Jazz Articles about Wayne Shorter

Lee Morgan/Wayne Shorter: The Complete Vee Jay Lee Morgan-Wayne Shorter Sessions

by C. Andrew Hovan
April 1, 2001

It’s unlikely that we’ll ever again see the kind of concentrated intensity and sheer amount of music amassed as that which entered the jazz lexicon during the ‘50s and ‘60s. Not only does there seem to be less of an interest in the music by fans and musicians alike, but also the precipitous nature of the current financial economy would simply preclude small independent labels from producing such an immense output. So, let us go back to those times and ...

Joe Henderson; Kenny Dorham; Wayne Shorter: Our Thing; Whistle Stop; The All Seeing Eye

by David Adler
January 1, 2001

Like all the Rudy Van Gelder Edition reissues, these three were given royal treatment in the control room. Aside from one alternate take on the Joe Henderson CD, they contain no previously unreleased material at all. The excellent sound leaps out of the speakers, eloquent testimony to the unparalleled talents of three Blue Note giants.Henderson’s Our Thing was the tenor master’s second Blue Note outing, and it documents his renowned association with Dorham, who joins him in the ...

Miles Davis: In A Silent Way

by John Ballon
September 1, 2000

Miles Davis was going through exciting musical changes in 1968, listening and playing things which were leading him into the future and into In a Silent Way. His music and lifestyle were being influenced by a wave of new sounds and ideas, and he was responding deeply to the music of James Brown, Sly Stone, and Jimi Hendrix. Having already pushed acoustic jazz to the limits with his mid-Sixties quintet, Miles metamorphosed the new sounds around him, creating a work ...

Miles Davis: In A Silent Way

by John Ballon
September 1, 2000

Miles Davis was going through exciting musical changes in 1968, listening and playing things which were leading him into the future and into In a Silent Way. His music and lifestyle were being influenced by a wave of new sounds and ideas, and he was responding deeply to the music of James Brown, Sly Stone, and Jimi Hendrix. Having already pushed acoustic jazz to the limits with his mid-Sixties quintet, Miles metamorphosed the new sounds around him, creating a work ...

Wayne Shorter (Blue Note The Rudy Van Gelder Edition: Speak No Evil / JuJu

by C. Michael Bailey
July 1, 1999

RVG Again. Will Smith and Chris Hovan wrote two very capable articles about the Blue Note RVG Editions. Their articles were very informative and they stimulated me to check out some “new” old music. I decided to start with the initial RVG releases by Wayne Shorter.

Déjà Vu All Over Again The nice thing about both jazz and classical music is that there is always something even the most astute listener has missed in his or her listening experience. Wayne ...

Wayne Shorter: Odyssey of Iska

by Robert Spencer
May 1, 1997

Exotic percussion-based proto-World Music worked for Wayne Shorter on Super Nova, so he tried it again the next year (1970) on Odyssey of Iska. The sound is very similar but the lineup completely different: here Wayne plays tenor and soprano; unlike Super Nova, where he stuck exclusively to soprano. Dave Friedman plays vibes and marimba; Gene Bertoncini, guitar; Ron Carter and Cecil McBee on bass; and there are three drummers: Billy Hart, Alphonse Mouzon, and Frank Cuomo.

The ...

Wayne Shorter: Super Nova

by Robert Spencer
May 1, 1997

It was the summer of 1969, flower power was in the air, conventional hard bop was in serious trouble, and Wayne Shorter wrought the hipfest Super Nova in the company of a gaggle of guitarists and percussionists. Super Nova , while typical in many ways of jazz in 1969, is by no means the average Blue Note session or the average Wayne Shorter album, but it has its charms.

He had the help of a stellar lineup. Shorter’s ...