 |  | Adam's Apple, Wayne Shorter |  |
The Saxophone playing of Wayne Shorter has been a favorite of mine for years. This album is one I've listened to on vinyl, casset, and now CD. This is a wonderful set of tunes from Wayne, and describes a period of Jazz that was perhaps the golden age of the style...in my book at least.
June 18, 2008This 1966 session finds Wayne Shorter in fine form, leading a quartet comprised of Herbie Hancock (piano), Reggie Workman (bass), and Joe Chambers (drums). While I don't think this album is quite as powerful as Speak No Evil or Night Dreamer, this is still a strong set from Shorter, whose eclectic compositions never cease to astound. He wrote all of the pieces here, save "502 Blues (Drinkin' and Drivin'), contributed by Jimmy Rowles, a pianist Shorter admired and "The Collector", written by Hancock, which wasn't part of the original release. Shorter is outstanding as always, given more room to stretch out without another horn present. Also given more space here is Herbie Hancock, whose sprightly piano lines really give this album its character.
"Adam's Apple" is a groovy opener, which the updated liner notes seem to dismiss as Shorter's attempt at "The Sidewinder". I found the piece very enjoyable, if not as complex as some of Shorter's other work. "502 Blues" is lovely, more ballad than blues. My favorite on the album, it brings to mind driving at night under hazy streetlights. "El Gaucho" borrows from bossa nova, given a unique feel by Shorter. The highlight of the set is probably "Footprints", a Shorter masterpiece, probably more familiar in its Miles Smiles incarnation, but given an amazing reading here. The central sax riff is very haunting, backed by some dynamite bass work from Workman. "Teru" is another magnificent ballad, while "Chief Crazy Horse" shows off Shorter's Coltrane-esque side. The Van Gelder edition closes with "The Collector", which would be recast as "Teo's Bag" when performed with Miles Davis.
I really enjoyed this album. While Speak No Evil remains my favorite by Shorter, I think some of Herbie Hancock's finest work can be found here. He really sounds amazing and the quartet setting really allows for some fine interplay between he and Shorter. Excellent work and the recording/remaster sounded excellent as always.
April 22, 2008 i'm not going to complain too much. i only paid 8.49 for this cd and wayne shorter is always at least pretty good. this cd is as well. still, i'm disappointed in it. it's very well played but totally conventional and largely uninspired. "footprints" is the only really outstanding track. the bonus track is pretty good too but it's easy to guess why it was left off the album. it's too challenging for this very mainstream album. i guess i wanted something more driving and exploratory. this ain't that.
January 17, 2007Except for a very agitated and fidgety bonus track, this is a very successful album for Wayne Shorter. He's at his most lyrical on a number of tracks, backed up beautifully by pianist Herbie Hancock, bassist Reggie Workman, and especially drummer Joe Chambers, who is supportive without being overpowering. The title track is an up-tempo 24-bar blues that really gets the feet moving: it's both funky and hip. 502 BLUES reveals Shorter in a most delicate mood, and the tune has just the right late-night flavor. EL GAUCHO is a tricky little tune with lots of key changes in the theme and a swinging latin beat. TERU is a beautiful ballad by Wayne and features a handsome solo by Workman. The bonus track, THE COLLECTOR, by Hancock, is too busy for my tastes, but what's come before is impressive work by this excellent modern jazz group. The Blue Note sound is magnificent, as usual.
November 8, 2006Amongst Wayne Shorter's consistently excellent Blue Note recordings of the mid to late '60's, Speak No Evil gets the nod from most critics as the best record of the period, but I have always preferred the stripped down quartet sessions of Juju and this wonderful album. Joining Shorter (tenor sax only, no soprano) on this disc are Herbie Hancock on piano, Reggie Workman on bass and Joe Chambers on drums. This session followed the classic Blue Note blueprint of the period, mixing the blues and ballads of hard bop with some of the emerging freedom of the period. There's some burning saxophone on the driving title track, abstract balladering of "501 Blues" and the epic soon-to-be-standard "Footprints" which would go on to be one of the most memorable jazz compositions of the post-war period.
September 20, 2006More reviews at Amazon.com ...
(9 reviews)
