing really stands out, especially on this Music Matters 33 pressing. This record should loom large in every jazz collection. Happy New Year everyone
The exceptional compositions and phenomenal musicianship on ‘Juju’ takes every song supernova. Charged with energy, passion, and adventure, it’s often described as Shorter’s most “Coltrane-esque” album, and given the presence of McCoy Tyner-piano, Reggie Workman-bass & Elvin Jones-drums, no wonder. However, while Trane’s spirit is a clear (and welcome) presence, vive la différence: Shorter’s travels were with an occasional glance in the rearview mirror, returning to variations of his beautifully written melodies; whereas Trane took the scenic route, and would worry about finding his way back later on. Not that Shorter’s playing here is conservative—his torrents of ideas and emotions were equally relentless, but they were Wayne Shorter’s; even if he was playing with a big, bold sound that may feel like an homage to his mentor. Coltrane-isms aside, the overall vibe of the record is uplifting which I find inspiring as the day’s first spin, but it’s equally at home in the small hours of the night—you can easily lose yourself in Tyner’s spiraling piano lines and Shorter’s odes to joy. Everyone plays superbly, though the true hero is bassist Reggie Workman, the gravitational force providing the center around which everyone orbits. His bass is precise and muscular when necessary, driving to coalesce the team around an idea. Other times, his sinewy counter-leads duck and weave like an Olympic-caliber fencer, light on his feet and challenging the others to find an opening. Then there’s Elvin Jones whose power and dexterity on this record puts the full range of his skills on display—it’s one of my favorite performances from him, EVER. 1964 was some kind of year for Shorter, recording three classic LPs for Blue Note—this one, ‘Speak No Evil’ and ‘Night Dreamer’—as well as joining Second Great Quintet. Fifty-five years later, he’s still recording and touring…more power to you Wayne! This is a Music Matters 2XLP 45RPM pressing, which sounds AMAZING. Hard to pick a favorite among these 1964 albums but today, it’s this one
A tale of two sides, with Byrd mostly in the composer’s chair across both. Side A is classic Byrd in hard bop mode, leading a quartet that includes his mentee Herbie Hancock on piano and a young Wayne Shorter on tenor sax. Butch Warren (bass) and Billy Higgins (drums) anchor the proceedings which begins with ‘Pentacostal Feelin’, gospel-influenced rug-cutter, then moves into a mellower groove with the lovely “Night Flower”, followed by the groovy mid-tempo “Nai Nai” which features a KILLER Wayne Shorter solo. Side B is where things get even more interesting as some of the hard bop goes sideways, modal playing becomes a thing and the resulting swing is just EXPLOSIVE. “French Spice” manages to pique your curiosity and rouse your libido at the same time. It’s definitely about foreplay and/or should be played during. Then there’s the title track which gets caught in several post bop riptides, manages to break free momentarily, only to get pulled out even further. It’s pretty freakin’ great. The song really takes its time to develop, morph, evolve and explore the edges. Wildly enjoyable. Byrd made a lot of strong-to-great records in the 50s/60s, all of which have some facet to recommend but for me this one stands a cut or two above the others. Highly recommended. Recorded on this day 11 Dec, 1961 but held for release until 1966. This is one of the few original first pressings in my collection—BLP 4118, mono
The few remaining leaves are now falling with the first snow of the year. The tranquility of their shared journey downwards is captured perfectly by “Fall,” one of my Top Ten jazz tracks of all time. There’s a certain sadness to it, and while I can’t speak to the minds of the Second Great Quintet, it seems to me that it’s not just about a season. This Wayne Shorter composition was recorded two days after the death of @johncoltrane, and there’s an underlying melancholy that permeates not only the tone but the execution. “Fall” is generally beautiful and serene, the perfect soundtrack to the outside vibe. That said, beneath the surface, there’s an underlying sense of disquiet. It’s not enough to pierce the veil of calm, and if anything, the counterpoint provides a marvelous tension to the piece. By far my favorite moment comes at 2:18 when @herbiehancock begins a captivating piano solo when suddenly at 2:43—in classic Second Great Quintet form—he and Tony Williams break the space-time continuum with a mind-meld that just knocks me flat every time…it’s one of my favorite moments in jazz, an answer to the question “what’s so great about @milesdavis Second Great Quintet?” Well, there are many answers to that question, but right here, right now, it’s “Fall
