Customer Reviews

Adam's Apple

5 star:		(7)
4 star:		(2)
3 star:		(2)
2 star:		(0)
1 star:		(0)

 

 

"Adam's Apple" finds tenor saxophonist Wayne Shorter returning to a quartet setting after the avant-garde, multi-horn experiments of "The All-Seeing Eye" (see my review). Recorded during two sessions in February 1966, the album features Wayne with the rhythm trio of Herbie Hancock on piano, Reggie Workman on bass and Joe Chambers on drums. These players all knew each other well as Wayne and Herbie had been members of the Miles Davis Quintet for more than a year, not to mention their prior Blue Note collaborations. Furthermore, Wayne and Reggie had both been in the Jazz Messengers in the early 60s, and Wayne had partnered with Joe Chambers on his previous two Blue Note sessions. All this added up to a great deal of musical rapport and chemistry that translated directly to the tunes. Of Wayne's three quartet albums for Blue Note, this is arguably the best. As great as "JuJu" and "Etc" are, they have their flaws -- "JuJu" comes off sounding a little too Coltrane-like (it's hard not to when you play with both McCoy and Elvin) while "Etc" was often uneven (it did sit in the vaults for years). With "Adam's Apple," Wayne had reached the pinnacle of his style and expression in modal jazz, and shortly he would go searching for new frontiers both with Miles and on his own. But at this stage in his career he simply gets an A+ for "Adam's Apple."

Amongst Wayne Shorter's consistently excellent Blue Note recordings of the mid to late '60's, Speak No Evil gets the nod from most critics as the best record of the period, but I have always preferred the stripped down quartet sessions of Juju and this wonderful album. Joining Shorter (tenor sax only, no soprano) on this disc are Herbie Hancock on piano, Reggie Workman on bass and Joe Chambers on drums. This session followed the classic Blue Note blueprint of the period, mixing the blues and ballads of hard bop with some of the emerging freedom of the period. There's some burning saxophone on the driving title track, abstract balladering of "501 Blues" and the epic soon-to-be-standard "Footprints" which would go on to be one of the most memorable jazz compositions of the post-war period.

Even if you don't have any of his records, you're probably familiar with Wayne Shorter's warm, yet introspective saxophone sound from his work with the Jazz Messengers and Miles Davis. Indeed, despite Wayne's endearing modesty, I don't think I'm alone in feeling that his solos often outshine Miles'.

Adam's Apple, Wayne's fifth album for Blue Note, is probably his most instantly enjoyable among a crop of spectacular recordings. First of all, Wayne is an imaginative and prolific composer. I rate the title track and El Gaucho among his finest tunes. Secondly, this LP has a funky swing guaranteed to set your feet dancing. It's one of those rare modal albums that's rich enough for the seasoned listener, but bops hard enough for the kids. Finally, Wayne is backed by superlative, forward-thinking musicians: Herbie Hancock, Reggie Workman, and Joe Chambers.

The sound quality on this RVG edition is pristine and it boasts a terrific bonus track by Hancock. Don't wait any longer than you have to, this baby merits rush delivery!

As if his prior free-jazz leaning THE ALL SEEING EYE album never happened, Shorter follows up that challenging set with a set of excellent tunes that rate up there with the selections heard on such classic albums as JUJU and SPEAK NO EVIL in terms of keeping advanced concepts melodically memorable for the listener. Another quartet date (with Herbie Hancock, Reggie Workman, and Joe Chambers), several of Wayne's most renowned tunes are included, including his version of "Footprints" (also recorded with Miles Davis), "El Gaucho," the title cut, the pretty ballad "Teru," and the Coltrane-like "Chief Crazy Horse." A bonus track is "The Collector," which Davis recorded under the title "Teo's Bag." For those interested in Shorter's work, this is among the first discs to pick up.

This 1966 session finds Wayne Shorter in fine form, leading a quartet comprised of Herbie Hancock (piano), Reggie Workman (bass), and Joe Chambers (drums). While I don't think this album is quite as powerful as Speak No Evil or Night Dreamer, this is still a strong set from Shorter, whose eclectic compositions never cease to astound. He wrote all of the pieces here, save "502 Blues (Drinkin' and Drivin'), contributed by Jimmy Rowles, a pianist Shorter admired and "The Collector", written by Hancock, which wasn't part of the original release. Shorter is outstanding as always, given more room to stretch out without another horn present. Also given more space here is Herbie Hancock, whose sprightly piano lines really give this album its character.

