Modern Juju

We have been struck by this modern take on Wayne Shorter's "Juju." Shorter recorded it with Coltrane's sidemen, so it was inevitably marked by the unique styles of McCoy Tyner and Elvin Jones. The drummer did a great job here and we found Joshua Redman's very gentle solo to be a soothing disruption of the frenetic energy of this great Shorter composition.

Beauty and the Beast (Live)

So nice to hear one of Wayne Shorter's classic tunes performed live by young people. It really takes one back to the good ol' days. Although Native Dancer was never our favorite Shorter album, this tune always struck us as an effective melding of jazz and funk influences.

Chaos

A classic from Wayne Shorter that we somehow forgot about. The All Seeing Eye never was one of our favorites from 1960s Shorter but there are gems on all of his LPs. The music of "Chaos" lives up to its title, but it's a controlled chaos featuring the inimitable Grachan Moncur III and a spirited solo from Shorter to begin. Late 1960s jazz at its best.

Beauty and the Beast

Due to our renewed interest in Brazilian music, we were listening to Shorter's Native Dancer repeatedly a few weeks ago. Hearing the news of the death of one of the great composers in jazz was devastating. Few could match the versatility and composition skills of Shorter. The man could shine in all types of bands, writing modal jazz, funk, Latin, fusion, and avant-garde music. We are going to revisit his catalog, even giving Weather Report another chance. 

Arabia

 

This used to be one of our favorite recordings of Art Blakey and the Jazz Messengers. Now we're reclaiming it as a commemorative piece in honor of our "ancestor" Sayf b. Dhi Yazan of Himyar, in the Arabian Peninsula. This one is for all the Banu Sayf.

Kozo's Waltz

As a fan of the jazz waltz, Lee Morgan's "Kozo's Waltz" has long been a personal favorite. Blakey manages to insert a seamless drum solo into a song in waltz time. That inimitable vamp, so clearly a product of the funky Morgan, features Morgan as well as another personal favorite horn player, Wayne Shorter. 

I Called Him Morgan

I've finally watched I Called Him Morgan. It goes without saying that this is a superior documentary to the recent Coltrane documentary because it tells a lesser known story while actually disseminating new information to a general public that likely knows less about Morgan than Coltrane. Anyway, focusing on Lee Morgan through the perspective of Helen Morgan, his wife who fatally shot him at Slug's in 1972, was a brilliant move that humanizes Helen while providing a look at Lee Morgan through a completely different lens. We learn about Helen's roots in North Carolina, her struggle to make it on her own terms in an era when opportunities for black women in New York were extremely limited, and just how important her role was in resuscitating Lee, both musically and morally. Unfortunately, I would have liked to learn a bit more about Lee's music and his own Philadelphia roots, but interviews with Jymie Merritt, Wayne Shorter, Bennie Maupin, and others helped fill the gap. Extensive use of photographs of recording sessions for Blue Note were excellently matched with the oral testimonies of interviewees who either recorded with Morgan or knew both Helen and Lee intimately. Nonetheless, it was shocking that "The Sidewinder" was not referenced at all in this film, particularly since it shaped Lee's subsequent recordings with Blue Note and the "soul-jazz" phenomenon of the 1960s. Nor was there specific mention of Morgan's later work's new directions, including some in the vein of jazz fusion and funkier aesthetics, except for a song composed in honor of Angela Davis by Merritt. In spite of these shortcomings, and the rather somber tone of the film, there is a rich sense of humor throughout. Helen, from a recorded interview in the 1990s before her death, describes her first meeting with Miles Davis, who calls her a bitch with a quick mouth. Wayne Shorter's recollections about the food and drink at Blue Note recording sessions was amusing and light-hearted. Seeing Shorter remember is musical comrade from their days in the Jazz Messengers was quite endearing. Next on the list is Kasper Collin's Albert Ayler documentary!

