The Barbican, London - London Jazz Festival, 17th November 

00 - Intro + Applause (0.49)
01 - Zero Gravity (8.37) >
02 - Orbits (9.59)
03 - As She Moved Through The Fair (4.22) >
04 - Lotus (8.10) >
05 - Starry Night (5.48)

BBC Concert Orchestra

06 - Prometheus Unbound (12.15) *
07 - Pegasus (15.30) *
08 - The Three Marias (10.12) *
09 - Lotus (9.38)**

Wayne Shorter - sax
Danilo Perez -  piano
John Patitucci - bass
Brian Blade - drums

Broadcast:
30th Dec 2013 - BBC Jazz on 3  (Quartet)
28th Dec 2013 - BBC Radio 3 Jazz Lineup (with Orchestra) *
18th Jan 2014 - BBC Radio 3 Jazz Lineup  (with Orchestra)**

Wayne Shorter returns to London to celebrate his 80th birthday year with the stellar quartet of Danilo Pérez (piano), John Patitucci (bass) and drummer Brian Blade. A wholly distinctive saxophonist and a hugely respected composer, he has been consistently at the cutting edge of jazz since he joined Art Blakey in the early 60s, followed by landmark stints with Miles Davis and Weather Report before leading his own groups. His music transcends genre and keeps the improvisational genius and surprise of jazz burning at the centre.

Expect rushes of individual virtuosity and intuitive interplay in the rare opportunity to see Wayne in two different settings: firstly with his quartet and in the second half of the concert bringing the quartet together with the BBC Concert Orchestra to play a new repertoire of Wayne’s music. --- lastfm.pl

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1. Mysterious Mountain (A.Hobaness) (1:32)
2. Elegant People (W.Shorter) (6:44)
3. Good Morning Annya (J.Pastorius) (5:31)
4. She's Leaving Home (Lennon-McCartney) (3:34)
5. Holiday for Pans (D.Rose) (3:13)
6. Giant Steps (J.Coltrane) (3:12)
7. City Of Angels (J.Pastorius) (8:53)
8. Birth Of Island (J.Pastorius) (23:44)

Artist List

Jaco Pastorius- bass, bass pan, percussion, voice, keyboards
Wayne Shorter- sax
Don Alias- percussion
Othello Molineaux- steel drums
Leroy Williams- steel drums
Mike Gerber- piano
Toots Thielemans- harmonica
Bobby Economou- drums, percussion
Ted Levand- guitar
Peter Graves- trombone
Craig Thayler- violin

Recorded live on three different continents (Europe, America, and Asia) from 2002-2004, Beyond the Sound Barrier finds Wayne Shorter leading the same acoustic-oriented post-bop quartet he led on his 2001 recording, Footprints Live!; the veteran tenor and soprano saxophonist is joined by pianist Danilo Pérez, bassist John Patitucci, and drummer Brian Blade. But if Beyond the Sound Barrier should be considered a sequel to Footprints Live!, it is far from a carbon copy. While Footprints Live! contained several Shorter pieces that have become jazz standards (including "Atlantis," "Footprints," and "Juju"), Beyond the Sound Barrier places more emphasis on new material. Half of the eight selections are new, and the rest of the CD ranges from Arthur Penn's "Smilin' Through" (the theme from the 1941 movie) to two pieces from Shorter's Joy Ryder album of 1988: "Over Shadow Hill Way" and that album's title track. No one will accuse Beyond the Sound Barrier of being standards-oriented, and the quartet doesn't go out of its way to be accessible; this is definitely one of Shorter's more cerebral releases. But the material is rewarding if one is broad-minded enough to appreciate Shorter and his younger colleagues at their most intellectual, and the audiences' enthusiastic applause -- not just polite applause, but enthusiastic applause -- indicates that they have no problem comprehending all the abstraction and angularity that is taking place. Beyond the Sound Barrier falls short of essential, but it's a solid demonstration of the fact that Shorter -- who was in his late sixties and early seventies when these performances were recorded -- wasn't afraid to be challenging and keep taking chances in the early 2000s. ---Alex Henderson, Rovi

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01. Wind 
02. Storm 
03. Calm 
04. De Pois Do Amor, O Vazio (After Love, Emptiness) 
05. Joy

Bass – Cecil McBee, Ron Carter
Drums – Al Mouzon, Billy Hart
Guitar – Gene Bertoncini
Percussion, Drums – Frank Cuomo
Tenor Saxophone, Soprano Saxophone – Wayne Shorter
Vibraphone [Vibes], Marimba – Dave Friedman

