Artist: Wayne Shorter Genre(s):
Jazz
Other
Discography:
Night Dreamer Year: 2005
Tracks: 7
Alegria Year: 2003
Tracks: 10
Adam's Apple Year: 2003
Tracks: 7
Footprints Live! Year: 2002
Tracks: 8
The All Seeing Eye Year: 2000
Tracks: 5
Super Nova Year: 2000
Tracks: 6
Native Dancer Year: 2000
Tracks: 9
Introducing Wayne Shorter Year: 2000
Tracks: 10
Schizophrenia Year: 1995
Tracks: 6
High Life Year: 1995
Tracks: 9
Etcetera Year: 1995
Tracks: 5
Atlantis Year: 1995
Tracks: 9
Moto Grosso Feio Year: 1993
Tracks: 5
The Soothsayer Year: 1990
Tracks: 7
The Best of Wayne Shorter Year: 1990
Tracks: 9
Phantom Navigator Year: 1990
Tracks: 6
Odyssey of Iska Year: 1990
Tracks: 5
Joy Ryder Year: 1988
Tracks: 7
Speak No Evil Year: 1965
Tracks: 6
Wayning Moments Year: 1962
Tracks: 16
Second Genesis Year: 1960
Tracks: 8
Though some will contend around whether Wayne Shorter's primary impact on jazz has been as a composer or as a saxist, scarcely anyone will dispute his overall grandness as one of jazz's leading figures over a farsighted span of time. Though indebted to a outstanding extent to John Coltrane, with whom he practised in the mid-'50s patch noneffervescent an undergrad, Shorter eventually highly-developed his have more than compact way on tenor sax, retaining the tough note quality and volume and, in afterward years, adding an element of casimir Funk. On treble, Shorter is well-nigh some other player completely, his lovely tone lustrous like a light shaft, his sensibilities attuned more to lyrical thoughts, his choice of notes becoming more than bare as his career unfolded. Shorter's influence as a player, stemming mainly from his achievements in the 1960s and '70s, has been terrible upon the neo-bop brigade world Health Organization emerged in the early '80s, to the highest degree notably Branford Marsalis. As a composer, he is topper known for carefully conceived, complex, long-limbed, endlessly meandering tunes, many of which feature turn jazz standards yet sustain spawned few imitators.
Shorter started on the clarinet at 16 but switched to tenor saxophone earlier entering New York University in 1952. After graduating with a BME in 1956, he played with Horace Silver for a short time until he was drafted into the Army for two long time. Once out of the overhaul, he united Maynard Ferguson's ring, get together Ferguson's piano player Joe Zawinul in the process. The next year (1959), Shorter coupled Art Blakey's Jazz Messengers, where he remained until 1963, eventually becoming the band's medicine director. During the Blakey period, Shorter as well made his debut on records as a leader, newspaper clipping several albums for Chicago's Vee-Jay label. After a few prior attempts to hire him away from Blakey, Miles Davis finally convinced Shorter to join his Quintet in September 1964, thus complemental the card of a grouping whose biggest impact would leapfrog a generation into the '80s.
Staying with Miles until 1970, Shorter became at times the band's most fertile composer, contributing tunes like "E.S.P.," "Pinocchio," "Nefertiti," "Bema," "Footprints," "Fall" and the signature description of Miles, "Prince of Darkness." While performing through Miles' transition from loose post-bop acoustic idle words into electronic jazz-rock, Shorter as well took up the soprano in recent 1968, an instrument which turned proscribed to be more suited to riding higher up the new electronic timbres than the strain. As a fertile solo creative person for Blue Note during this period, Shorter expanded his pallet from gruelling boP almost into the unkeyed avant-garde, with enchanting excursions into jazz/rock dominion toward the turn of the x.
In November 1970, Shorter teamed up with old cohort Joe Zawinul and Miroslav Vitous to form Weather Report, where after a fierce start up, Shorter's playing grew mellower, pithier, more than consciously musical, and step by step more than instrumental to Zawinul's concepts. By forthwith, he was playing generally on soprano, though the strain would reappear more than toward the end of WR's race. Shorter's solo ambitions were for the most part on hold during the WR days, resulting in only 1 untypical solo record album,
Native Dancer, an attractive side trip into Brazilian-American tropicalismo in tandem with Milton Nascimento. Shorter likewise revisited the yesteryear in the late '70s by touring with Freddie Hubbard and ex-Miles sidemen Herbie Hancock, Ron Carter, and Tony Williams as V.S.O.P.
Shorter finally left wing Weather Report in 1985, only quick went into a creative slouch. Still committed to electronics and fusion, his recorded compositions from this power point became more than predictable and laboured, saddled with plodding speech rhythm sections and too complicated arrangements. After threesome modus operandi Columbia albums during 1986-1988, and a tour with Santana, he lapsed into silence, ultimately rising in 1992 with Wallace Roney and the V.S.O.P. rhythm section in the "A Tribute to Miles" band. In 1994, forthwith on Verve, Shorter released
High Life, a somewhat more than piquant coaction with keyboardist Rachel Z.
In concert, he has fielded an fickle series of bands, which could be incoherent one year (1995), and list and fit the next (1996). He guested on the Rolling Stones'
Bridges to Babylon in 1997, and on Herbie Hancock's
Gershwin's World in 1998. In 2001, he was second with Hancock for
Future 2 Future and on Marcus Miller's
M².
Footprints Live! was released in 2002 under his possess name, followed by
AlegrÃa in 2003 and
Beyond the Sound Barrier in 2005. Given his retentive track track record, Shorter's every book and appearance ar still thirstily awaited by fans in the hope that he will shiver them once again. Blue Note Records released
Bluish Note's Great Sessions: Wayne Shorter in 2006.
