Wayne SHORTER - Beyond the Sound Barrier 2005

Wayne SHORTER - Beyond the Sound Barrier 2005

Jazz

Recorded live on three different continents (Europe, America, and Asia) from 2002-2004, Beyond the Sound Barrier finds Wayne Shorter leading the same acoustic-oriented post-bop quartet he led on his 2001 recording, Footprints Live!; the veteran tenor and soprano saxophonist is joined by pianist Danilo Pérez, bassist John Patitucci, and drummer Brian Blade. But if Beyond the Sound Barrier should be considered a sequel to Footprints Live!, it is far from a carbon copy. While Footprints Live! contained several Shorter pieces that have become jazz standards (including "Atlantis," "Footprints," and "Juju"), Beyond the Sound Barrier places more emphasis on new material. Half of the eight selections are new, and the rest of the CD ranges from Arthur Penn's "Smilin' Through" (the theme from the 1941 movie) to two pieces from Shorter's Joy Ryder album of 1988: "Over Shadow Hill Way" and that album's title track. No one will accuse Beyond the Sound Barrier of being standards-oriented, and the quartet doesn't go out of its way to be accessible; this is definitely one of Shorter's more cerebral releases. But the material is rewarding if one is broad-minded enough to appreciate Shorter and his younger colleagues at their most intellectual, and the audiences' enthusiastic applause -- not just polite applause, but enthusiastic applause -- indicates that they have no problem comprehending all the abstraction and angularity that is taking place. Beyond the Sound Barrier falls short of essential, but it's a solid demonstration of the fact that Shorter -- who was in his late sixties and early seventies when these performances were recorded -- wasn't afraid to be challenging and keep taking chances in the early 2000s.
By Alex Henderson, All Music Guide.
**
The Wayne Shorter recordings I know the best are from the 1960s: his sessions as leader or as sideman with Art Blakey and Miles Davis. From the 1970s I know a certain amount of his Weather Report stuff, but then there is a gap - in fact, two and a half decades from which I've heard lots of bits and pieces but don't know any of his albums that well. This album is a series of live recordings made between late 2002 and early 2004 - but always with the same band. Comparing it to Shorter's earlier work I find it fascinating for two reasons. i) As a tenor playing Shorter used to be in thrall to John Coltrane - the Coltrane of the early 1960s; as Coltrane developed Shorter continued to be influenced by him without following his direction - he was able to mold the different Coltrane phases into his own style. Then when he took up the soprano sax in the late 1960s he played with a very different sensibility. Now the soprano is his dominant instrument and even when he plays tenor it sounds as though he has adapted his soprano playing to the bigger instrument. It is light, melodic, skipping - Shorter now sounds closer to Stan Getz (I'm not claiming Shorter has become a Getzian, just that there is a certain shared temperament). ii) When he began jazz was played in clubs where listening to the music went along side eating, drinking, talking, making out, getting high – now Shorter plays at the Royal Festival Hall or the Barbican Centre (at least when he performs in London): jazz is now much, much more respectable. And to suit this new seriousness Shorter’s compositions are much more complex: there is no longer the theme followed by a series of improvisations, the musicians taking their turn: everything is integrated into a much more complex whole. This is even true of Smilin’ Through, a simple song that dates from just after World War I. As I take complexity to be a good thing this should be a positive – and it is, but I have some reservations. If a piece of music is like a story, then Shorter is now using more intricate ways of telling his stories: but in itself that doesn’t mean that the stories are necessarily more interesting. I recently saw the film La Vie du Rose: it told its story, the life of Edith Piaf, in a formally complex way, constantly moving through time, cutting between Piaf’s late years and earlier years – and yet the film was a bit dull, while its narrative might have been complex everything else about it was predictable and the juggling with time seemed to be a way of disguising its fundamental dullness. One form of complexity can’t make up for the loss of other sorts. The Shorter compositions on this album aren’t dull, but with the greater control of the music, with the formal cleverness, there are losses – and the question is whether the losses are greater than the gains. Because everything is much more integrated into a whole, one of the main losses is the tension between the individual improvisers and the unit/the song/the arrangement, which has always been one of the major fascinations of jazz. The three other musicians on this album – Danilo Perez, John Pattucci and Brain Blade – are all very good (and I will emphasize how good Blade is because I have been down on him in some other reviews), but I find it difficult to pin down who they are: they skip from style to style with superb professionalism, but the more I hear the less I am able to distinguish a real core to their music. Does this matter? Am I just presuming that jazz should be one sort of music and therefore I am suspicious of anything new or innovative? Possibly. But while admiring this music I finally find it very tame, it lacks a certain dynamism: it’s all a bit too knowing, too self-conscious: everything seems to have been planned out and the performances just follow the blueprints.
**
Beyond the Sound Barrier is yet another conspicuous step forward in Shorter's long and fruitful career. Like its predecessor, it's a live album. It's the same band, but this time, the emphasis is on new compositions, with the exception of Over Shadow Hill Way and Joy Ryder, which first appeared on the album Joy Ryder. The newest adaptation of classical music is On The Wings Of Song ("Auf den Flügeln des Gesanges") by Felix Mendelsohn-Bartholdy, which is completely deconstructed of course.
Danilo Pérez, John Patitucci, Brian Blade and Shorter are a well-balanced and courageous ensemble. No one eclipses the other. They listen well to each other, they avoid redundancy. They dare and they win. They are now one of the best Jazz ensembles working today.
**
John Patitucci- (Bass),
Wayne Shorter- (Tenor, Saprano Sax),
Danilo Perez- (Piano),
Brian Blade- (Drums).
**
01. Smilin' Through  11:53
02. As Far as the Eye Can See  6:29
03. On Wings of Song  4:35
04. Tinker Bell  1:59
05. Joy Rider  11:20
06. Over Shadow Hill Way  12:34
07. Adventures Aboard the Golden Mean  6:04
08. Beyond the Sound Barrier  6:25
**

