206

Wayne Shorter: Alegria

Farrell Lowe By

Sign in to view read count
It is an utter joy to witness the profound evolution of a genius. With the release of Alegria, Wayne Shorter continues to widen and refine his unique musical vision—and share it with the world. From the first few notes of the opening song, "Sacajawea," it becomes immediately evident that we're being invited into a lyrical sonic world that is beyond common jazz metaphor. This music is stripped of all superfluity and becomes a singular document—a meeting of heavy spirits.

The music on Alegria feels "lived in" and this aura pervades every piece on the recording, even the sessions with musicians outside of the quartet orbit and the overdubbed sections. The 'lived in' quality comes from Shorter himself; like his former employer Miles Davis, there is as much music in what he chooses not to play as what he does voice with his horn. His tremendous presence with each note and every gesture again recalls Miles Davis, inspiring those around him to rise to a higher level of understanding of the music they are asked to interpret.

There's an old photograph of Cecil Taylor sitting at the piano playing from a score composed of the singular image of a dancer in motion, with the word "presence" printed in bold black letters along the right side. Alegria reminds me of that photograph, but the music presented on this album shimmers with a different sort of intensity than the one conjured by Mr. Taylor. Shorter approaches "presence" more from a quiet Zen master's point of reference—akin to witnessing the subtle unfolding of a spring flower, or the gentle undulations of a mountain stream hung with teeming green plants. It is a powerful music filled with beauty and quiet fire.

Another fascinating aspect of this recording is the contrast in approach between pianists Danilo Perez and Brad Mehldau, as well as the drumming of Brian Blade and Terri Lyne Carrington. Shorter seems to be interested in the differences between these players, and I find it revealing that he chose to record with two different harmonic and rhythmic points of view. He responds to each individual in a subtle and rich manner—Mehldau takes a tune in a direction not chosen by Perez, and vice-versa. Carrington approaches the cymbals in a very different way than Blade, making for a deeper performance of the material as individual musicians.

In the end, Alegria is filled with music of individual presence, subtlety, sophistication, and a quiet, beautiful bravery that is quite admirable.

Visit Verve at: www.ververecords.com


Title: Alegría | Year Released: 2003 | Record Label: Songlines Recordings


Tags

comments powered by Disqus

More Articles

Read Heart Knows CD/LP/Track Review Heart Knows
by Dan McClenaghan
Published: September 22, 2017
Read Jersey CD/LP/Track Review Jersey
by Geno Thackara
Published: September 22, 2017
Read Wobbly Danse Flower CD/LP/Track Review Wobbly Danse Flower
by Mike Jurkovic
Published: September 22, 2017
Read Carry Fire CD/LP/Track Review Carry Fire
by Nenad Georgievski
Published: September 22, 2017
Read A Night Walking Through Mirrors CD/LP/Track Review A Night Walking Through Mirrors
by Barry Witherden
Published: September 21, 2017
Read Jondo CD/LP/Track Review Jondo
by Jack Bowers
Published: September 21, 2017
Read "Better By Far" CD/LP/Track Review Better By Far
by Dan McClenaghan
Published: April 17, 2017
Read "The Evolution Suite" CD/LP/Track Review The Evolution Suite
by Troy Dostert
Published: October 10, 2016
Read "Concert Of The Century" CD/LP/Track Review Concert Of The Century
by Mark E. Gallo
Published: August 10, 2017
Read "Unspoken" CD/LP/Track Review Unspoken
by Andrew Luhn
Published: October 9, 2016
Read "More Powerful" CD/LP/Track Review More Powerful
by Roger Farbey
Published: July 6, 2017
Read "Just Funkin' Around" CD/LP/Track Review Just Funkin' Around
by Jeff Winbush
Published: August 5, 2017

Join the staff. Writers Wanted!

Develop a column, write album reviews, cover live shows, or conduct interviews.