- Audio CD (April 13 1999)
- Number of Discs: 1
- Format: Original recording remastered
- Label: EMI Music Canada
- ASIN: B00000I8UH
- In-Print Editions: Audio CD | LP Record
- Average Customer Review: 5.0 out of 5 stars See all reviews (30 customer reviews)
- Amazon Bestsellers Rank: #2,669 in Music (See Top 100 in Music)
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Product Details |
Track Listings
| 1. Witch Hunt |
| 2. Fee-Fi-Fo-Fum |
| 3. Dance Cadaverous |
| 4. Speak No Evil |
| 5. Infant Eyes |
| 6. Wild Flower |
| 7. Dance Cadaverous (Alternate Take) |
Product Description
From Amazon.com
Wayne Shorter's compositions helped define a new jazz style in the mid-'60s, merging some of the concentrated muscular force of hard bop with surprising intervals and often spacious melodies suspended over the beat. The result was a new kind of "cool," a mixture of restraint and freedom that created a striking contrast between Shorter's airy themes and his taut tenor solos and which invited creative play among the soloists and rhythm section. The band on this 1964 session is a quintessential Blue Note group of the period, combining Shorter's most frequent and effective collaborators. Trumpeter Freddie Hubbard, pianist Herbie Hancock, bassist Ron Carter, and drummer Elvin Jones merge their talents to create music that's at once secure and free flowing, sometimes managing to suggest tension and calm at the same time. --Stuart Broomer
Un Essentiel amazon.fr
Lorsqu'il enregistre ce magnifique album en 1964, Wayne Shorter n'est pas seulement le saxophoniste de l'orchestre de Miles Davis. Il écrit de formidables morceaux, apporte au groupe ses idées et en est le concepteur musical. Wayne est alors prolifique. Il fournira bientôt au trompettiste une bonne partie des thèmes de Sorcerer et Nefertiti, deux des pièces maîtresses de sa discographie. Sous contrat avec Blue Note, il réserve pour ses disques une partie de sa musique, des oeuvres étranges aux tonalités floues, aux harmonies flottantes, à la sombre beauté. Speak no Evil consacre un compositeur pas comme les autres. Les inquiétants paysages qu'il fait vivre témoignent de la richesse de son imaginaire. Shorter médite longuement les mélodies qu'il décline. Son ténor se fait mélancolique. Le piano cristallin d'Herbie Hancock semble sortir de la brume. Plus loin résonnent les tambours du sorcier Elvin Jones. Ce sont des contes, d'anciennes légendes qu'ils semblent ici évoquer. Shorter rêve et sa musique n'en est que plus troublante. --Pierre de Chocqueuse
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Most helpful customer reviews
3 of 3 people found the following review helpful
5.0 out of 5 stars
Few Albums Can Compare,
By
This review is from: Speak No Evil (Audio CD)
In the space of only about four years in the mid-1960s, Wayne Shorter put out about 7 albums, any one of which could have revolutionized jazz music. In my view, Speak No Evil is the best of them all (though the competition is incredible). Basically, jazz music entered a new and original phase through Shorter's compositions. In the '30s and '40s, people played swing and then bebop, which were "jazzed up" approaches to standard tunes. The '50s and early '60s saw a period of new jazz composition, and a self-conscious introduction of new styles that were centered around instrumental style rather than around standard tunes. These new styles definitely broke new ground, but they still were mostly built around virtuoso-style improvising that exploited the harmonic possibilities of the chord structure of a song. Though it is obviously indebted to this tradition, Shorter's compositions shifted the focus away from "blowing" and onto the beauty of the compositions. Playing these songs emphasized more the evoking of the appropriate mood and texture rather than just using them as generic platforms for playing the same scales and licks. Basically, these songs invited new forms of exploration--and for that reason they remain some of the most popular songs for contemporary jazz bands to play. This album, Speak No Evil, is a real pleasure to listen to, and that is true the first time and the five-hundredth time. This is one of the tiny handful of albums that can without question be called the greatest in the history of jazz. Everyone should have the pleasure of listening to this album.
1 of 1 people found the following review helpful
5.0 out of 5 stars
Criminally Underated,
By
This review is from: Speak No Evil (Audio CD)
I know what you are thinking, "How could Speak No Evil be underated with all these five star reviews?". I'll tell you how. It's because people rarely put the phrases "Speak No Evil" and "one of the 5 greatest jazz LP's of all time" in the same sentence.The main reason I think this LP is underated is because its main strength did not lie in amazing solo performances like on LP's such as Miles Davis's Kind of Blue and Coltrane's Love Supreme. The main strength of this album is Shorter's compositional genius. The ability of the band to turn in awesome and memorable performances while at the same time being so reserved and structured is what make this album so wonderful. The entire LP gets heavy play from me, but I will try to highlight what I think are the it's best offerings. "Dance Cadaverous" is one of the best jazz compositions ever recorded and its alternate take, which is also on this LP, is even more stunning. Shorter and Freddie Hubbard are unbelievable on this track, Hancock's performance on this track is equally unforgettable. As good as "Dance" is the track that made me realize just how amazing Shorter is was "Infant Eyes". Every note on this performance is perfectly placed. Shorter and Hancock are the stars on this one. Everytime I hear Hancock's solo intro, and then Shorter's entrance I fall in love with the track all over again. These two turn in nothing short of brilliant performances. I could go On and On but I will wrap this up. Get this CD. You can't be serious about jazz and not have this one in your collection.
5.0 out of 5 stars
Brilliant Album, But...,
By Oliver Towne (CA United States) - See all my reviews
This review is from: Speak No Evil (Audio CD)
I agree with all the other reviews, but there is one thing that has been bothering me for a while. I have the sneaking suspicion that Wayne owes a lot to Lee Morgan, which hasn't been credited. Listen to Lee's 'Melancholee,' on "Search For The New Land." Then listen to 'Dance Cadaverous.' Then, after a while, listen to 'Melancholee' again. I think you'll see what I mean. The melody and voicing are eerily similar. And it's no surprise. Wayne played on "Search" in February of 1964 and then recorded "Speak" in December.I don't mean to detract from the greatness of this recording, but I think credit must be given where it's due. Lee Morgan should be acknowledged. If you are a serious jazz fan, consider buying "Search For The New Land" as well.
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