NoPassword
*
DLink
*

Wayne SHORTER - Schizophrenia 1967

Wayne SHORTER - Schizophrenia 1967

Jazz

The early recordings of Wayne Shorter retain a special place in the hearts of jazz aficionados. During his prolonged apprenticeship as a sideman in the 1960s, Shorter managed to outstrip such formidable leaders as Art Blakey and Miles Davis, becoming the defining conceptual catalyst in their greatest ensembles--both as a composer and improviser.

Over the course of several albums as a leader for Alfred Lion's Blue Note label, Shorter transcended the long shadows of such important early influences as John Coltrane and Sonny Rollins, developing an elliptical style all his own, and a fantastic repertoire of original material. These recordings, with their extraordinary range of styles and moods, confirm Shorter's place in the pantheon of modern jazz immortals.

In a sense, SCHIZOPHRENIA refers to the split personalities of a musician capable of exploring traditional ideas and adventurous experimental fare with equal vigor, originality and musical curiosity. Dating from March of 1967, SCHIZOPHRENIA presents a mature combination of contrasting musical designs, from the joyous concoction of blues and salsa sources that mark his arrangement of "Tom Thumb," to the oblique transformations of "Playground."

On the title tune, Shorter begins with cerebral, celestial voicings for tenor, flute and trombone--impressionistic and serene--when without warning, Joe Chambers' charged drum break announces a second, more angular theme at a breakneck tempo. Shorter solos as if he were playing all the accompanying instruments, building exquisite tension by alternating long intricate melodic lines, with jagged, repeated figures, harmonic inversions and calculated rhythmic suspensions. But Shorter is also capable of breathtaking tenderness, as on the gently waltzing "Miyako," where his pastel ensemble textures, gauzy tone and floating rhythmic conception, inspire Herbie Hancock, Ron Carter and Chambers to constantly regroup around his melodic figures.
From CD Universe.
**
The last of (I think) eight Blue Note Shorter albums covering the 1964-67 era, and also the final purely acoustic set, not that it matters to me. Shorter uses altoist/flautist James Spaulding, trombonist Curtis Fuller, and familiar rhythm section mates Herbie Hancock, Ron Carter, and Joe Chambers. The tunes yet again show forward movement, and though they probably aren't among the first tunes one associates with Wayne, they are effective vehicles for Shorter and his sidemen. The title cut lives up to its name while conversely allowing the group to build solid solos that defy the song's title. "Tom Thumb" is one of Shorter's all-time funkiest efforts (of course, he avoids the cliched blues phrases associated with much funk-jazz), and "Miyako" is the latest in a string of memorable Shorter ballads. As a whole, the album is arguably not an essential pick for fans of this era in jazz (and note that some other reviewers feel differently). Yet is still an important addition to Shorter's recorded works, with highlights that compare favorably to his all-time best efforts.
By  J. Lund.