The creative vortex that Wayne Shorter created in the mid-60s was more powerful than gravity. Already a legend on tenor sax, he was also the compositional linchpin in @milesdavis Second Great Quintet. In that role, he was co-piloting Miles’ unique brand of “freebop” that was a nod to less structured playing around a specified time signature or tonal center, without the anti-melodic dissonance that drove Miles batshit. Yet so deep was Shorter’s wellspring of creativity that he continued moonlighting as sideman and leader, delivering tons of compositions across eight albums for @bluenoterecords as a leader while working with Miles, *PLUS* sessions with Lee Morgan, Art Blakey, @mccoytyner and Tony Williams. This album ’The Soothsayer’ has an interesting history as it was—like the equally excellent ‘Etcetera’—shelved shortly after recording and didn’t see the light of day until 1979. That’s not reflective of quality—this is right up there with @wayne.shorter mid-60s, post-bop best. Recorded only a few weeks after the classic Second Great Quintet’s maiden voyage ‘E.S.P.’, this was Shorter’s first sextet date since his Jazz Messengers years but sounding NOTHING like those older hard bop dates. With his Miles cohorts Ron Carter (bass) and Tony Williams (drums) on board and brimming with enthusiasm and ideas, they inspire James Spaulding (alto sax), McCoy Tyner (piano) & Freddie Hubbard (trumpet) to step out of the hard bop box, toying with time, tempo and harmony—sometimes all at once. It’s not noisy, or difficult to follow though there’s often a LOT going on here. To my amazement, there’s an elegance to how marvelously this swings despite the apparent complexity of the underlying structure (or lack of it when they cut loose). This record is THE CRUSH. This is the now scarce/rare @musicmattersjazz 2XLP 45RPM pressing. I’m also appealing to the powers that be— @donwas @jazzsaraswati @musicmattersjazz—please do a proper vinyl release. SRX, Tone Poet or Kevin Grey cut BN. The CD and digital versions are kinda meh sounding and this absolutely FANTASTIC music deserves better. Please?
Seductive. If it’s not in your library, it should be. Tied with ’Search For the New Land’ as my favorite Lee Morgan album, this session has star power galore: Lee Morgan (trumpet), Wayne Shorter (tenor sax), Bobby Hutcherson (vibes), Herbie Hancock (piano), Ron Carter (bass) and Billy Higgins (drums). Carter, Hancock & Shorter were recording ’Nefertiti’ with @milesdavis when Morgan “borrowed” them for this session, so the freebop sensibility of the Second Great Quintet blends seamlessly with Morgan’s advanced hard bop proclivities. Add a generous dose of Hutcherson’s shimmering, percussive vibes and the result is an immersive atmosphere that draws you in from the opening notes of the title track to the final notes of “Soft Touch”. In between, you’ll find a variety of excellence, from the verbosity of “Start Stop” (that Morgan solo is 🔥🔥🔥) to the album highlight “Dear Sir”, a ballad that quests with the spirit of the Second Great Quintet. This album has a long, convoluted history which I’ve detailed in the comments, but for the time being digital ubiquity is at hand, so head over to your favorite streaming platform and immerse yourself in one of Lee Morgan’s finest records. This is a tremendous session @icalledhimmorgan @herbiehancock @wayne.shorter @roncarterbass @musicmattersjazz
Without question the boldest album Shorter had made in the 18 months since leading his first album for Blue Note in April 1964. His tenure @bluenoterecords had started years before, participating in legendary sessions with Donald Byrd (‘Free Form’), Lee Morgan (’Search For The New Land’), Freddie Hubbard (‘Ready For Freddie’) and several Jazz Messenger sets with Art Blakey. His skills and reputation as both player and composer grew rapidly during that time, kicking into overdrive as he grew into his leadership role which occurred only months before assuming the role of tenor sax man and compositional linchpin in @milesdavis Second Great Quintet. So by Fall 1965 having led a number of now-classic albums like ’Speak No Evil’, ‘Juju’, ’Night Dreamer’ and ‘Et Cetera’, his aspirations for ‘The All Seeing Eye’ were bigger, his compositions bolder and his approach grander. This was a “concept album” about life, the universe and everything; brimming with edgy hard bop, chaotic modal grooves, and explorations that often tap into the dark side of The Force. The true stars of the session are Shorter’s compositions: their framework provides ample freedom for exploration yet enough structure to keep things from collapsing into into freeform cacophony. Shorter’s well-chosen band makes the most of this: Freddie Hubbard (trumpet) Alan Shorter (flugelhorn) Grachan Moncur III (trombone) James Spaulding (alto sax) Herbie Hancock (piano) Ron Carter (bass) Joe Chambers (drums)…the largest line-up he’d led so far. These players sound truly liberated and inspired. The results aren’t for everyone (the three star review at Amazon has probably scared away more than a few folks unfortunately), but if you’ve got the patience and open-mindedness to take joy in the abstract enigmas of tracks like “Chaos” and the title track, this record may become a favorite sooner than you’d think. I find this a riveting listen @wayne.shorter @herbiehancock