By Rob Hancock

Wayne Shorter was born 25/08/33. After studying music at New York University and spending four years in the army, he joined Art Blakey’s Jazz Messengers in 1959, staying until 1964. The Messengers were a fluid hard bop outfit; the only full time member was drummer Blakey. He brought in talented younger players, encouraging them to develop their skills and ultimately to have the confidence to go on to lead their own groups. The Messengers was a tough proving ground, a strictly swinging hard bop group with a driving bluesy, gospel-influenced sound.

Art Blakey is drummer with a huge sound dubbed ‘big beat’ and during his time with him, Shorter developed a powerful muscular tone that was strongly influenced by close friend, John Coltrane.

Miles Davis poached Shorter from Art Blakey in 1964 when John Coltrane quit his quintet to form his own band. Along with Herbie Hancock, Tony Williams, Ron Carter, and Davis, Shorter set about redefining small group improvisation in what is widely regarded as one of the most revolutionary groups in the history of jazz. For the first time each member of the group was fully integrated into improvisation with each instruments voice integral to the whole. No longer was the rhythm section used to simply keep time but was capable of delicate interplay with the lead instruments. Tony Williams, one of the most talented drummers in the history of jazz, was just 17 when he joined Miles! During his time with the group Shorter broadened his sound by using soprano sax for the first time. It’s weaving sound became used more and more in the electrical experiments that followed.

Shorter went on to co-form fusion band ‘Weather Report’ in the early 1970’s, increasingly concentrating on the sound the soprano added to the bands rock-jazz hybrid. In the overblown sound of the fusion unit, Shorter’s playing increasingly became overshadowed by the advent of new technology and he contributed less and less to the band, concentrating more on its direction than his own playing.

Shorter was re-united with his tenor sax and the great quintet with Freddie Hubbard in place of Miles Davis in the late 1970’s. They successfully toured the world and recorded under the name V.S.O.P. Wayne illustrated that he is still very much in the game with a memorable performance as part of the London Jazz Festival in 2001.

Shorter is too often singled out for his contribution to other groups while his own clutch of mid-sixties long players on Blue Note records are among the finest recordings in post bop. His sound a beautiful balance of power and elegance. Recorded with a series of crack rhythm sections, the albums display a man at the absolute peak of his craft. His blues tunes hard, aggressive and driving and his ballads sincere, tender and heartfelt. Although often overshadowed, as many other 1960’s tenors, by the mystical powerhouse abilities of John Coltrane, Shorter was able take on board his influence, together with the improvisation skills of Sonny Rollins and the freedom of Ornette Coleman and produce a sound all of his own.

Discography:
With Jazz Messengers: Mosaic – 1961, The Witch Doctor – 1964
With Miles Davis: ESP – 1964, Nefertiti – 1967
Wayne Shorter: Night Dreamer – 1964, Speak No Evil – 1965, Adam’s Apple – 1966.