**
Wayne Shorter was at the peak of his creative powers when he recorded Schizophrenia in the spring of 1967. Assembling a sextet that featured two of his Miles Davis band mates (pianist Herbie Hancock and bassist Ron Carter), trombonist Curtis Fuller, alto saxophonist/flautist James Spaulding and drummer Joe Chambers, Shorter found a band that was capable of conveying his musical "schizophrenia," which means that this is a band that can play straight up jazz just as well as they can stretch the limits of jazz. At their best, they do this simultaneously, as they do on the opening track "Tom Thumb." The beat and theme of the song are straightforward, but the musical interplay and solos take chances that result in unpredictable music. And "unpredictable" is the operative phrase for this set of edgy post-bop tunes. Shorter's compositions have strong themes, but they lead into uncharted territory, constantly challenging the musicians and the listener. Schizophrenia crackles with the excitement of Shorter and his colleagues trying to balance the two extremes.
**
Wayne Shorter- Saxophone, (Tenor)
James Spaulding- Flute, Sax (Alto), Sax (Soprano)
Curtis Fuller- Trombone
Herbie Hancock- Piano
Ron Carter- Bass
Joe Chambers- Drums
**
A1. Tom Thumb 6:15
    Written-By - Wayne Shorter
A2. Go 4:52
    Written-By - Wayne Shorter
A3. Schizophrenia 6:59
    Written-By - Wayne Shorter
B1. Kryptonite 6:25
    Written-By - James Spaulding
B2. Miyako 5:55
    Written-By - Wayne Shorter
B3. Playground 6:20
    Written-By - Wayne Shorter 
**

NoPassword
*
DLink
*

Wayne SHORTER - Alegria 2003

Wayne SHORTER - Alegria 2003

Jazz

ALEGRIA won the 2004 Grammy Award for Best Jazz Instrumental Album. "Sacajawea" won for Best Instrumental Composition.

ALEGRIA is a truly remarkable return to form for Wayne Shorter. Despite a number of missteps in the years since his acclaimed early-'60s releases JUJU and SPEAK NO EVIL, the revered tenor saxman and composer enjoyed a renaissance with 2002's well-received FOOTPRINTS LIVE and this collection of meticulously executed tunes. ALEGRIA recalls the Shorter of yore with its brainy, challenging arrangements and dexterous inside/outside musicianship. The opener "Sacajawea," for example, with its boogie rhythm and free-form solo explorations, gives ample evidence that Shorter and company mean business.
As one would expect, the musicians here are superb, with bassist John Patitucci and drummer Brian Blade holding and pushing the rhythm. Young pianist Brad Mehldau, with his delicate, classical sensibility, replaces regular keyboardist Danilo Perez on "Serenata" and a radical reworking of the Miles Davis Quintet's "Orbits." Textures continue to shift and expand as Shorter employs cello, tuba, flute, oboe, and bassoon on cuts like the spectral "Vendiendo Alegria" and the puzzle-piece "12th Century Carol," while "She Moves Through the Fair" and "Capricorn II" prove he is adept as ever with small group telepathy. Superior playing, support and--most notably--writing and arranging mark this excellent disc by one of jazz's great post-'50s figures.
**
Wayne Shorter- Soprano Saxophone, Tenor Saxophone
Terri Lyne Carrington- Drums
John Patitucci- Bass
Lew Soloff- Trumpet
Danilo Perez- Piano
Alex Acuña- Percussion
Brian Blade- Drums
Bruce Eidem- Trombone
Chris Gekker- Trumpet
Barry Gold- Cello
Brad Mehldau- Piano
Jim Pugh- Trombone
Marcus Rojas- Tuba
Stewart Rose- Horn
Daniel Rothmuller- Cello
Robert Sadin- Conductor
Cecilia Tsan- Cello
Papo Vasquez- Trombone
Stephen Taylor- English Horn, Oboe
Charles Curtis- Cello
Paul Dunkel- Flute
Allen Blustine- Clarinet, Bass Clarinet
Frank Morelli- Bassoon
David Garrett- Cello
Jeremy Pelt- Trumpet
Steve Davis- Trombone
Gloria Lum- Cello
Brent Samuel- Cello
**
01. Sacajawea 7:40
02. Serenata 6:09
03. Vendiendo Alegria 7:03
04. Bachianas Brasileiras No. 5 6:00
05. Angola 5:28
06. Interlude 1:49
07. She Moves Through the Fair 4:39
08. Orbis 6:09
09. 12th Century Carol 6:04
10. Capricorn II 5:59
**
NoPassword
*
DLink
*