Wayne Shorter: Philosophy of Life Through Jazz

Wayne Shorter is undoubtedly a jazz legend whose lofty reputation is entirely deserved. Shorter, a product of an African-American working-class family from Newark, has always interested me as a composer and innovative saxophonist in the jazz idiom. Moreover, I still appreciate his early interest in Brazilian and fusion styles, although Weather Report was kinda ruined by Zawinul and his gimmicky sounds effect-like approach to the band. Anyway, I think we often forget the intellectual and philosophical thought of jazz musicians, so it's brilliant to hear Shorter speak so candidly about a variety of topics, including literature, science, science fiction and politics. I believe his brother, Alan Shorter, was similarly interested in philosophy and even wrote about it, but good luck trying to locate his brother's words.

Chief Crazy Horse

A personal favorite from one of Wayne Shorter's most consistent Blue Note releases. "Chief Crazy Horse" features Joe Chambers on drums and is obviously inspired by the eponymous Native American leader. Much like Shorter's other compositions with "exotic" overtones, the drumming of Chambers plays with polyrhythms like Elvin Jones on Shorter's "Juju" but Shorter's solo sounds like some approximation of a sun dance. Beautiful. 

Parabola

Alan Shorter was never as successful or accomplished of a musician as his brother, Wayne Shorter, but "Parabola" is where he shines. Sounding like Grachan Moncur III, Shorter's simple vamp lets Charlie Haden, Gato Barbieri, and the amazing drummer Muhammad Ali shine. Barbieri recently passed, rest in peace.

Freddie Hubbard's Crisis featuring McCoy Tyner and Elvin Jones

Though "Crisis" recorded previously with Art Blakey's Jazz Messengers is a hard bop classic, this version featuring McCoy Tyner and Elvin Jones is more satisfying. Hubbard had recently collaborated with Jones and Tyner via John Coltrane (check out the Africa/Brass sessions), so he was used to working with them. As I have said in the past, the strength of the Coltrane Quartet rested in the foundation set by Tyner and Jones, who provided complex rhythmic and harmonic backing while also taking adventurous solos. Hubbard is really trying to outdo his previous recording with Blakey, but Jones and Tyner steal the show here (and, well, Wayne Shorter). Jones applies his characteristic quasi-Latin swing, Tyner comps, and Shorter blows away contemplatively in a state of restrained crisis (hey, just like the title of the song!). Now, if we could only get rid of McKinney's euphonium, then this great song could be even greater. Hard bop like this with the some of the best musicians of 1960s jazz is a truly rare delight. 

Lee Morgan + Wayne Shorter + Art Blakey = The Best of the Jazz Messengers

Any incarnation of Art Blakey and the Jazz Messengers featuring Lee Morgan and Wayne Shorter represents the epitome of the Jazz Messengers and hard bop. They take you to church on jams such as "This Here" while also combining Morgan's fiery passion and funk with Shorter's more elegant, 'refined' approach and composing talent. They complemented each other perfectly as well as composed and 'blew' some of the best solos Art Blakey's Jazz Messengers ever played. If I rememeber correctly, Lee Morgan actually brought Shorter into the Jazz Messengers by recommending him to Blakey. 

Enjoy some great jazz below!

http://www.youtube.com/watch?v=RDwy3-B02Us
http://www.youtube.com/watch?v=EfGDTGBHM9M
http://www.youtube.com/watch?v=WV5EXrfs_Aw
http://www.youtube.com/watch?v=cyLY7FSd3WA
http://www.youtube.com/watch?v=jU2pITrtwMs
http://www.youtube.com/watch?v=qTp8UxEsvSk
http://www.youtube.com/watch?v=YXL6FDt5L5k
http://www.youtube.com/watch?v=EPI3xMd9liM
http://www.youtube.com/watch?v=16ITj7KR5rk

The Young Wayne Shorter: Genius Child

Source: Mercer's Footprints

Young Wayne Shorter, product of Newark's Ironbound district and a working-class family. His creative talents were encouraged by his mother, who married Shorter's father and moved to Newark from Philadelphia. Shorter also attended the same church in Newark that Sarah Vaughan sang for her in her youth. Also, Shorter went to NYU in music education while his brother, Alan, also a musician, was a friend of Amiri Baraka and went to Howard.

