Children of the Light: Forging New Footprints

"The trio is a real laboratory for colours, voices, and ways of playing interactions," says the Panamanian-born jazz pianist Danilo Pérez. With bassist John Patitucci and drummer Brian Blade, Pérez has forged a bond over two decades in Wayne Shorter's last and yet groundbreaking Footprints Quartet. After Shorter withdrew from the public eye, the three sidemen continued to explore cosmic and existential themes. They nod to Shorter's mentorship and named their trio as "Children of the Light"—a twist on Shorter's composition "Children of the Night." Now they have proved themselves to be more than Shorter's rhythm section.

In August 2025, Blue Note Records released Shorter's landmark live album Celebration, Volume 1, on which he was joined by the three musicians. Recorded at the 2014 Stockholm Jazz Festival, the session captures the legendary Footprints Quartet in peak form, weaving through expansive renditions of pieces like "Zero Gravity," "Smilin' Through," "Orbits," "Lotus," and "She Moves Through The Fair" with electrifying interplay. Curated personally by Shorter shortly before his passing, the album stands as a testament to the profound musical and human connection between these four innovators. More than a historical document, it celebrates the enduring voice of Wayne Shorter and the children of his light that redefined modern jazz.

Through a two-decade journey of collective exploration, this trio embodies the boundless, questioning spirit of their mentor, Wayne Shorter. At the end of April 2024, All About Jazz did a group interview backstage before the trio's gig in JZ Club at Shanghai. We unpacked the lessons from Wayne Shorter, the magic of the trio's musical synapse, their evolution from the Footprints Quartet to forging their own legacy, and their vision for music's power to heal a fragmented world.

Carrying Shorter's Torch

The trio's description of Wayne Shorter paints a portrait far beyond that of a saxophonist or composer. Pérez immediately highlights Shorter's "global" perspective, while Blade elaborates on Shorter's "pictorial thinker" mind, always referencing cinema and storytelling. His sense of wonder, Blade notes, "went like a million mile an hour," fueling his unique expression of both the visible and invisible worlds.

This intellectual curiosity was boundless. Pérez recalls how Shorter was "really deep" into book writers, poets, and philosophers, constantly pulling references from North American and Black American authors. "It made me feel like I was in a doctoral program," Pérez says with a laugh. But this was more than academic; it was a way of life. Shorter taught them to never simply accept reality but to constantly question it—"What is there?" "What else is there?" He exercised a childlike level of creativity that allowed them to explore artistic approaches and interconnect with their authentic selves, their humanity, and their music.

Perhaps most powerfully, Shorter's mentorship extended into the deepest corners of their personal lives. Pérez shares a transformative lesson from Shorter: "You thought you needed to learn more music, right? He said, you actually needed to get married." Patitucci confirms with a smile, "That's what Wayne told him." This wasn't a prescription for everyone, Pérez clarifies, but a profound insight specific to him. Shorter believed that transcendental freedom in music could only come after fully living life, learning about patience and commitment beyond the bandstand. "I followed his advice," Pérez reflects, "and now I have three kids and an incredible life." This lesson—that musicians must learn who they are and how they relate to others—has become central to the advice they now impart to others.

This philosophy of putting the community above the individual ego was embodied by Shorter on stage. Though a monumental musician, what they always felt was "a person there." He possessed a unique, childlike sound and spirit. On stage, he was frisky and laughing, "opening the door to being yourself," yet offstage, he often appeared contemplative, even sad. Patitucci and Pérez fondly imitate his indistinct, joyful mutters on stage—"Huh huh huh... you know what I mean"—that both confused and delighted audiences.

A poignant memory for Pérez encapsulates this magical connection. During a concert in Montreal around 2013, on Shorter's birthday, the audience unexpectedly broke into "Happy Birthday." The band, caught by surprise, instantly jumped in. A stunned Shorter turned and asked, "Did you guys rehearse that?" For Pérez, this was a key moment of "non-separation between the audience and the band." Later, when Pérez remarked he felt like he was watching the show rather than playing, Shorter replied, "You were on the flight today." Pérez laughs, "that's what I told you. I was flying with miles all the time!" It was a moment of unique, unexplainable connection that none have experienced since.