Wayne SHORTER - Night Dreamer 1964

Wayne SHORTER - Night Dreamer 1964
BST 84173

Jazz

Shorter's Blue Note debut, NIGHT DREAMER, is a stunning statement from one of the premiere saxophonists and composers in the history of jazz. In 1964, after a long period as musical director for Art Blakey's Jazz Messengers and newly joining Miles Davis' quintet, Shorter was primed to enter the field as a major solo artist. His guests include Lee Morgan (trumpet), renewing the outstanding frontline the two formed in Blakey's band, and McCoy Tyner (piano) and Elvin Jones (drums) from Coltrane's legendary quartet. The musical vision here, however, is Shorter's alone.

Shorter's distinctive compositional style begins to take shape with the opening title track, a bouncing waltz with a dusky, modal flavor and a subtle rhythmic drive. Likewise, his arrangement of an "Oriental Folk Song" has a similar burnished tone with beautifully executed harmonies between Shorter and Morgan. Interestingly, the swinging "Black Nile" and "Armageddon" are very reflective of Shorter's previous tenure with Blakey while perpetuating the range of his newfound freedom with Davis' group. "Charcoal Blues" is the most traditional piece in the set but nevertheless gives us a sense of his more independent leanings. Also included are two takes of the graceful ballad "Virgo," a classic Shorter composition.

Tenor saxophonist Wayne Shorter's Blue Note debut found him well prepared to enter the big time. With an impressive quintet that included trumpeter Lee Morgan, pianist McCoy Tyner, bassist Reggie Workman, and drummer Elvin Jones, Shorter performed a well-rounded program consisting of five of his originals.
By Scott Yanow & Thom Jurek. AMG.
**
Night Dreamer is all that it’s supposed to be ... for me it was as if I had opened the door to my past.  I remembered being about fourteen in 1964, going to a quiet but upscale dinner party with my parents, where the host and hostess not only played really cool music like this, but they understood this music, and they had the clothes and gracious attitude to wrap it all up in a perfect package.  I rode home, sitting in the back seat alone, but in my mind I was still sitting at the dinner table, paying attention to every little detail ... with words like “hor d’ourves,” “shredded blue cheese,” “jazz,” and “light dimmers” echoing in my head.  It was all so new to me, it was a world in which my parents did not travel, but certainly one I hoped to; and with all of the same grace and ease shown by my hostess, in her black, sleeveless, turtle necked, angora dress and single strand of glimmering pearls.

Her name was Dana, and she didn’t talk down to me, she was happy to point and discuss anything I looked at ... but what held my attention most, was that she always seemed to be listening to the music, even while she was talking she was listening ... so was her husband, who would do this quick tappy drumming thing right over his heart almost unconsciously.  I remember her saying how much she loved this album by Wayne Shorter, she even picked it up and showed it to me, but with my head so full of new wonders, it is no wonder that I did not remember his name, or “Night Dreamer,” the title of this album.  Now, over forty years later, my friend Philip has reacquainted me with such a seminal moment in my life ... when everything was was cool and blue and new.