Shorter was initially drawn to painting but switched to music after listening to bop on the radio in the 1940s. He began on the clarinet but later moved on to tenor saxophone. The legend was known as the "Newark Flash" by New York musicians across the river and was always a versatile musician, even at mambos in the 1950s! Shorter opened for mambo legend Perez Prado once and had Celia Cruz and Tito Puente approving his chops in Latin music. Indeed, check out his skills at latin funk on "Tom Thumb" with its bossa nova influences. Shorter never lost his touch for funky and Latin rhythms.

Shorter also composed and recorded for Art Blakey's Jazz Messengers, the second Miles Davis Quintet, Weather Report, and his own solo sessions, my favorites being Speak No Evil and Juju, influenced by Coltrane yet uniquely Shorter. Indeed, this socially awkward genius reminds me of myself in some ways. Enjoy "Footprints." And the lovely "Miyako" has been one of my favorite jazz ballads and tributes (to his daughter of the same name) I have ever had the pleasure to hear (and that includes "Lester Left Town" for Lester Young).

Music for a Peaceful Friday

Here are some tunes stuck in my head today. Enjoy the Friday evening! I think I will spend it relaxing, reading, and listening to jazz. I'm currently perusing a biography of jazz legend Wayne Shorter and feel I owe it to his great music to devour some jazz this weekend. Shorter could write jams like "Tom Thumb" and some ethereal and emotionally complex pieces, such as "Footprints." Also, don't forget your salsa! Ismael Rivera and Rafael Cortijo might be my favorite Puerto Rican musical group. 

Last but certainly not least, I met an old man from Jamaica who has lived in the US for over 40 years. He claimed he went to school with Bob Marley, which is certainly possible. He was a little 'off' though and was obsessed with potentially winning the lottery. Anywho, enjoy your reggae, too! 

Miyako: Wayne Shorter, Japan, Jazz, and Universal Spirituality

Japan is one of the lands best known for its voracious appetite for American jazz. The above image, depicting Wayne Shorter and Herbie Hancock, whose musical partnership included membership in Miles Davis's Second Quintet, shows the depths to which the Japanese jazz audience follows quite religiously some of jazz's greatest. A probably little known fact, however, is Wayne Shorter's first wife was of Japanese origin. Their daughter, Miyako, would inspire "Infant Eyes" from Speak No Evil as well as a ballad, "Miyako," from Schizophrenia. One can detect the influence of Japanese music, culture, and religious traditions on Wayne Shorter's music and life beyond his first wife (depicted on the cover to Speak No Evil below). For instance, Shorter converted to a Japanese form of Buddhism, and some of his own compositions and jazz tracks he's recorded on featured Japanese titles, allusions, or, more generally, "Eastern" themes. Moreover, he is better able to escape the stereotypical "exoticism" of "Eastern" influences other jazz artists often succumbed to for American jazz audiences who lacked any knowledge of the music of East Asia, largely because his music suggests those influences rather than endeavoring to reproduce it.

Listen to his playing with Art Blakey's Jazz Messengers from a live show at Birdland in 1963, just after a return to the US from tour in Japan. On Cedar Walton's "Ugetsu" (wrongly translated as fantasy) features a Japanese title for a jazz waltz-like composition. Lacking any overt "Oriental" theme, Walton's piano plays suggestively of a fantasy. Shorter, Curtis Fuller, Blakey's thunderous drumming, and the song's beautiful melody do create a fantasy world that, unfortunately, comes to an end. From the same album, "On the Ginza," by Shorter, refers to a shopping area or district of Tokyo, and reveals not only Shorter's knowledge of Tokyo (the Jazz Messengers performed there), but also a personal interest in Japan. Moving on, the song features a strong, funky head with the aforementioned thunder of Blakey, particularly on the nice drum work. Nothing overtly "Oriental" appears here, too, another positive sign. Shorter's solo is also uniquely Shorter, bursting forth from the hard bop funk to play around the head with Blakey adding elements of his African-influenced percussion and well-placed 'thunder' and 'tremors.' Likewise, Freddie Hubbard's solo keeps things straight ahead, with no 'exotic' flair or touches, but, in line with Blakey's drumming and the funky head, a busy street or area of a city on a hectic day. Cedar Walton's brilliant piano solo ends things nicely, with perfect rhythmic accompaniment throughout from Blakey and Reggie Workman. Simple, funky, catchy, and fun.

