Customer Reviews

Schizophrenia

5 star:		(6)
4 star:		(5)
3 star:		(0)
2 star:		(0)
1 star:		(0)

 

 

The last of (I think) eight Blue Note Shorter albums covering the 1964-67 era, and also the final purely acoustic set, not that it matters to me. Shorter uses altoist/flautist James Spaulding, trombonist Curtis Fuller, and familiar rhythm section mates Herbie Hancock, Ron Carter, and Joe Chambers. The tunes yet again show forward movement, and though they probably aren't among the first tunes one associates with Wayne, they are effective vehicles for Shorter and his sidemen. The title cut lives up to its name while conversely allowing the group to build solid solos that defy the song's title. "Tom Thumb" is one of Shorter's all-time funkiest efforts (of course, he avoids the cliched blues phrases associated with much funk-jazz), and "Miyako" is the latest in a string of memorable Shorter ballads. As a whole, the album is arguably not an essential pick for fans of this era in jazz (and note that some other reviewers feel differently). Yet is still an important addition to Shorter's recorded works, with highlights that compare favorably to his all-time best efforts.

Shorter assembled an interesting sextet lineup for this 1967 outing; three horns: himself, James Spaulding on alto, who also joined him for _The Soothsayer_, Curtis Fuller on trombone, Herbie Hancock and Ron Carter contributing their usual chordal and harmonic brilliance on piano and bass, respectively, and Joe Chambers on drums. I don't know that there's ever been a sextet lined up with two saxes and a trombone, and the result is intriguing. Fuller's presence is not that noticeable, actually, except insofar as that lower register gets filled out. He mostly seems content to play his end of the harmonies that Shorter arranges. Spaulding, unfortunately, I find has a rather reedy, nasally tone, which is sometimes annoying, particularly on the opening "Tom Thumb", where he is featured. Otherwise, it's a pretty catchy tune, in the "Adam's Apple" vein. Spaulding's flute playing, however, on "Go" and "Kryptonite", is incredible. It bends and spirals around the rhythmic figures and seems to fit in perfectly with Shorter's overall program. Somewhat ironically, I suppose, my favorite song on this album is not a Shorter composition at all, but Spaulding's own "Kryptonite". A riveting moment in that tune is a largely low-register Shorter solo over a one-note bass ostinato, while Chambers impresses with some driving, flawlessly subdivided cymbal work. Ahhh, yes... my foot is tapping like crazy at this point. Chambers is also terrific on the blistering title song. Chambers is great all over this album, in fact. This isn't the first Wayne Shorter record I'd point someone to to start with, but don't miss out on it if you like the rest.

"Schizophrenia" is another fine entry to the Shorter Blue Note discography. He continues to show off the hard-edged tone and driving attack that made him one of the best saxophonists of the '60s, but he also displays his fine touch for balladry.

Shorter's aggressive side is exemplified on the title cut and on "Tom Thumb," which hits a fat, swaggering tone. On "Kryptonite," Shorter's powerful sound is tempered by the flute of James Spaulding, who as usual makes stellar contributions to the proceedings.

The ballads of "Schizophrenia," however, take the release up a notch. Particularly affecting is "Miyako," a composition that shows off Shorter's melodicism and his ability to write affecting charts that utilize the talents of all the members of the band. "Go" makes effective use of a keening tenor line that Shorter then joins to the full-blown sounds of Spaulding's alto and Curtis Fuller's trombone.

The drumming of Joe Chambers also strengthens the album considerably. He turns up the power on "Schizophrenia" and "Playground," but lowers the heat to a tasteful simmer on the two ballads. Listen also to the way he weds cymbal work with shifting rhythms on "Kryptonite." There were (and are) few better drummers than Chambers, who, like Spaulding, has been underrecorded throughout his career.

Herbie Hancock and Shorter had played together for several years with Miles Davis at the time of this release (1967) and their rapport is evident throughout.

Every Blue Note release of Shorter's is worth owning, not only for the quality of Shorter's playing, but for the richness of his compositions and the diversity of the bands he assembled. "Schizophrenia" delivers the musical goods in satisfying fashion.

Wayne Shorter's music from the 60's is hard to define. It is not Hard Bop - as it does not rely as much on bop chord changes and standard formats. It is not "free" since it usually follows strict rules of modes and rhythms.
I guess the appropriate name would be something like "Shorter's music". The music contains some Bop phrasing, some modal compositions, original structures, and different rhythms. All as they sprang from the mind of Wayne Shorter.
Being such an original, it is obvious that Shorter's music takes time to sink in, and challenges the listener to grow to appreciate it.
Schizophrenia - is one of the more challenging of Wayne's cd's - although I found them all challenging - without exception. The unusual front line of a Tenor, Alto (or flute) and Trombone creates a relatively strange unison sound. The contrasting styles of Fuller and Spaulding blend to give a peculiar atmosphere to the music. I agree that Chmabers plays drums in a way that prevents us of missing Tony Williams too much (Although I do miss him). Hancock is his usual solid self, and so is Ron Carter.
At first hearing I liked the opener - Tom Thumb - with its Latin tinge, more than the other tracks. But further listening allowed me to see a lot of beauty in the other compositions, as well.

I see Shorter's originality in the use of modes and the invention of original structures as nothing Short of spectacular. Everything is sacrificed to make the music work - and it does.
I recommend the CD to listeners who want be challenged and gain from the experience.

This is one of those albums I can listen to over and over again and each time hear something different. Shorter's brilliant playing and compositions aside, the band is incredible. Herbie's beautiful, open piano voicings (especially on "Go") are supportive and "perk up" the listener's ears. This album also features some of saxophonist/flautist James Spaulding's best work.

This is certainly one of my favorite periods of Wayne.

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!

this record has some fantastic playing by Wayne. Miyako is one of the most beautiful ballads I've ever heard. It runs through my head all the time. It's worth the price just for that, but there's much, much more. This one is a little on the adventurous side as far as the up tunes go. Some wild horn hits.

The album sounds so fresh and flowing; it's hard to believe this album was recorded back in 1967. "Tom Thumb" is my favorite on this album, but I also love the 3/4 ballad "Miyako". The wide variety of sound textures and flavors that this album brings is excellent. Wayne Shorter's music has always been hard to classify(Avante-Guard and beyond would be a good start), so I just enjoy all of it!

except for kryptonite, all of the pieces were written by wayne shorter, amazing when you consider how generous he was to his group here. tom thumb begins with a drum/bass duo that maintains control the entire piece.
go has an asiatic flavor with flute and a strumming piano. schizophrenia, the title piece, is a concerto for drum. and miyako is another one of shorter's wonderful ballads. with all the great ballads he's written i don't know why other musicians don't play them.
this album leaps ahead of its time and here in the 21st century sounds as good as, no, sounds better than just about any jazz quintet and sextet playing these days.

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!