This sense of unity was formally cultivated through a pre-concert ritual of putting their heads together. Contrary to the idea of a single initiator, Pérez explains it emerged collectively one magical night "for fun." It was Shorter himself who the next day insisted, "Hey, we've gotta put the heads together! We might need that! We didn't do it here." From that moment, it became an indispensable ritual. Do they still keep it? All three answer in unified affirmation: "Every time!"

Looking toward the future, their vision is clear. Pérez speaks of "furthering that path that Wayne Shorter opened for us." In an era where imagination is undervalued, they see their role as "guardians of the creative process," utilizing hope and optimism to push things forward. Patitucci views their job as continuing the "research" they've been involved in for years, to "keep growing together." It's not about posturing on the future of jazz, he notes, but "we are supposed to be doing it."

For Blade, the future is defined by Shorter's fearless mantra: "I dare you." Despite failing health, Shorter "kept his pen on the paper. He just kept writing to the end." The faith that drove him, Blade implies, is the very compass that will guide the future—a challenge to never stop creating, questioning, and daring. Through Children of the Light, that challenge, that light, continues to shine.

Com-Provising A New Language

"It's all the depth of something that is beyond the individual," says Patitucci.

When the three musicians lock into a groove, distinctions between composition and improvisation dissolve. "We have invested a lot of energy and time into 'com-provisation,' to break the line between composition and improvisation." Pérez explains, his voice brightening. "We have created an open space midway." For the trio, this approach is less a method than a shared language, which is what Shorter was always after.

The sound of the trio is "very organic" and was "built over the years," Patitucci reflects. "We all have voices, and we played together even before joining Wayne." After years of collaboration, their voices blend naturally and the trio transcends individual styles.

Guiding their performance with the idea of com-provisation, they have become "families more than just a band," Blade recollects fondly. "We always think about what happened. Also, being with Wayne in such a wide-open environment, being inspired and encouraged to stretch with him around, has shaped us, too. This is the nurturing, the love and the environment that Wayne, John and Danilo opened for me." For Blade, the trio under Shorter's influence has brought out the better and the best of them. The individual freedom and comfortable distance at the same time have opened up "something very specific," and encouraged them to maintain their individual styles while playing together.

For the trio, the very idea of "jazz" is a beginning, not a boundary. When asked about influences beyond the genre, Pérez reframes the premise entirely. "There is a very globalized connection here. We will defeat the categorical media of jazz. What is jazz to you? I think more of 'good music' or 'bad music.' We all bring that energy."

This mindset transforms musical collaboration into something far deeper. The trio's sound is a profound human experience, a miracle of blended cultures and aesthetic pursuits. As Pérez notes, they grew up in different worlds—Blade from the American South, Pérez from what he jokingly calls "the north of Latin America"—and they each bring a vast spectrum of musical inspirations into the fold.

Patitucci elaborates, explaining how the trio's breadth comes from this intentional mixing of elements. Soul, gospel, and blues, he notes, were always intertwined with jazz and African music.This shared curiosity is vital; for years, Pérez has shared diverse folkloric rhythms from Panama, Cuba, Brazil, and Venezuela, enriching their collective palette. This makes them far from a conventional jazz trio.

They can swing all night, yet their same spirit was on display while teaching children at JZ School at Shanghai, an experience they greatly enjoyed. Ultimately, their music is rooted in the Pan-African experience, a connection to Africa and its diasporic elements that, as Pérez states, they "ask the Americans for." This global dialogue has snowballed into what can only be called "Global Jazz."

Pérez brings the perspective full circle, anchoring their sound in a profound cultural awareness. "I think in the phenomenon of jazz, the Pan-African experience is very important for us. It's the connection with 'The Africa' and all of the interconnected elements that we ask the Americans for." Through this shared language, their music has organically snowballed into what the world now recognizes as "Global Jazz."

Tending The Unbroken Thread

When reflecting on their musical journey, the trio's evolution feels less like a series of disjointed events and more like one continuous, unbroken thread. As Blade vividly describes, "Since John, Danilo and I met, we have been playing together. Just like a record player, you lift the tone arm and we all walk away for a second, then we come back and drop it again." Life changes—families grow, personal paths diverge—yet these experiences collectively deepen their musical dialogue.

With only one official album, their connection has been forged through decades of collaboration in various settings. Yet, as Blade emphasizes, playing together in this specific formation is uniquely symbiotic."When we play together, this organism is unique. One thing changes, everything changes." Patitucci echoes this, reflecting that despite cherished collaborations with other heroes, it was within this group that true artistic research began. "It wasn't until then that I felt like we started 'our' research. You can still have fun playing with other people, but it's nothing quite like this for us."