As for Shorter's other work with "Japanese" or "Eastern" themes, "Infant Eyes," "Miyako," "Mahjong," and "Oriental Folk Song," obvious "Eastern" and "Japanese" lines do arise, though Miyako, like "Infant Eyes," is inspired by Shorter's biracial daughter, and not "Japanese" sounding at all but a father's love song for his daughter. Pure, lush beauty here. Shorter's "exotic Oriental" pieces are quite moving, with elements of the blues in "Oriental Folk Song," an ancient, Chinese majestic sound in "Mahjong,"and quite simply, mastery of post-bop in "House of Jade." I am sure Shorter has recorded more "Asian-themed" jazz tone poems, as I would consider them to be, but, they primarily escape simplistic jazz 'exoticism' in the works of someone such as Cal Tjader and his pseudo-Latin jazz flourishes. Moreover, like Coltrane and McCoy Tyner, one detects an element spiritual universalism in the music of Shorter, which often takes the form of homage to African and Asian cultures, bossa nova, and the magic in everyday life through mythology, darkness in the night, and fantasy. Thus, Shorter's forays into Japan and East Asian cultural and musical flavors, as well as his other broader interests and ties to African-American and African-derived influences (listen to Juju, or his work on The Freedom Rider with Blakey and Lee Morgan to see how his jazz connected to the Black Freedom Movement) and an aesthetic that, like Coltrane's, often engaged in a force of spirituality (though with stronger composing skills than Coltrane) that was grounded in quasi-ecumenism in regards to appropriating spirituality for an inclusive purposes. I wonder how many Japanese jazz fans of Shorter are aware of his debts to Japan in particular and East Asia more generally?

Wayne Shorter's Juju

Recorded with Coltrane’s sidemen, Tyner, Jones, and Workman, and heavily influenced by Coltrane’s style, it’s no surprise that this sounds like his work. The dark, African Juju even sounds like “Africa” from Coltrane’s Africa/Brass album, though different in the shrieking sax solo by Shorter that suggests some ominous dark magic, as the name “Juju” implies. Elvin Jones also has a brief solo that suggests a tie to “Africa,” although much shorter, giving the spotlight to Shorter himself. “Deluge,” the following track, is, strangely enough, suggestive of a flood or deluge of sound. Shorter’s talents as a composer capable of crafting music of spiritual or alternate atmospheres, is one of his strengths self-evident in Speak No Evil, another of his masterpieces from the 1960s. Jones and Tyner accompany perfectly, with Jones’ characteristically spirited, powerhouse drumming adding textural complexity to the songs, as if one is truly experiencing a deluge. The “mystical” and “Oriental” feel of “House of Jade,” another beautiful ballad composed by our man for his infant daughter, begins with an elaborate introduction by McCoy Tyner. Little known fact, Wayne Shorter’s wife was Japanese, and his exploration of “Eastern” melodies and music was partially motivated by his wife as well as his Buddhist persuasions. Either way, McCoy Tyner and Elvin Jones, after playing with Coltrane, were ready for exploring spiritual music from around the globe, and “Mahjong” is a beautiful reminder of Shorter’s ability to improvise on ballad, slow tempo numbers, exploring within and around the song’s theme while Jones adds in flourishes and textures of sound through his drumming. Tyner’s accomplished comping propels things forward, and the song switches in tempo, picking up on swing while Shorter’s searing tenor blows wave after waves of dark, sometimes bluesy, notes. Tyner’s solo is blues-rooted but not limited by the blues form, taking us to the song’s finale featuring Shorter’s extended notes.