On August 26, 1970, Wayne Shorter recorded two separate albums for Blue Note (the other one is Moto Grosso Feio), his final projects for the label. For this set, Shorter doubles on tenor and soprano, utilizing a double rhythm section comprised of vibraphonist Dave Friedman, guitarist Gene Bertoncini, both Ron Carter and Cecil McBee on basses, drummers Billy Hart and Alphonse Mouzon, and percussionist Frank Cuomo. On the verge of joining Weather Report (referred to in the liner notes as "Weather Forecast"), it is not surprising that Shorter's originals include titles such as "Wind," "Storm," and "Calm." These moody works were never covered by other jazz players but they work quite well in this context, launching melancholy flights by Shorter. ---Scott Yanow, Rovi

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 pieces are, with one exception, given one-word titles: "Wind," "Storm," "Calm," "Joy," and "De Pois do Amor, o Vazio (After Love, Emptiness)." So like Super Nova, there is one Brazilian tune among a lot of mood music (quieter mood here, for the most part). "Wind" is quieter than "Storm," which comes in with a guitar intro that flirts with rock and roll before resolving into something more rich and strange. Here Shorter doesn’t play nearly as stormily as he does elsewhere. It is always tempting with music titled in this way to speculate on the relation of particular parts to the theme: does Shorter come in playing the role of the storm’s eye? He leaves it to Friedman and the others to stir up most of the fuss, such as it is. For a man who went up ‘gainst the wall with Coltrane, I would have expected more of a storm.

"Calm" is, well, you know. With the possible exception of "Storm," this album should carry a commendation from the FDA for truth in packaging: what you see on the label is what you get. Or is there a subtext for deconstructionists? On "Calm" Shorter does sound as if he has a certain sense of foreboding. Still, he stays within the wider parameters of the mood. "De Pois do Amor, o Vazio" sounds like "Calm—the Sequel" until about a minute in, when suddenly we’re in a funky Rio dance hall. Bertoncini is competent, the backing dutiful. To my barbaric ears, however, Shorter sounds more emptied by love on "Calm" than on this track. He raises some sparks here (not too many), but "emptiness"? I dunno. And "Joy"? Is it joyful? Sure. I make no claim to find Mr. Shorter’s storm, calm, emptiness, or joy wanting. I only wonder if his titles do not impose on the listener and compel him to judge the music by its success or failure in raising the specified feelings. Of course, programmatic titles like this in jazz are older than "Struttin’ with Some Barbecue" (now there would have been a great one to cover on this album), but still always risky.

This album, like Super Nova, now sounds more dated than much of Shorter’s work with Art Blakey and Miles Davis, as well as his earlier Blue Notes. It may be historically important as a forerunner of Weather Report, or nostalgic for old jazz flower pushers. Shorter always plays well. But if you only have money for one Shorter album, Etc. is the one to find. ---Robert Spencer, allaboutjazz.com

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1 Ruby And The Pearl 05:58 
2 Pay As You Go 03:43 		play
3 Second Genesis 04:12 		play
4 Mister Chairman 03:17 
5 Tenderfoot 03:29 
6 Albatross 05:25 
7 Getting To Know You 04:20 
8 I Didn't Know What Time It Was 05:15

Musicians:
Wayne Shorter - tenor sax 
Cedar Walton - piano 
Bob Cranshow - bass 
Art Blakey – drums

The second of tenor saxophonist Wayne Shorter's three Vee Jay LPs, Second Genesis has five of Shorter's quirky originals plus the obscure "The Ruby and the Pearl" (from a '50s movie) and a pair of standards. Joined by a particularly strong rhythm section (pianist Cedar Walton, bassist Bob Cranshaw and drummer Art Blakey), Shorter sounds quite distinctive on the advanced hard bop material. ~ Scott Yanow

For whatever reason, this 1960 session was never released until 1974. It would appear that at this point Wayne Shorter, just a year into his employment with Art Blakey's Jazz Messengers, had begun to develop his personal style of playing as well as composition. On this date, he is joined by two of his Jazz Messengers associates Art Blakey on drums (who sits in as a sideman here by way of a kind of "noblesse oblige", as the liner notes put it) and Cedar Walton on piano, as well as Bob Cranshaw on bass.

Wayne and Art particularly "click" together, and it is clear how comfortable they are with one another. Art's drumming has a real "snap" to it, and it's a joy to listen to him and Wayne interact. Wayne's six compositions here are, as one might expect, not quite the stellar brilliance that his later output would be, but are very good and begin to hint at the shape his writing and phraseology would take in the years to come. And then two standards, "Getting to Know You" and "I Didn't Know What Time It Was", are thrown in just for grins. Wayne clearly has fun on these tunes.

