Customer Reviews

Soothsayer

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

 

 

Don't pay any attention to the previous high falutin' review; 'the Soothsayer,' along with 'Speak No Evil' are the two absolutely essential Shorter records of the mid '60s phase. That is, you cannot afford to suffer their lack if you're a Jazz fan. The others are the ones you may skip with less damage to your sensibilities. The 'Soothsayer' smokes from beginning to end. James Spaulding's very distinctive, Dolphyesque Alto provides great contrast throughout and really puts things on another level atmosphere-wise. The high-point though, and one of the high points in all of recorded jazz is the band's performance of Sibelius' 'Valse Triste' which amazingly was left off the original LP (probably because it didn't exactly follow from the rest of the record which is modal jazz in flavor). It is simply the coolest, most breathtakingly beautiful, jazz performance of a classical piece you will ever hear. Too bad you can't click on it here, because it would only take ten seconds of it to make you whip out your credit card.

When I first heard the title cut of this album in a record store over 20 years ago, I was fascinated by the sound of the group. Before I knew who was playing, I recognized McCoy Tyner and Tony Williams. But I'd never heard that combination before!

The saxophonist sounded very familiar, but I couldn't figure out who it was. He sounded Coltranesque at times; at other times he reminded me of Sonny Rollins. His influences notwithstanding, he had a very unique sound and approach.

Then I read the liner notes. Of course, Wayne Shorter! This was an incredible band: Wayne Shorter, James Spaulding, Freddie Hubbard, Ron Carter, McCoy Tyner and Tony Williams. The other players in this rhythm section elicited a nuance from McCoy's playing with which I was not familiar.

James Spaulding and Freddie Hubbard are equally inspired. I've always admired the playing of James Spaulding, a shamefully underrecorded artist. Spaulding plays with an inspired elan that makes you wonder: Why only the handful of recordings under his own leadership?

The title cut, "The Soothsayer," is a wonderful example of master soloists passing the baton throughout an inspired performance. Shorter's solo is a masterful lesson in how to tell a story. You can feel Ron Carter and Tony Williams right there with him as he builds tension leading to that split toned climax near the end of his solo.

To my ears, Wayne's arranging throughout this album hints at the influence of Duke Ellington, via Charles Mingus, especially in the beautiful ballad, Lady Day. I would love to hear Wayne Shorter do more arranging for larger groups.

I can't say enough about Tony Williams' drumming throughout this session. It is a reminder of how much he is missed. Only 19 at the time of this recording, he plays with such incredible technique, but is so musical. He was a master conversationalist. On this album, especially on the title cut, it is amazing how he could build such tension and release just by laying off his ride cymbal for a few beats.

As the previous reviewer indicated, this is a "must have" recording for any Wayne Shorter fan. In fact, it is a "must have" for anyone who enjoys great music.

This is as good as any other Wayne Shorter CD.Every solo,every second,supreme and sublime music.Wayne,Freddie Hubbard,McCoy Tyner,Ron Carter and the driving Tony Williams make this one hard to get out of your CD player.You will highly enjoy!!

I stayed away from the original CD issue of this, I had heard bad things about the sound. This RVG edition is just fine. Right up there with the RVGs of 'Night Dreamer', 'Juju', 'Speak No Evil', 'Adams Apple' and the Connoisseur series edition of 'Et Cetera'. In other words, pristine sounding Wayne Shorter, at a creative peak. If you you're into any of those others, don't miss this one. The following would be my pecking order for the above titles: 1. Speak No Evil, 2. Juju, 3. Adam's Apple, 4. Soothsayer, 5. Night Dreamer 6. Et Cetera. Enjoy !

This session, like Wayne's 'Speak No Evil" (1964), which introduced Herbie Hancock to Elvin Jones, brings together for their only collaboration of the next twelve years, the distinct powers of McCoy Tyner (piano) and Tony Williams (drums). The rarity of these collaborations make each of these sessions important historical events.

Originally recorded in March 1965, the LP was first released in 1979 (according to the notes on my LP). It was recorded between Wayne's original releases 'Speak No Evil' and 'The All Seeing Eye', and just prior to 'Etcetera', first released in 1980.