Moving on, “Majhong,” a beautiful modal piece with more “Eastern” colors, sounds “Chinese” as the name would suggest, but turns around unsurprisingly at times, from a minor, dark feel, to more uplifting, brighter days. Jones brilliantly bangs on the drums, expertly using cymbals to accentuate and conjure an ancient Chinese ceremony, as well as Tyner’s piano solos, mixing his usual left hand chord accompaniment to his right’s powerful fingers. Shorter’s solo nicely compliments the Eastern melody, suggested by Tyner’s accompaniment, and also throws in some more of Shorter’s fiery, bop-inflected soloing from his tutelage under Blakey while simultaneously suggestive of Coltrane’s influence. Jones really blows everything away, though, fusing cymbal work while playing melodically, adding to the song’s “Eastern” theme. Alas, like every other song on the album, Workman’s bass is mixed very low, so it’s barely audible. But “Yes or No,” a contemplative, upbeat yet not simply copacetic, number, shows something of Shorter’s recognition of his days with the Jazz Messengers, indeed, sounding like some of his work with them in the early 1960s. The lively swing provided by Jones and Shorter’s employment of Coltranesque blowing does not challenge his individuality. Tyner’s solo is a work of beauty, quick-paced, light and sweet while maintaining the depth and, paradoxically, serious playfulness suggested by the seeming unknown answer “Yes or No” imparts to the leader. 

 Reggie Workman in the recording studio for the album

The final track, “Twelve More Bar to Go,” a playful title on the twelve bar blues form so widespread in jazz music, is, unsurprisingly, a blues, but with Shorter it transcends whatever limitations people attach to the blues, becoming joyous, upbeat, playful, insightful, and triumphant in Shorter’s solo. Clearly well-versed in the blues from years of playing with Blakey, his solo is a more restrained example of his mastery of the blues compared to his fiery, soulful solos on jams such as “Dat Dere.” As usual, the song is able to maintain this restrained, yet upbeat feel, and, with thundering drums and crashing cymbals, later in Shorter’s solo, the song still remains locked in place and evades collapse. A perfect way to end an album reminiscent of night, with the blues, a form associated with the after hours of clubs, with joy and sadness, gloom and triumph, Shorter’s Juju, in my opinion, surpasses Speak No Evil, though the latter features stronger compositions and lyricism in their melodies, but lacks the unique and powerful drumming of Jones. The Eastern, African, and Latin themes mesh well here, and, I must say, and "Juju" alone tops most of the compositions on Speak No Evil (though songs like "Witch Hunt" benefit from the drumming of Jones as well as Hubbard's scorching trumpet blues, as does the title composition, another blues-drenched, horn-centered piece and "Infant Eyes" is utter delight). The CD also includes some alternate takes on "House of Jade" and "Juju," the latter interesting for providing what seems to be more Tyner-led yet, of course, retaining the strong polyrhythms and African mysticism. The drum solo on the alternate recording seems a little longer, and, as a fan of Jones, means it is something I enjoy, while the alternate of "House of Jade" entertains and features the same back and forth between uptempo and midtempo, with needed additions and cymbal crashing and percussive genius from Jones.

Lee Morgan's Search For the New Land

"Search For the New Land" begins this brilliant album with a long, suite-like jazz composition of a spiritual tone, divided into different sections for each soloist. It sounds like something Coltrane already did with A Love Supreme but somehow unique, largely because of Grant Green's ethereal guitar. The simple, but powerful bassline keeps the song while Billy Higgins, one of my favorite jazz percussionists, keeps it soulful and, although sounding a lot like Elvin Jones, remains truly Higgins. Wayne Shorter begins the first round of solos, soaring above the sweet melody while Herbie Hancock does what he does best, playing in a modal fashion and sounding very Coltranesque. Morgan's solo is also of note, so different from his usual bluesy funk but retaining his fiery spirit, expertly accompanied by Hancock again. Morgan is all over the place but still in control, showing his prowess with modal and avant garde jazz, indicating his successful search for the new land of progressive, post-bop jazz. By far, the best soloist, however, is Hancock, whose dark, exploratory soloing perfectly captures the spirit of modal jazz and captures the spirit of the song title, sounding a little like Tyner. Grant Green's guitar, while useful for effect, is not as memorable. Throughout the entire contemplative piece that is a testament to Morgan's composing genius, Cranshaw's bass foundation holds it together. It's akin to an archipelago of islands, with each soloist on their own but connected by the rhythm and melody, which again fits well into the searching, maritime themes on other tracks of the album, particularly "Morgan the Pirate."