This is nearly a perfect record, reflecting the talent of one of the greatest Jazz musicians.  Even in Rock, yet alone Jazz, it is seldom that I have the luxury of playing an album from which every song proves a comfortable listen from beginning to end ... and Night Dreamer is one of those exceptions.  The songs are varied, but seem to maintain an emotional theme, centering around relationships gone astray, romance, heartbreak, love, pain ... and all from the perspective of an artist who has actually lived these experiences, and has been gracious enough to share them with us.  While the songs are not so much remembered in the fashion that one can hum them from memory, never the less, the songs seem to find a place in your mind, and reside there for all time ... I am living proof of that.

The smile this release brought to my face, and the warmth to my heart, was like meeting an old friend again ... one whom I will not let slip between my fingers for a second time.
**
Lee Morgan- Trumpet
Wayne Shorter- Tenor Sax
McCoy Tyner- piano.
Reginald Workman- Bass
Elvin Jones- Drums.
**
A1. Night Dreamer  7:15
A2. Oriental Folk Song   6:59
A3. Virgo   7:05
B1. Black Nile   6:25
B2. Charcoal Blues   6:50
B3. Armageddon   6:20
**
NoPassword
*
DLink
*

Wayne SHORTER - The All Seeing Eye 1965

Wayne SHORTER - The All Seeing Eye 1965
Label: Blue Note
Audio CD: (September 12, 2000)

Jazz
 
Mr Thelonious Monk once said that he wasn't ahead of the public but that the public was 20 years behind, meaning he was NOW. Well, in 1965 Miles Davis recorded live at the Plugged Nickel, Ornette Coleman recorded whilst on tour in London and Stockholm. Meanwhile, in the studio, John Coltrane recorded Ascension and Herbie Hancock recorded Canteloupe Island. Wayne Shorter recorded THE ALL SEEING EYE in 1965 as well. That was then. And it was NOW music then. It is still NOW music NOW, cf, Kenny Wheeler A LONG TIME AGO c2000, et al. From the opening notes of Freddie Hubbard on Flugelhorn to the dying sounds of Alan Shorter's marvellous closer - Mephistopheles - this is great music. 1965 must have been a very special and creative time whilst the Beatles were on top (uh? What? Who?) Apart from the fine compositions programmed around Biblical themes, and the truly outstanding musicianship of these players (Mr Spaulding sounding like Mr Dolphy on Chaos for example, Mr Carter an absolute genius on bass, Mr Hubbard never sounding better or more inventive - Genesis is a revelation)as well as the recording quality and arrangements, I recommend you, dear listener, focus on Herbie Hancock for one listening to hear a master at work, whether throwing in a trill on Mephistopheles, or sounding like Mr Cecil Taylor on Chaos he's always there. Brilliant. An absolute stunner.
Recommended without reservation.
By Ian Muldoon.
**
The all-seeing Eye is one of Shorters more obscure records but it's actually his best IMO. The reason for it's relatively unpopular status is probably because the music is pretty close to free-jazz at times (it's not a free jazz record though, explorative post-bop or inside/outside is probably the best description), a form of music many people hate. For me, who love free-jazz and this Blue Note post-bopstyle, it's pure heaven. Wayne Shorters playing is explosive throughout and so is Hancock. I'm not a big fan of Hubbard who appeared on far too many Blue Note records in this era (why they didn't use Woody Shaw more often is a mystery to me) but he does a good job without really standing out (as usual). The front line is filled out with the awesome trombonist/composer Grachan MoncurIII and the underrated altoist James Spaulding. They don't solo much but their contributions are no less important for that, giving the ensembles a rich sound.
My two favourite songs on this cd is "Chaos" and "Mephistopheles". "Chaos" is raw, edgy post-bop at it's very best with a great, Dolphy -inspired solo by Spaulding and one of my all-time favourite Shorter solos where he starts off pretty uninspired but soon turns into one of his most explosive solos (also check out Joe Chambers drum responses when Shorter kicks into high gear). Even Hancock gets aggressive on this one!!!
"Mephistopheles" is the most untypical song on the record. It was written by (and includes) Waynes brother Alan who was more of a free/avantgarde performer. It was also recorded for Marion Browns debut album with a different title. This version, however, is much better. The tempo is slower and the drums get into an awesome, almost tribal, groove. Hancock pretty much plays one chord throughout which gives it a hypnotic quality. This song sounds almost unlike anything in jazz and MUST be heard!
Overall, this album may not appeal to people who like other Shorter records like Ju-Ju, Speak No Evil (my other Shorter favorite) or the slick Adams Apple but if you like adventurous music,
be sure to check it out!!!
By Jakob Hellberg.
**
Wayne Shorter- (Tenor Saxophone)
Freddie Hubbard- (Trumpet and Flugelhorn)
Grachan Moncur III- (Trombone)
James Spaulding- (Alto Sax)
Herbie Hancock- (Piano)
Ron Carter- (Double Bass)
Joe Chambers- (Drums)
Alan Shorter- (Flugelhorn)
**
01. The All Seeing Eye (Wayne Shorter) 10:32
02. Genesis (Wayne Shorter) 11:44
03. Chaos (Wayne Shorter) 6:55
04. Face Of The Deep (Wayne Shorter) 5:29
05. Mephistopheles (Alan Shorter) 9:38
**
NoPassword
*
DLink
*

