wayneshorter

Wayne Shorter ‘Speak No Evil’

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

Wayne Shorter ‘Juju’

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

Donald Byrd ‘Free Form’

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

Miles Davis “Fall” from ‘Nefertiti’

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

Wayne Shorter ‘The Soothsayer’

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?

Lee Morgan ‘The Procrastinator’

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

Wayne Shorter ‘The All Seeing Eye’

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

Wayne Shorter Speak No Evil

Wayne Shorter ‘Speak No Evil’

Wayne Shorter’s entire @bluenoterecords run is great, but if pressed I’d have to say this one is my favorite. 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 hummable, memorable, engaging and full of surprises; a band that plays with gravitas, swing and telepathy; and a recording that captures the energy, power and nuance 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. The year was 1964 and Wayne brought along 2 of his Miles Davis second great quintet band mates Herbie Hancock (piano) and Ron Carter (bass) who by this point had both stage & studio experience enough with Wayne’s music 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. This record should loom large in every jazz collection. This is Music Matters MMBST-84194, reissued in 2015 and sounding SPECTACULAR

Miles Davis ‘In a Silent Way’ (Directions in Music by Miles Davis)

Released 50 years ago today, this album is ahead of its time, even now. Miles established the ground rules of framework and freedom. Producer Teo Macero leveraged technology in music-making that has since become nearly ubiquitous. The band—Wayne Shorter (soprano sax), Herbie Hancock & Chick Corea (electric piano), Joe Zawinul (organ, elec piano), John McLaughlin (guitar), Dave Holland (bass), and Tony Willams (drums)—all trusted in the creative process. The result: a dreamy, meditative voyage as @milesdavis ushered in a new era in jazz, once again re-writing the rulebook as he saw fit and trailblazing a new trajectory for the genre and for himself. This album’s impact, influence and significance in music, culture and technology continues to resonate. Anything with that much power is deserving of repeat spins, discussion and respect. Happy 50th ‘In a Silent Way’—I don’t think you’ll ever act your age

Art Blakey & the Jazz Messengers ‘Africaine’

Wayne Shorter makes his Jazz Messengers debut on this Art Blakey session recorded 10 Nov 1959, though this particular album was shelved for over 20 years, eventually seeing release in 1981. Perhaps it was simply a desire to avoid flooding the market with excellent jazz LPs, but this one sits alongside numerous other @bluenoterecords LPs of the 1950s/1960s that were vaulted instead of released. As a result, they inevitably get compared to other albums of the era…records that have multi year head starts in terms of listening, critical analysis and debate. Therefore, these vaulted orphans risk being pre-judged as not quite worthy. After all, if they were any good, why weren’t they released in the first place? A mystery…it’s not an issue of quality. While their eventual release in the late 1970s/early 80s either as Japanese-only titles or as part of the Blue Note LT series was certainly welcome, the relative rarity of the Japan-only titles, and the frankly crap artwork of the LT series didn’t help make them a equal part of the Blue Note conversation. An extra shame in the case of this smokin’ hard bop title ‘Africaine’ which was a bit of a “middle child” recorded in between Blakey’s Jazz Messengers all-time classic ‘Moanin’ and ’The Big Beat’, featuring the debut of Wayne Shorter as composer and Jazz Messenger. Joining @wayne.shorter and Blakey are Lee Morgan (trumpet), Walter Davis Jr. (piano), Jymie Merritt (bass) and Dizzy Reece, here eschewing his usual trumpet and playing congas! The Shorter/Morgan frontline always delivers, and while they’d certainly play more renown dates, this one isn’t to be missed. The good news is that this album is widely available digitally. The bad news is that Blue Note seems hellbent on keeping the vinyl scarce—other than a second-hand copy, the only other place to get it is part of the limited edition Blue Note Review box set. High marks for the pressing though—an ace job on an all-analog cut that sounds fantastic