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────┤ Info ├─────────────────────────────────────────────────────────────────
└────────┘
Artist | Wayne Shorter
Title | Alegria
Genre | Jazz Format | Album
Source | CD Time | 57:00
Label | Verve Records Store | 2003
Catalog | 543 558-2 Rip | 2019
Bitrate | 790 kbps Size | 341.09 MB
Freq | 44.1 kHz Encoder | FLAC 1.3.1
┌────────┐
────┤ Tracks ├─────────────────────────────────────────────────────────────────
└────────┘
01. Sacajawea 7:40
02. Serenata 6:09
03. Vendiendo Alegria 7:03
04. Bachianas Brasileiras No. 5 6:00
05. Angola 5:28
06. Interlude 1:49
07. She Moves Through The Fair 4:39
08. Orbits 6:09
09. 12th Century Carol 6:04
10. Capricorn II 5:59
┌────────┐
────┤ Notes ├─────────────────────────────────────────────────────────────────
└────────┘
Though some will argue about whether ten-time Grammy winner Wayne Shorter's
primary impact on jazz has been as a composer or as a saxophonist, few will
dispute his importance as one of jazz's leading figures of the late 20th
and early 21st centuries. Though indebted to John Coltrane, with whom he
practiced in the mid-'50s, Shorter eventually developed his own more
succinct manner on the tenor horn, retaining the tough tone quality and
intensity and, in later years, adding elements of funk.
With 2002's "Footprints Live", nearly two decades of false alarms about a
Shorter 'comeback' finally gave way to the real thing - at least to many
critics who welcomed his return to highly cerebral acoustic post-bop. Yet
the follow-up, "Alegria" - apparently Shorter's first all-acoustic studio
album as a leader since 1967-- is where Shorter really starts to get
creative again. The rhythm section from "Footprints Live" - pianist Danilo
Perez, bassist John Patitucci, and drummer Brian Blade - is intact on three
tracks.
On others, Brad Mehldau - with his very different conception of sound - is
the pianist, Terri Lyne Carrington subs on drums, Alex Acuna adds
percussion, and new, unusual timbres are supplied by a wind/brass ensemble.
As on Footprints Live, Shorter revisits some old tunes from his relative
youth, but not nearly in the same way. In "Orbits," which was given a
racetrack post-bop run by the Miles Davis Quintet, Shorter slows it way,
way down, virtually decontructing the tune, backed by a quizzical chart for
winds and brass.
Likewise, "Angola" and "Capricorn II" are altered nearly beyond
recognition. Indeed, at this point in the 21st century, it was fascinating
to see both Shorter and his former Davis bandmate, Herbie Hancock,
radically reinterpreting their past, working separately yet often using the
same bassist and drummer (Patitucci and Blade) and recording for the same
label. Yet, the core message of this album is that Shorter was ready to
move on to different things, drawing material from almost anything that
caught his attention while soloing in top form on tenor and soprano saxes.
With a wild soprano wail, Shorter leads off the CD with his new, absorbing
boogaloo "Sacajawea," one that soon morphs into searching, nearly free
jazz, with a magisterial solo from the composer. At last, someone in jazz
chose to deal with both tunes from Leroy Anderson's Spanish-flavored light
classical masterpiece "Serenata" rather than just the lush second subject -
and Shorter decorates them with a complex featherweight orchestration.
Though Acuna's bongos pop away in the foreground, Shorter does maintain the
melancholy feeling of the familiar aria from Villa-Lobos' "Bachianas
Brasileiras No. 5," with cellist Charles Curtis eloquently stating the
tune, until he destabilizes things in the middle of the track. As he
approached his 70th birthday, this disc seemed to confirm a long-awaited
creative Indian summer for Wayne Shorter.
┌────────┐
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└────────┘