The outbreak of the conventions

Trip are sometimes needed to reach your destination. Just as trivial small talk and can loosen to an objective discussion and further bring. But what if the form digressions principle be? Or if remote and runny trails mutate into a unique walk-way? That is precisely the world of Wayne Shorter, the Late-Bloomers among jazz musicians who began to seriously address until 16 years with music. Initial moves in hard bop area he found his unique principle of lyrical unpredictability. Just as he always lost himself in interviews and conversations in a welter of irrelevancies and a chaos of associations, he also denied in his game the dreary routine, without being unruly or unwilling, but with gentle insistence to his Abschweifungsprinzip. Inside the permanent revolutionary lived an almost manic penchant for constant editing. And that's what are the qualities that make a great master of improvisation, which determined by the knowledge of cause and effect, as Shorter once said. On his 64er Blue Note masterpiece Speak No Evil he transformed precisely these mental leaps into a musical equivalent. The picture shows Shorter unmatched in its sense of melodic subtleties and sound spatial details, and timeless in the harmonic sequences. The work teeming with mysterious, cryptic and complex chord updates and sharp melodies that are undoubtedly synonymous with the unmistakable compositional handwriting of the great enigmatic Saxophone poet Shorter. The prime example in this Album for his imaginative music is the unique "Dance Cadaverous" which is characterized by many chord changes. Helpful Herbie Hancock is here at the piano, which can build up with complex surfaces in its striking Art various rhythm variations cyclically and interact with each other. Although Shorter working on this piece with the classic hard bop cast of trumpet, saxophone and rhythm section, he nevertheless adds his unique and unpredictable harmonic-melodic vocabulary that is free of ecstatic self enthusiasms. This principle was also the Miles Davis later breaking his stylistic rebirth on its web albums In A Silent Way and Bitches Brew helped where Shorter especially had a composer together with Joe Zawinul significant share. The opening track on Speak No Evil is the bluesy "Witch Hunt". Followed by "Fee-Fi-Fo-Fum", the famous saying of the Giant from the fairy tale Jack and the Beanstalk (Jack and the Beanstalk). Shorter associated movements of the giant tulip in his sky castle musical with a full color and eruptive solo, as well as a flexible compositional concept from widely fanned phrasing and a broadly diversified range of timbres. "Infant Eyes" is a musical portrait of Shorter's little daughter, when a brain injury was diagnosed, which is why he is the religious community Soka Gakkai joined. The title track of the album is also an escapist flight of rhythms and melodies from the traditional jazz corset out. The quintet on Speak No Evil sits next to Shorter on tenor sax and Herbie Hancock on piano from Freddie Hubbard (trumpet), Ron Carter (bass) and Elvin Jones (drums) together. The sound of this CD release is good. This is the usual high quality Remasterarbeit of Rudy Van Gelder in 1998 (99 released)!