His first Blue Note album as a leader still four years away, Wayne is surprisingly impressive on _Second Genesis_. Recommended for anyone at all into Shorter and/or Blakey. ---Micah Newman, amazon.com

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1. The All Seeing Eye (Wayne Shorter) 10:32
2. Genesis (Wayne Shorter) 11:44
3. Chaos (Wayne Shorter) 6:55
4. Face Of The Deep (Wayne Shorter) 5:29
5. Mephistopheles (Alan Shorter) 9:38

Personnel:
Wayne Shorter (Tenor Saxophone)
Freddie Hubbard (Trumpet and Flugelhorn)
Grachan Moncur III (Trombone)
James Spaulding (Alto Saxophone)
Herbie Hancock (Piano)
Ron Carter (Double Bass)
Joe Chambers (Drums)
Alan Shorter (Flugelhorn)

Wayne Shorter's epic THE ALL SEEING EYE can be compared in character to John Coltrane's A LOVE SUPREME. It is the culmination of the first leg of Shorter's artistic journey, which began in earnest in 1964 with his first solo recordings for Blue Note. Like SUPREME, it is a deeply spiritual work, with both the album and song titles referring to God's creation of the universe. Also, unlike his previous efforts, EYE marks the first time Shorter commanded such a large ensemble, a feature that would mark many future solo outings.

Compositionally, Shorter takes daring leaps here, greatly expanding his freer modal style. Traditional forms are bent and stretched beyond recognition as themes and solos meld into a continuous stream, projecting moods and varying intensities that reflect the album's subject. The large horn section creates a massive sound on ensemble passages and a great variety of interpretations in solo jaunts. Also part of Shorter's design is the role of the rhythm section, more an ebbing whirlwind than strictly a supporting unit. THE ALL SEEING EYE is one of Wayne Shorter's boldest and most successful efforts. ---cduniverse.com

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A1 	Juju 	
A2 	Deluge 	
A3 	House Of Jade 	
B1 	Mahjong 	
B2 	Yes Or No 	
B3 	Twelve More Bars To Go

Bass – Reginald Workman
Drums – Elvin Jones
Piano – McCoy Tyner
Tenor Saxophone, Written-By – Wayne Shorter

Fulfilling the potential promised on his Blue Note debut, Night Dreamer, Wayne Shorter's JuJu was the first great showcase for both his performance and compositional gifts. Early in his career as a leader, Shorter was criticized as a mere acolyte of John Coltrane, and his use of Coltrane's rhythm section on his first two Blue Note albums only bolstered that criticism. The truth is, though, that Elvin Jones, Reggie Workman, and McCoy Tyner were the perfect musicians to back Shorter. Jones' playing at the time was almost otherworldly. He seemed to channel the music through him when improvising and emit the perfect structure to hold it together. Workman too seemed to almost instinctively understand how to embellish Shorter's compositions. McCoy Tyner's role as one of the greatest jazz pianists of all time was played here as well, and his light touch and beautiful, joyful improvisations would make him a much better match for Shorter than Herbie Hancock would later prove to be. What really shines on JuJu is the songwriting. From the African-influenced title track (with its short, hypnotic, repetitive phrases) to the mesmerizing interplay between Tyner and Shorter on "Mahjong," the album (which is all originals) blooms with ideas, pulling in a world of influences and releasing them again as a series of stunning, complete visions. ---Stacia Proefrock, AllMusic Review

Album „Juju” powstał w jednym z magicznych jazzowych okresów, w roku 1964. Młody wtedy jeszcze 31 letni Wayne Shorter opuścił właśnie po 5 latach terminowania Jazz Messengers Arta Blakey’a i nagrył „Juju”, aby po miesiącu trafić do zespołu Milesa Davisa, który dziś nazywamy drugim Wielkim Kwintetem.

„Juju” to album zwyczajnie genialny, wypełnionymi nowoczesnymi jak na tamte czasy kompozycjami zapowiadającymi tematy, które już niedługo miał napisać dla Milesa Davisa. W 1964 roku nagrał też 3 albumy z Jazz Messengers, pojechał w trasę z Milesem (dziś dostępny jest album „Miles In Berlin”), nagrał dwa inne wybitne własne albumy – „Speak No Evil” i „Night Dreamer”, uczestniczył w nagraniach Lee Morgana, Gila Evansa i Grahama Moncura III. Sporo jak na 12 miesięcy…

W 1964 roku w wytwórni Blue Note łatwo było skompletować dobrą sekcję rytmiczną. Wayne Shorter poprowadził swoich muzyków genialnie. McCoy Tyner, Reggie Workman i Elvin Jones grają dokładnie tak jak trzeba. Pozostawiając wystarczająco duzo przestrzeni dla pomysłowych improwizacji lidera, wnosząc jednocześnie wiele od siebie. Najwięcej chyba McCoy Tyner – wizytówką jego stylu jest wspaniałe solo fortepianu w „Mahjong”. To właściwie cały McCoy. Nikt nie ma jednak wątpliwości, liderem jest Wayne Shorter. Tak samo genialny w 1964 roku, jak i dzisiaj. Dobrze, że są takie płyty.

