Customer Reviews

Speak No Evil

5 star:		(30)
4 star:		(0)
3 star:		(0)
2 star:		(0)
1 star:		(0)

 

 

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.

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.

7 stars for this one no less.

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.

Wayne Shorter puts his name close to or above all other jazz composers with this album. Although his technical proficency does not compare to that of such players as Charlie Parker, Sonny Rollins or Benny Golson, his pure compositional genius sets him apart from everyone else in the jazz world. Flanked by piano phenom Herbie Hancock, trumpet virtuoso Freddy Hubbard, and an all-star rhythm section (Ron Carter and Elvin Jones,) Shorter displays his ability to play in complex time signatures (Wild Flower,) play lyrical ballads (Pretty Eyes,) and play downright hard forms (Fee-Fi-Foe-Fum.) This album is a must have -- Shorter's compositional ability is unsurpassed, and he displays this to its fullest through "Speak No Evil."

How can you go wrong, if you have Ron Carter on bass, Hancock on piano, the great Elvin Jones on drums, and on the frontline, Shorter on sax, and Freddie Hubbard on trumpet? But, having a great cast can do nothing if your tunes are mediocre. Thankfully, Mr.Shorter is, if you ask me, one of Jazz's most underrated composers. His melodies forego the virtuosic flair of hardcore Bebop, instead going for more of a "singable" quality, if you will. The harmony underneath the melodies is considerably more involved and complex. This is sort of his trademark. The lead track, "Witch Hunt", starts with a beautiful, controlled melody, and suddenly, it climaxes to a loud phrase, only to gracefully cascade down again to the original theme. Beautiful. This is what music is all about - emotion, beauty, grace. The title track starts with two ascending notes, loudly and heavily accented, and then keeps a lower note quietly suspended for several beats. I won't analyze each tune, but the point is that Shorter is simply a master of saying a lot without a lot of notes. It goes without saying that the highly interactive rythm section work of Carter, Jones, and Hancock is simply brilliant. They seem to be able to complement anything played by their frontline partners, showing an almost-telepathic musical sense. Unfortunately, we don't get any bass solos, and Ron Carter is definitely a master soloist. By the same token, it wouldn't have hurt to have Jones trading a few solo bars in a couple of tunes, as he is arguably the best jazz drummer ever. Even though they do not get solo space, both Carter's and Jones' contributions are on par with the rest of the musicians, as another reviewer has accurately pointed out. Their playing goes beyond mere support - it's as beautiful and expressive as any solo. But aside from that, there really is nothing to fault here. The tunes are great, the sound is great, the solos are well conceived and executed,and the interplay among the musicians is incredible. Definitely a classic Jazz album in every sense of the word.

Speak No Evil, my first Wayne Shorter album, recommended to me by my friend, was truly something extraordinary. Legends, folklore and black magic- the arts of mystery and darkness - have long been a source of inspiration for musicians, most likely because their symbols are drawn from the roots of the imagination. The collection of Wayne Shorter compositions included in Speak No Evil is a prime example of five artists expressing their imagination through six extraordinary pieces all written by Shorter. "Witch Hunt" a blues is actually rather ethereal and haunting enough in execution that it alone fully justifies Shorter's title. Freddie Hubbard has one of the sweetest swingin' solos, on Speak No Evil, that is hard not to move to. Of all the Wayne Shorter albums out there this to me has to be the very best performed.

Speak No Evil, my first Wayne Shorter album, recommended to me by my friend, was truly something extraordinary. Legends, folklore and black magic- the arts of mystery and darkness - have long been a source of inspiration for musicians, most likely because their symbols are drawn from the roots of the imagination. The collection of Wayne Shorter compositions included in Speak No Evil is a prime example of five artists expressing their imagination through six extraordinary pieces all written by Shorter. "Witch Hunt" a blues is actually rather ethereal and haunting enough in execution that it alone fully justifies Shorter's title. Freddie Hubbard has one of the sweetest swingin' solos, on Speak No Evil, that is hard not to move to. Of all the Wayne Shorter albums out there this to me has to be the very best performed.

This is Wayne Shorter's best album. Its from 1964. Excellent recording sound quality also.

Wayne Shorter writes some of the most memorable tunes in the jazz idiom and on this recording his talent for composition is front and center. With a group that consists of Hancock, Carter and Elvin Jones on drums the music is haunting and rhythmically complex. The bonus here is the superb playing of Freddie Hubbard on trumpet. To step into what is essentially Miles Davis' shoes with this group of Davis alumni must have been a mind-blowing responsibility but Hubbard quickly established his own idenity and his playing is one of the highlights of this set. Speak no Evil is a classic of 60's modal jazz and deserves a place in any serious collection.

There is a reason that there are only 5 star reviews of this cd. It is such a thoroughly consistent album. When I first bought it I liked it a lot, as it sounded very complex and original. Now having listened to jazz over almost the past decade, I can hear this album in much more emotional way. Emotionally implies that I feel this is really a brilliant blues written out with complex, but free flowing and loose textures, rhythms, and structure. The group is Ron Carter, Freddie Hubbard, Herbie Hancock, Elvin Jones, and Wayne shorter...some of the biggest innovators of their instruments in the 60's. I feel that Elvin brings out a very different and equally as interesting side to all of other musicians as compared to Tony Williams, since he is such a bluesy, explosive drummer.