| | Wayne Shorter Night Dreamer CD Wayne Shorter Discography of CDs
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Shorter's Blue Note debut, NIGHT DREAMER, is a stunning statement from one of the premiere saxophonists and composers in the history of jazz. In 1964, after a long period as musical director for Art Blakey's Jazz Messengers and newly joining Miles Davis' quintet, Shorter was primed to enter the field as a major solo artist. His guests include Lee Morgan (trumpet), renewing the outstanding frontline the two formed in Blakey's band, and McCoy Tyner (piano) and Elvin Jones (drums) from Coltrane's legendary quartet. The musical vision here, however, is Shorter's alone.
Shorter's distinctive compositional style begins to take shape with the opening title track, a bouncing waltz with a dusky, modal flavor and a subtle rhythmic drive. Likewise, his arrangement of an "Oriental Folk Song" has a similar burnished tone with beautifully executed harmonies between Shorter and Morgan. Interestingly, the swinging "Black Nile" and "Armageddon" are very reflective of Shorter's previous tenure with Blakey while perpetuating the range of his newfound freedom with Davis' group. "Charcoal Blues" is the most traditional piece in the set but nevertheless gives us a sense of his more independent leanings. Also included are two takes of the graceful ballad "Virgo," a classic Shorter composition.
Additional Tracks
Recording information: Van Gelder Studios, Englewood Cliffs, New Jersey (04/29/1964).
Personnel: Wayne Shorter (tenor saxophone); Lee Morgan (trumpet); McCoy Tyner (piano); Reggie Workman (double bass); Elvin Jones (drums).
Liner Note Authors: Nat Hentoff; Bob Blumenthal.
Wayne Shorter Night Dreamer Songs Night Dreamer Review
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Purchase Night Dreamer CD To buy, Click on price to add to cart | Freddie Hubbard Breaking Point CD (1964) Bonus Tracks; Remastered
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After leaving his post with Art Blakey's Jazz Messengers, Freddie Hubbard led one of the most adventurous sessions of his career, the remarkable BREAKING POINT. Also of significance here is Hubbard's depth as a composer, as he also penned four of the five stunning pieces on this disc. Hubbard breaks new ground with his playing as well. His edgy tone, relentless drive, and signature chops come together to present a highly individual sound that supports his newfound musical vision. Powerful though he was with Blakey, this session certainly finds Hubbard BREAKING out on his own trail.
The explosive title track's raucous fanfare eventually settles into driving calypso that sports a heated exchange between Hubbard and saxophonist James Spaulding. The modal "Far Away" is a compelling mambo that clearly draws on Hubbard's days with Blakey while pointing out a new direction for the trumpeter. The swinging blues of "Blue Frenzy," BREAKING POINT's most traditional cut, features superior blowing by all. Of special note, Chamber's "Mirrors" is presented here, a classic ballad with ...
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Recorded at Rudy Van Gelder's Englewood Cliffs studio just nine days before John Coltrane's A LOVE SUPREME, Joe Henderson's INNER URGE bears some resemblance to Coltrane's later work. This is no surprise since Henderson employed McCoy Tyner (piano) and Elvin Jones (drums) for this album, and these musicians were already forming the concepts they would unleash on the Coltrane session. But the music on INNER URGE is unique, too, namely in its improvisational approach. Henderson ...
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Art Blakey and the Jazz Messengers met their artistic peak with the powerful A NIGHT IN TUNISIA. This incarnation of the group included Lee Morgan, Wayne Shorter, Bobby Timmons and Jymie Merritt with their leader Blakey. As the Messengers entered their most fruitful period for Blue Note, Blakey drove his men relentlessly with powerful grooves, heavy swinging and shouts of encouragement. This session documents the full power of his assertive leadership and the masterful playing of his sidemen, each rising to legendary status under his tutelage.
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The tunes here are all Silver's, save the bopping "Hankerin'" by tenor man Hank Mobley. Such cuts as the opening "Room 608," the bluesy "Creepin' In," and "Hippy" are excellent examples of both Silver's creative composing style and the Messengers' signature sound. Of course, the most remembered tunes from the session are the classic "The Preacher" and "Doodlin'," two quintessential hard bop standards. In all, this set is not only a stunning snapshot of one of the first groups of its kind but the very definition ...
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This fine twofer brings together a pair of albums by tenor and soprano saxophonist Archie Shepp--YASMINA, A BLACK WOMAN and POEM FOR MALCOLM, both from 1969. The dates find Shepp with plenty of the progressive conception and fiery playing that characterize his best avant-garde work. More notably, YASMINA marks Shepp's first meeting with members of the Chicago avant jazz scene, namely Lester Bowie and Roscoe Mitchell from the Art Ensemble of Chicago. There are several other guests here, including Philly Joe Jones and Hank Mobley, that make this exploratory set interesting. Jo Jones and ...
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