| NaturedElegantFreewheelingSophisticatedCerebralEarthyPassionateWryWittyWarmUpliftingUncompromisingThoughtfulSprawlingStatelyStylishSearchingProvocativeMelancholyComposerSax (Soprano)Sax (Tenor)LeaderOther EntriesMovie EntryAMG Artist IDP 7540Corrections to this Entry?GinellThough some will argue about whether Wayne Shorter's primary impact on jazz has been as a composer or as a saxophonist, hardly anyone will dispute his overall importance as one of jazz's leading figures over a long span of time.Shorter eventually developed his own more succinct manner on tenor sax, retaining the tough tone quality and intensity and, in later years, adding an element of funk.On soprano, Shorter is almost another player entirely, his lovely tone shining like a light beam, his sensibilities attuned more to lyrical thoughts, his choice of notes becoming more spare as his career unfolded.Shorter started on the clarinet at 16 but switched to tenor sax before entering New York University in 1952.Staying with Miles until 1970, Shorter became at times the band's most prolific composer, contributing tunes like "E."Pinocchio," "Nefertiti," "Sanctuary," "Footprints," "Fall" and the signature description of Miles, "Prince of Darkness."Still committed to electronics and fusion, his recorded compositions from this point became more predictable and labored, saddled with leaden rhythm sections and overly complicated arrangements.Santana, he lapsed into silence, finally emerging in 1992 with Wallace Roney and the V.Given his long track record, Shorter's every record and appearance are still eagerly awaited by fans in the hope that he will thrill them again.Blue Note Records released Blue Note's Great Sessions: Wayne Shorter in 2006.Since that era nearly
twentyfive years ago, Shorter has continually proved that he is one of
the top reedmen in contemporary music.Born August 25, 1933, in Newark, New Jersey, Shorter served in the
U.He then began working with pianist Horace
Silver and as his reputation in New York City grew, Shorter found himself
performing with the Maynard Ferguson band.This lead to a stint with Art
Blakey that lasted from 1959 to 1963, by which time the saxophonist was
clearly established as a newcomer to watch.Shorter first recorded as a leader on the Vee Jay label, with albums
such as Second Genesis, Blues A La Carte, and Wayning
Moments.From there he recorded a series of albums on Blue Note, all
of them with top sidemen, beginning with Night Dreamer and Juju
on through Adam's Apple and Schizophrenia.Concurrent to this Blue Note period, Miles Davis brought the musician
into his group in 1964 and Shorter, along with Herbie Hancock, Ron Carter
and Tony Williams, created a sound with a bandleader that changed the face
of the jazz during that tumultuous decade.He won the Downbeat poll
on soprano nearly every year after 1969 (and he continues to have many
fans who will listen to him in any musical context).The session included an impressive
array of musicians like the Brazilian vocalist Milton Nascimento, Airto
and Herbie Hancock on variously recorded tracks.When Hancock put together his VSOP quintet to
reprise the 60s Miles Davis sound, Shorter made his contribution along
with Carter, Williams and Freddie Hubbard on trumpet.He formed a rewarding and unusual alliance with pianist Michel
Petrucciani and guitarist Jim Hall to record the
album
Power of Three.Biography courtesy of AGM Management Co.Look to the right column to find helpful suggestions for your shopping session.Biography: Though some will argue about whether Wayne Shorter's primary impact on jazz has been as a composer or as a saxophonist, ...To share this media with a friend, you must have AIM installed.Want More Wayne Shorter?Wayne Shorter is one of the most unique and
influential saxophonists and composers performing today.Davis, as well as his work with the seminal fusion group Weather Report, and
his own very creative groups.Wayne at a concert
with Herbie Hancock at the Shoreline Amphitheater in Mountain View, California.They were on the same bill as the Mike Brecker band
and some others.Wayne had just that day purchased a 75,000 series Mark VI
tenor and this was his first opportunity to try it out.It makes you use muscles that are not necessary.It was built somewhere around the late fifties or early sixties.Coltrane had one of those horns.But later on he got a VI.It makes your hands feel like
you're doing something violinistic or pianistic.The guy making it really
has to follow it through.Army and I had a weekend off.This was when Max Roach and Sonny
Rollins were playing together, right after when Clifford Brown died.Max waved to me to come on up, but I went home
and changed clothes first (laughter).We played Cherokee real fast.Pete Lonesome recorded that.Pete, please contact
this magazine.He put the mic right on the stage.One time I was with
Coltrane.We went from New York to New Jersey.He asked me to come over to his house
a lot at that time, and that night he had a gig.He said that the last time