Logistically, maintaining the trio is no small feat. But the interest from agents and promoters is constant. Patitucci notes, "I don't think it's demanding [to keep the trio touring]. If you want to do it a lot, you really want to do it." Blade agrees—it's about commitment and organization, and above all, having something meaningful to look forward to.

The piano trio format itself offers both challenge and inspiration. For Patitucci, this group stands apart, "in this trio, there's a lot of colors, sounds and orchestrations. It is not always the case in a piano trio." In fact, the bassist doesn't play piano trio much, with his other groups. Pérez attributes this richness to their fluidity, comparing the trio to a basketball team with no defined roles. "We shift the roles really quick. Anyone of us can take the melody." This decentralized, risk-friendly approach often leads to magical, timeless moments on stage.

Guided by the spirit of Wayne Shorter, the trio continues exploring what Pérez terms "collective genius," a sound built on trust, curiosity, and the courage to go anywhere.

Beyond The Trio: Expanding the Family

Children of the Light continue to explore the "three plus one" format in their ongoing "Legacy of Wayne Shorter with Special Guest..." series, which has featured saxophonists such as Mark Turner and Chris Potter. When asked about future collaborators and the possibility of reforming Shorter's iconic Footprints Quartet, the trio offered reflective and nuanced perspectives.

Blade described the performances as tributes to Wayne Shorter's enduring influence. "These future dates that include Mark and Chris are really our tributes to Wayne, and his legacy which he shared with us," he stated. He emphasized that these artists represent more "children" inspired by Shorter, while acknowledging that his absence is irreplaceable: "we can never replicate Wayne... the quartet will never be the same again." The goal, instead, is to create music worthy of Shorter's smile—a continuation of his spirit of risk and innovation.

As Pérez recalled, Shorter once encouraged them to 'keep opening new doors, keep sharing.' This ethos now fuels the trio's vision of their performances as an open laboratory delivering invitations to other artists. Though their musical relationships with Potter and Turner are long-established, the connection with Ravi Coltrane who might also join in this creative exploration is based on mutual respect. Patitucci added that Kenny Garrett had also joined them years ago, highlighting the trio's history of collaborative experimentation. When asked whether the potential project would focus exclusively on saxophonists, the group expressed openness, suggesting the possibility of trumpeters or guitarists.

Healing Through Jazz

Mentoring the next generation is not merely an extension of the three musicians' musical careers—it is central to their mission. Beyond conventional training, their educational goal is to encourage young artists to delve deeper, not only into jazz history but also into harnessing music as a vehicle "for social change and outreach."

In 2010, Pérez founded the Berklee Global Jazz Institute—an initiative that the Patitucci and Blade also actively support—as emblematic of this philosophy. Rather than narrow ambitions of fame, the focus is placed on broader, more meaningful engagement with the world through music. Reflecting on their recent educational experiences, including workshops at places like JZ School, Patitucci notes how profoundly rewarding such exchanges can be.

For Pérez, teaching has been "self-transformative." He views education as a "license" that creates a shared space between instructor and student—one that challenges both to ask fundamental questions, such as "Who are you?" and "How do you want to develop yourself?" This introspective approach aligns with the trio's broader desire to support those in need of purpose and connection, particularly in environments like New York, where, Pérez observes, musical therapy is deeply needed.

The trio's essence lies not in musical disorientation, but in humanity. A significant concern Patitucci voices is the contemporary crisis of individualism, intensified by digital culture and social media. He reflects that newer generations are navigating a "spiritual desert," often prioritizing solo expression and online showcasing over communal music-making. "It is not music really." This shift away from collaborative artistic experiences has only been exacerbated by the pandemic, during which many young musicians faced isolation and depression. In response, Patitucci believes that a core duty of educators today is to help students relearn how to "give and receive love through music," as well as "to counsel and encourage those depressed people and kids who were all alone," countering a culture that often values money and individualism over community.

Jazz, Pérez stresses, is a "language of freedom." Therefore, understanding its historical, social and cultural context is essential, especially its origins during the slave trade. Therefore, disconnecting the music from this narrative risks losing its foundational meaning.

For Children of the Light, music is more than art—it is therapy, a tool for healing, and a medium for human connection in an increasingly fragmented world.

Everyone needs the therapy.

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