Adam's Apple

Wayne Shorter | Format: Audio CD

Product Details

• Audio CD (October 25, 1990)
• Number of Discs: 1
• Label: Blue Note Records
• ASIN: B000005H4N
• Also Available in: Audio CD  |  Vinyl  |  MP3 Download
• Average Customer Review: 5.0 out of 5 stars  See all reviews (6 customer reviews)
• Amazon Best Sellers Rank: #294,791 in Music (See Top 100 in Music)

Customer Reviews

Most Helpful Customer Reviews

28 of 30 people found the following review helpful:

5.0 out of 5 stars Classic Wayne with some isolated flaws, March 13, 2000

By 

Douglas Gray (Rochester, NY) - See all my reviews
(REAL NAME)   

This review is from: Adam's Apple (Audio CD)

Recorded in February 1966, this fifth of Wayne's original releases for Blue Note contains some of Wayne Shorter's (tenor sax) best work and some great interplay with the other members of the quartet. It represents a welcome return, for the most part, to the utterly unique stylings of Wayne not found on his previous release, 'The All Seeing Eye', which has not to my knowledge been released since the original LP issue, and was, in my opinion, a failed experiment. Herbie Hancock (piano) is at his very, very best as an accompanist, but is average as a soloist. Reggie Workman (bass) and Joe Chambers (drums) are solid throughout, ranging from average to masterful supporting roles. This quartet is quite familiar with one another, and it shows.

This album shows more diversity than other Wayne albums of the period. There's two ballads, a latino-flavored work, some funk, a bit of the avant-garde, and plenty of Wayne's original compositions and uniquely expressive tenor work.

The recording quality is superb, although Reggie gets a little lost in the background at times.

Adam's Apple - This sub-par Wayne composition features a soothing and colorful melody over an eventually monotonous funky blues feel - not the sort of groove we've come to expect from Wayne. Herbie's solo is not much more than a slight variation on the groove with a quiet right hand. Wayne seems unable to express himself easily within the uninspiring surroundings. Why this is the title track I'll never know. (This piece was recorded on a different date than the remainder, and it shows.)

502 Blues - The relaxed 3/4 swing piece, attributed to Jimmy Rowles, showcases Wayne's rich, warm tenor sound - a contrast to the gutsy, explosive sound we're become accustomed to. Wayne solos first, and he displays his prettier side quite nicely, behind some inventive accompaniment from Herbie and Reggie, while Joe keeps it pretty straight in back. Herbie finishes with a colorful solo of his own, then out.

El Gaucho - A wonderful Wayne composition in a rare latino straight 4/4 feel. Wayne takes honors, and delivers an average improvisation behind Herbie's ingenious accompaniment. Wayne and Herbie are so in sync with each other, it's hard to tell who's leading whom. Herbie follows and delivers another colorful, yet subdued solo.

Footprints - One of Wayne's best-known compositions - in 6/8 - a popular meter for Wayne. The melody and accompaniment are haunting and provocative. Wayne's solo is one of his most expressive of the session. Herbie's backup and solo is rich and inventive. Reggie executes a fine solo as well.

Teru - A haunting and expressive Wayne ballad. Wayne, again, shows his command of his horn in this uniquely rich, thoughtful and sensitive piece. Wayne's sound is so superbly warm and expressive, it sends shivers down my spine. Herbie and Reggie are remarkably comfortable and colorful in this open, quiet, snail-paced masterpiece.

Chief Crazy Horse - Ditto. Another classically Wayne composition with the classically haunting tenor work of the now fully matured and self-assured master. Wayne delivers another memorable improvisation behind the provocation of his rhythm section working in inventive unison, urging him on. Joe is particularly inventive during this piece, showing his best work of the session. Herbie's solo is played primarily with both hands together, and not very melodic, but nice. Joe does some great fill work near the end, and then Wayne takes it home.

The Collector - A Herbie composition, not found on the original LP, borders on the avant-garde. Wayne seems a bit uncomfortable in the free tonality of the work, and appears to hunt for a means of expression. He never quite finds it. Herbie, too, seems to struggle a bit in his own domain. Reggie, on the other hand, appears quite comfortable, and delivers an interesting improvisation. Joe solos too, and does fine. In the end, the work lacks the collaborative sensibility of the rest of the session.