he was at this place somebody stole his horn.Curtis Fuller's trombone, his raincoat and
his goulashes!When I was with
Miles' band somebody stole my horn from the limousine in which it was locked.They stole it, and relocked the car.Art came over and asked me if you could use my Selmer,
which you did for a set.Miles said, 'Bring
what you've got.So we went out and the first thing we started off with was Joshua.Including the body English
and the sound and how the two played together.I've got your first record on Veejay Records, 'Introducing Wayne Shorter'
and Lee's on there, as well as Wynton Kelly, Paul Chamber, Jimmy Cobb.Hardly anybody plays them, but they are really good compositions.You've had a very prolific career and I admire it
greatly.I've also been checking out your new records which are a whole new
step.Maybe you could talk a bit about what you've been doing with your own
bands.It seems to me that you're obviously having a great time exploring
the new technology and the new instruments which are available.Yeah, just having some fun.What seems like new music is only what I already
thought of in the first place.Well, if jazz to me means no category, then I've got the
green light And if it sounds like..I'd say composing is improvisation slowed down.If you want to call it classical, go ahead.In that orchestra there were Europeans and everything, all mixed, not just
people indigenous of Japan.We had fun, and they recorded it somewhere with
the microphone under the stage, so I've got the first seven minutes of it.I'm not with CBS
now.How do you feel about that?Well, it's almost the same as a lot of these classical composers who think,
where do you go after Stravinsky?There is an inconspicuous change that doesn't
always have to be explosive.Melissa did a song early in the
program.In this song she made the hair
on hairless people move (laughter).We didn't come on until last, so we went
back to the hotel to watch the beginning.She just sent
it to me last week.It's not recorded yet, so she sent me the demo.I'm going to
cover it.And I heard you right along from when
you were first with Blakey through Miles.You're very identifiable as an individual in your writing
and in your playing.When Ornette hit the scene there was a real individual, like when 'Trane hit
the scene, and when Sonny hit the scene.You knew from the time those guys
were nineteen years old that they were strong individuals making strong statements.You just don't seem to see that as much any more.Most of the players, when they hit the scene, were really well versed in Charlie
Parker.Sonny Rollins still has the respect.That's what Joe Henderson said, that in Detroit you knew every Charlie
Parker tune, even to just show up at a jam session.In fact, it goes back
to Lester Young.I've been checking him out since
I was about fifteen.When I was in the Army I got ten days off, so I went
to Canada, and he was playing at the Town Tavern.He said, 'Let's go down to the wine cellar and get some real
cognac!He grabbed two big water glasses and went down there.They said, 'You were talking with Lester
Young?And then about five weeks after that he passed away.Martha Young, who has passed away.It was called The Grand Auditorium at that time, but
it's now called The Masonic Hall.Sonny Rollins and I talked quite a bit when were on the road in Japan riding
the bullet train, the busses and all that.We didn't talk about music all
that much.We talked about health and being healthy.He'd say, 'you've got
to take care of your health!We talked about the time he fell off of the
stage.He said, 'Instead
of eight weeks, I'll make it two weeks.Coleman Hawkins and I used to sit together all the time we were on the road
in Europe years ago.John Coltrane was a big influence on you.We were working at this one place in New York and this lady came
up to me and said, 'My name is Anita.My husband wants to meet you.He invited me to
his house, so I went.He'd say, 'That's a nice horn, but if you can get
one of those old mouthpieces ...They were both still with Miles,
but that was their off night.Yeah, and Cedar Walton, Tommy Flanagan and George Tucker.We were playing
all this new stuff.John had written
Giant Steps by then.Cannonball's group would come on with the rhythm and blues thing, then we'd
come back on with the new thing, looking to the future.After that, John said
he wanted to leave the Miles Davis group and move on.But, that's about the time I joined Art Blakey instead.Was Monk much of an influence
on you?Monk would say, 'Stick to your
guns.Musical influence for me came from movies, the way people acted on
the screen or the stage.Bogart did in that movie.Or a total movie that was done well and got into your life.Then you're saying there's something beyond the mechanics of music.That goes for anything, even eating too
much ice cream.I'm doing a lot of drawing and painting now.I've seen these somewhere. |
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