W momencie premiery Wayne Shorter był przez część słuchaczy i muzyków uważany za naśladowcę Johna Coltrane’a, zbyt mocno zapatrzonego w wielkiego mistrza. Na pierwszych płytach dla Blue Note, w tym na „Juju” grała sekcja znana z nagrań z Johnem Coltrane’em, co dodatkowo pomnożyło listę komentarzy opisujących młodego Shortera jako naśladowcę Coltrane’a. Rozwój jego talentu, w szczególności kompozytorskiego, a także miejsce, jakie zajął w zespole Milesa Davisa, potwierdziło, że w żadnym wypadku nie jest naśladowcą Coltrane’a, choć w każdej jazzowej melodii zagranej na tenorze można odnaleźć odrobinę Trane’a.

Bez wątpienia, „Juju” to chronologicznie pierwszy z wielkich autorskich albumów Wayne Shortera. To absolutnie konieczna i ważna część jazzowej historii, produkcja ponadczasowa, nie poddająca się właściwie żadnej krytycznej ocenie, aktualna zawsze. Gdyby jeszcze realizacja dała trochę więcej przestrzeni fortepianowi McCoy Tynera. Od lat szukam wydanie, w którym cufrowi mistrzowie remasteringu będą potrafili dołożyć trochę dynamiki do wspaniałych fortepianowych fragmentów. Zastrzeżenia do realizacji Rudy VanGeldera to coś, co zdarza mi się niezbyt często, tym razem jednak trudno oprzeć się wrażeniu, że fortepian stał w innym pokoju… Trochę szkoda, ale reszta i tak jest genialna. ---jazzpress.pl

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1 Moto grosso feio
2 Montezuma
3 Antigua            play
4 Vera cruz
5 Iska

Personnel
Wayne Shorter — soprano saxophone, tenor saxophone
John McLaughlin — 12 string guitar
Miroslav Vitous — bass 
Ron Carter — bass, cello
Jack DeJohnette — drums, thumb piano
Chick Corea — marimba, drums, percussion
Micheline Pelzer (credited as Michelin Prell) — drums, percussion
Dave Holland — acoustic guitar, bass

Recorded on the same day as the superior Odyssey of Iska, this loose session (Wayne Shorter's final one for the Blue Note label) is quite unusual. Although Shorter sticks to his customary tenor and soprano, pianist Chick Corea plays marimba, drums and percussion, bassist Ron Carter mostly performs on cello, electric guitarist John McLaughlin sticks to the 12-string guitar and bassist Dave Holland also plays acoustic guitar; drummer Michelin Prell rounds out the group. Not released until 1974 (and not yet reissued on CD), the music (which is influenced by early fusion) has its interesting moments although it often wanders. The group performs Milton Nascimento's "Vera Cruz" and four of Shorter's originals of which "Montezuma" is the best-known. ~ Scott Yanow, All Music Guide

Moto Grosso Feio (april 1970), only released in 1974, added Dave Holland to McLaughlin, Vitous, Carter and Corea and at least tried to improve on the stereotype with the lengthy Moto Grosso Feio and Iska, but Odyssey of Iskra (august 1970), performed by an octet with vibraphone, guitar, two basses, three percussionists, proved that Shorter was after mere living-room entertainment. www.scaruffi.com/jazz/shorter.html

Wayne Shorter is so wrapped up in Miles Davis's story and then in later years in weather report it's easy to miss the chapter where he transitioned, parallel to Miles, from one place to the next. from modal post-bop and the amazing lyricism of his early blue note years, through the dark abstraction that must have been Miles's attraction to him, ending up in a sorta world-music influenced pop-fusion combo doesn't really add up unless you factor in the records from his transitional period where, just like miles, he broke from the constraints of the regular jazz quintet form. So this is a mostly acoustic album which somehow sounds like a mouch more electric one. Chick Corea is on marimba, of all things, and McLaughlin is on 12-string guitar. it sounds like, well, 1970.

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01.Sonrisa 
02.Visitor from Somewhere, Visitor from Nowhere 
03.Pathways 

04.Memory of Enchantement 
05.Prometheus Unbound 
06.Cantaloupe Island 

Wayne Shorter - tenor & soprano sax 
Brian Blade - drums 
Dave Holland - bass 
Herbie Hancock – piano

Perugia, Teatro Morlacchi 
July 18, 2004


RAI Radio 3 broadcast
Teatro Morlacchi, Perugia Italy, July 18 2004

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