Unfortunately, the proceeding track, "The Joker," as its name would suggest, is too lighthearted and weakens the listener's experience of the album because its so jarring to switch immediately from a darker, pensive piece to a rather simple, bluesy ditty. But "Mr. Kenyatta," a tribute to Kenya's Jomo Kenyatta, and "Melancholee," an olbligatory pun title Morgan was so proud of ("Morgan the Pirate" is another example on this album) save the remainder of the album. "Mr. Kenyatta," which was adeptly sampled by MF Doom's previous group, KMD, for their "Contact Blitt," fusing Wayne Shorter's solo into a hip-hop context. Like "Search For the New Land," "Mr. Kenyatta," another instance of Morgan's pan-African consciousness and internationalism, is built on a simple head and, like good modal jazz, features strong soloing from Morgan, Shorter, and Hancock. Shorter especially blows everyone away, playing in a style one may associate more with stereotypical Morgan style, while indicating he can still blow, as he did with the Jazz Messengers. He shrieks, screams, honks, flies across the keys of the saxophone and, accompanied by Hancock's playing, suggestive of an emergency, provides the perfect frame for his invigorating playing. Grant Green, per usual, is "nice" to hear, but not essential to the song. His guitar, so clean and smooth, is pleasant, but negligible compared to Morgan, Shorter, and Hancock. Morgan ends the round of solos, playing more alongside his usual style, almost topping his playing on Joe Henderson's "Caribbean Fire Dance" with trumpet wails. As a nod to Kenya's independence and political leader, it also, like the title of the album, alludes to a changing world and new political (and musical) possibilities in 1964.

"Melancholee," an obvious pun, is a beautiful, ballad where Green's guitar is actually appreciated. The melancholic mood is enhanced by his sweet, simple guitar lines, and the horns accentuate the melody perfectly. This must be one of Morgan's best ballads, as well as Hancock's moving solo, suggestive of a sad, contemplative mood, while still sounding like his balladry while with Blakey. "Morgan the Pirate" concludes things on a higher note with the ongoing theme of adventure, the seas, and search for new boundaries. The song should also be seen, perhaps, as a reference to Henry Morgan, the infamous pirate who sacked and raided Spanish colonial cities in the Americas. Though named after a horrendous pirate, this song is meant to better allude to the spirit of adventure and journey, which is obvious from the light, simple, and cute soloing, particularly Morgan's. Moreover, Green's solo is actually not horrendous or unnecessary, either! Shorter, whose solo is perfectly suggestive of piracy on the high seas, the adventurous rush of a chase, is a sweet, way to end the album. Higgins keeps drumming, and adds Latin flourishes at times to his polyryhthmic fest and the album ends quite well, though reminding me for some reason (Higgins' drumming, most likely) of Miles Davis's rendition of "Someday My Prince Will Come"). Definitely one of Morgan's best.

McCoy Tyner's Best Piano Work

Here are some of my favorite songs featuring the great Philadelphia-raised jazz pianist I saw perform at in high school. I wish I was into jazz back then, so I would have a much better recollection of Tyner's amazing performance. Anywho, here are some of my favorite recorded moments featuring his unique piano voice.

Ole  from Ole Coltrane

Juju from Wayne Shorter's Juju

Spiritual (Coltrane)

Dahomey Dance 

Aisha

Africa

My Favorite Things

Greensleeves

Impressions

Afro Blue

Deluge 

Mahjong

Resolution (A Love Supreme)

Pursuance

Passion Dance

Contemplation

Blues on the Corner

Ebony Queen

Liberia

Dear Lord

Verse

Una Muy Bonita

8/4 Beat

El Barrio

House of Jade

Crisis

Mr. Knight

India

Brazilia, parts 1 and 2

Central Park West

Naima

Isotope

Equinox

Syeeda's Song Flute

Mr. P.C.