With the exception of the title track, 'Adam's Apple' and Herbie's 'The Collector', this is classic mid-sixties Wayne, and a *must have* for any Wayne enthusiast. Not as strong or as consistent as Wayne's 'JuJu', perhaps Wayne's best album, 'Adam's Apple' rates closely with 'Speak No Evil', 'Night Dreamer' and the later-released 'Etcetera', all 5-star albums, in my opinion.

9 of 10 people found the following review helpful:

5.0 out of 5 stars A classic mid-'60's Blue Note album from Wayne Shorter.

, September 24, 1998

By 

[e-mail] (about halfway between Seattle and Portland) - See all my reviews

This review is from: Adam's Apple (Audio CD)

The album showcases Wayne Shorter as both composer and saxophonist. All of the tunes except "502 Blues" and "The Collector" are Shorter compositions. From the opening piano intro by Herbie Hancock and bassist Reginald Workman on the opening title cut to the finale "The Collector", this is album is simply a mid-'60's jazz classic.

The opening cut "Adam's Apple" is a very innovative composition by Shorter. Blues at the core, it moves up and down from slow and deliberate to wild and frantic. The second cut "502 Blues (Drinkin' and Drivin')" is not really a blues in the techinical sense, but it is one of those tunes that when listened to through headphones is a sheer delight. The sax work by Shorter and the Piano work by Hancock are superb. The rhythm section of Workman and drummer Joe Chambers is excellent as well.

The next cut, "El Gaucho" features a variety of chord changes and some fine comping from Hancock. "Footprints" follows. What can I say? This tune has become a jazz standard. Played in six-eight time, Shorter delivers some awesome sax on this cut. Hancock's piano and Workman's bass solos are high articulate. A classic. You can find another version of "Footprints" on "Miles Smiles" from the Miles Davis Quintet which also features Shorter and Hancock.

"Footprints" is followed by "Teru" a smooth, flowing ballad with great work by both Shorter and Hancock. "Chief Crazy Horse" showcases the work of Hancock and Chambers in a fine way."The Collector" is a tune written by Hancock which did not appear on the original vinyl LP. The cut is a more "progressive" or avante-garde than the rest of the album. Still, it is an interesting piece.

"Adam's Apple" gives a great cross-section of what Wayne Shorter can do with both his sax and his pen. A must-have for any serious collector of 1960's jazz, especially the music from Blue Note Records.

5.0 out of 5 stars one of the pilars of modern jazz!, October 10, 2005

By 

A.J.H. Woodcount "FJB/O!-music" - See all my reviews

This review is from: Adam's Apple (Audio CD)

The Rudy van Gelder serie of Blue Note is well priced and of good quality. This serie gives good insight in the jazz scene of the late 50s an de the 60s. It's a good starting point to learn about this major jazz episode.

Wayne Shorter is one of the few major sax players. But it's the combination of playing and composing that makes him one of the greatest of all times. With 'Speak no evil' together with 'Adams apple' and 'Skizophrenia' you will get a perfect idea of Shorters early work and his huge talent. In my opion these albums are a must in understanding the evolution of jazz. And therefore a must in every jazzcollection!

'Speak no evil' is about composition. The five artists play in service of the compositions. It is about the carpet of sound and not the individual qualities. There's room for space and melodic poetry. This new approach is to be followed up for decades. It is the first solo album of Shorter without the coltraneband. This album puts him among Coltrane en Davis. This, ofcourse, was to be expected of the follower up of Coltrane in the Miles Davis Quintet.

The second album is Skizophrenia. The linernotes explanes the title as 'a retreat from reality'. Shorter finds new paths and that would make him a split-personnality in a time where people are used to stay on the same course. All the six players follow this new course and all find them selves more than capable. The music is soulfull and more important it is funky. Shorter playing is often compared with Coltrane, but on this album Shorter, in my opion, Shorter becomes one of the major players. His qualities shown here put him next to Coltrane, Rollins and Parker.

'Adam's apple' is the third great album of Wayne Shorter. With a lot of Miles Davis Quintet experience Shorter makes his best album. The compositions are (again) all beautifull, but it is the power in the playing that makes the album. It is full, sentimental, drama, spaceous and often surprising. And, mind you, this is only a quartet playing!