"Adam's Apple" is a groovy opener, which the updated liner notes seem to dismiss as Shorter's attempt at "The Sidewinder". I found the piece very enjoyable, if not as complex as some of Shorter's other work. "502 Blues" is lovely, more ballad than blues. My favorite on the album, it brings to mind driving at night under hazy streetlights. "El Gaucho" borrows from bossa nova, given a unique feel by Shorter. The highlight of the set is probably "Footprints", a Shorter masterpiece, probably more familiar in its Miles Smiles incarnation, but given an amazing reading here. The central sax riff is very haunting, backed by some dynamite bass work from Workman. "Teru" is another magnificent ballad, while "Chief Crazy Horse" shows off Shorter's Coltrane-esque side. The Van Gelder edition closes with "The Collector", which would be recast as "Teo's Bag" when performed with Miles Davis.

I really enjoyed this album. While Speak No Evil remains my favorite by Shorter, I think some of Herbie Hancock's finest work can be found here. He really sounds amazing and the quartet setting really allows for some fine interplay between he and Shorter. Excellent work and the recording/remaster sounded excellent as always.

A re-visitation of this album I had on vinyl in the seventies/ eighties, it is as forward-looking today as it ever was. Other reviewers have had their say (rather accurately and in concurrence with me actually) about the programmatic aspects of the date, so I will refrain from redundancies and concentrate on what Mr. Coltrane (as Eric Dolphy reverently called John Coltrane) said "the listener gets". Timeless, well-conceived, and striking throughout, the strange spiritual deja-vu is that when I first laid ears on this, and most of his Blue Note works, it was as if I was there with him/them, or in some way sharing a spiritual, even physical presence in another dimension somehow. As a child? In 1966? Discovering this later well into my teens? Believe it or not, yes! Wayne's penchant for science fiction as displayed on the sleeve liner of his 'Phantom Navigator' LP on Columbia confirmed this for me. I was even lucky enough to meet him and get an autograph after a Weather Report Concert in Norfolk, Va. in 1980. The high point of the album, ON THIS STAR DATE, yes a la Star Trek (depending on the celestial vector relationship, for me, or one's "MOOD-ality" when approaching a listening session as a familiar veteran) is TERU. I was brought to tears with the mortar-like agape that it generated before, recollected, and now in even more concentrated form. The vivid visions of my childhood, the nobility of such, and the many intervening years, and Mr.Shorter's beyond-priceless value to my life, especially when considering his Bhuddist shared beliefs. This aspect of this towering artist/icon/idol of mine was also discovered later at another pivotal juncture in my life, along with Mr. Herbie Hancock, equally as much an idol among MANY others. This shared membership in Faith was, and is so eternally valuable to my life condition it had the effect of a 'Supernova', and again, yes alliteration intended, per chance, to express the magnanimous effect this music in general, and this date in particular has had on me. I can FOREVER return to it and get refreshing, magical, en-CHANTED waters. Over and over the intersection of the third-eye life conditions of various people beings in my universes has never ceased to astound me. Wayne Shorter TOWERS among those people beings! It has been quite an October 2010.

The Saxophone playing of Wayne Shorter has been a favorite of mine for years. This album is one I've listened to on vinyl, casset, and now CD. This is a wonderful set of tunes from Wayne, and describes a period of Jazz that was perhaps the golden age of the style...in my book at least.

Except for a very agitated and fidgety bonus track, this is a very successful album for Wayne Shorter. He's at his most lyrical on a number of tracks, backed up beautifully by pianist Herbie Hancock, bassist Reggie Workman, and especially drummer Joe Chambers, who is supportive without being overpowering. The title track is an up-tempo 24-bar blues that really gets the feet moving: it's both funky and hip. 502 BLUES reveals Shorter in a most delicate mood, and the tune has just the right late-night flavor. EL GAUCHO is a tricky little tune with lots of key changes in the theme and a swinging latin beat. TERU is a beautiful ballad by Wayne and features a handsome solo by Workman. The bonus track, THE COLLECTOR, by Hancock, is too busy for my tastes, but what's come before is impressive work by this excellent modern jazz group. The Blue Note sound is magnificent, as usual.

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!

i'm not going to complain too much. i only paid 8.49 for this cd and wayne shorter is always at least pretty good. this cd is as well. still, i'm disappointed in it. it's very well played but totally conventional and largely uninspired. "footprints" is the only really outstanding track. the bonus track is pretty good too but it's easy to guess why it was left off the album. it's too challenging for this very mainstream album. i guess i wanted something more driving and exploratory. this ain't that.