Wayne SHORTER - Speak No Evil 1964 (REPOST)

Wayne SHORTER - Speak No Evil  1964 (REPOST)
Label: Blue Note
Audio CD: (March 23, 1999)

Jazz

SPEAK NO EVIL is a significant recording for two main reasons. Firstly, it is one of the first in a long string of stunning solo sessions by Shorter that showcase both his masterful saxophone abilities and his eclectic compositional style away from the leadership of Art Blakey and Miles Davis. Secondly, it combines members of the three mightiest ensembles of the period; Freddie Hubbard and Shorter worked together in Blakey's Jazz Messengers, Shorter, Herbie Hancock and Ron Carter formed three fifths of Miles Davis' legendary quintet and Elvin Jones was the drumming powerhouse behind John Coltrane's famous group.

Shorter introduces the session with the swinging "Witch Hunt," a dynamic piece with many unexpected twists and turns. Later, the mysterious "Dance Cadaverous" is a peaceful waltz that slowly unfolds its meandering melody over Jones' gentle prodding. The classic title track is, of course, the disc's highlight; a bluesy swinger in the style of Shorter's stint with Blakey. The delicate ballad "Infant Eyes" is one of the saxophonist's most touching compositions, and worthy of special attention. Finally, the lilting "Wild Flower" closes the door on a most momentous session.
From CD Universe.
**
Wayne Shorter's compositions helped define a new jazz style in the mid-'60s, merging some of the concentrated muscular force of hard bop with surprising intervals and often spacious melodies suspended over the beat. The result was a new kind of "cool," a mixture of restraint and freedom that created a striking contrast between Shorter's airy themes and his taut tenor solos and which invited creative play among the soloists and rhythm section. The band on this 1964 session is a quintessential Blue Note group of the period, combining Shorter's most frequent and effective collaborators. Trumpeter Freddie Hubbard, pianist Herbie Hancock, bassist Ron Carter, and drummer Elvin Jones merge their talents to create music that's at once secure and free flowing, sometimes managing to suggest tension and calm at the same time.
By Stuart Broomer. AMG.
**
Wayne Shorter- (Tenor Sax);
Freddie Hubbard- (Trumpet);
Herbie Hancock- (Piano);
Ron Carter- (Bass);
Elvin Jones- (Drums).
**
01. Witch Hunt 8:11
02. Fee-Fi-Fo-Fum 5:53
03. Dance Cadaverous 6:45
04. Speak No Evil 8:23
05. Infant Eyes 6:54
06. Wild Flower 6:07
07. Dance Cadaverous (Alternate Take)  6:35
**
NoPassword
*
DLink
*