Besides Wayne Shorter (tenor sax) and the first meeting of McCoy Tyner (piano) and Tony Williams (drums), this date includes the ever-popular Blue Note frontmen Freddie Hubbard (trumpet) and James Spaulding (alto sax) along with Wayne and Tony's current associate in Miles Davis' quintet, Ron Carter (bass). With the exception of Wayne's arrangement of Jean Sibelius' 'Valse Triste', all of the works are Shorter compositions.

The recording quality is average at best. McCoy's sound was less than brilliant; Ron a bit muffled, and Wayne sounded almost alto-like at times. (Uh, Note: I'm reviewing the LP - I don't own the CD for this one. The CD may sound better, but I've heard it doesn't. Also missing from my LP is an alternate take of 'Angola'.)

Lost - Another in a long series of Wayne compositions in his popular, yet subtly executed triple meter, this work features the haunting and rich harmonies which Wayne can only express in this relatively rare sextet arrangement. Wayne takes the lead and delivers a soulful, yet subdued solo. Freddie follows with a very creative display, and James squeezes out the most thoughtful of the three. McCoy finishes rather quietly.

Angola - An up-tempo swing number with a nice head. Sporting an uncharacteristically bright tone, Wayne goes first, and struggles until he finally finds a groove in time to conclude his solo. Freddie's follow is sharp, but James shines again in this number. Tony fires off a very inventive chorus alone, then out.

The Big Push - Both rhythmically and harmonically rich, this Wayne composition implies a 4/4/3/5 meter feel during the melody, then straightens out into a comfortable 4/4 for the solos. Wayne is first again, and pours it on the floor with one of his most well-constructed and soulful improvs of the album. Freddie follows, and this time gets caught up in some of his increasingly popular antics, resulting in a less memorable display. James is firmly stitched in his groove once again, and digs deep. McCoy struggles telling his story, and is saved by the reemergence of the head.

The Soothsayer - Another up-tempo Wayne original featuring an infectious and harmonic top-end. James starts things off with one of his slightly-outside, gut-wrenching displays. Freddie breaks up some otherwise crisp lines with more of his high-note antics, and Wayne follows with a powerfully expressive and energetic solo, all firmly supported by some of the best rhythm section work of the session. Ron and Tony continue to provide inspiring support to McCoy, who bangs out his best solo effort of the session, until running a bit dry at the end.

Lady Day - True to form, this date also includes a Wayne ballad - this one in a slow, 4/4 meter - and dedicated to the great Billie Holiday. Wayne takes the head alone, displaying a smooth, hard, linoleum-like sound, compared to his more characteristic soft, velvety sound found on other ballad works of the era. McCoy is straight, yet pretty as the lead-off man. As the head reemerges, Wayne has company this time, as Freddie and James back him up with some nice harmony work.

Valse Triste - Ever-so-loosely quoting the lines of Finnish composer Jean Sibelius, this triple meter piece starts off in a swing feel until Tony brings it around to a rare straight three feel. Wayne solos uncomfortably, and is shown up by James' more purposeful display. Freddie invents some real nice lines, until Tony changes it back to a swing feel, at which time Freddie falls off. Ron finally gets a chance to solo, and does so in characteristic fashion.

This is a very good jazz album, but not a great one for Wayne. There's really nothing wrong with it - it simply lacks that important "something extra" we've become to expect from one of the most respected composer/improvisors of the era. Unfortunately, that historically significant pairing of McCoy and Tony did not prove to be musically significant, as they did not appear particularly collaborative, except on the title track. Ron played well throughout, but was not outstanding. Wayne and James take the highest honors for the session, which resulted in some fabulous saxophone work. After awarding 5 stars to most of Wayne's other Blue notes of the mid-sixties, I can't place this one on the top shelf with the others, so this one has to settle for 4 stars.

Unless you already own them, I recommend investing in 'JuJu', 'Speak No Evil', 'Night Dreamer', 'Adam's Apple' or 'Etcetera' before this one.

I have two reactions to this album. One is to recommend it highly: it has some of Wayne Shorter's chewiest and prettiest compositions--try "Angola" or "Lost"--and a knockout lineup: Tony Williams' drumming in particular is a joy. But there's one real problem here: the recording was badly botched (probably explaining why such an otherwise fine album was only released in the 1970s after Shorter had left Blue Note), and you'll note distortion on all tracks when the soloists or ensembles "peak" in volume. Unless you can mentally edit out the annoying buzz that results, you're better off trying other Shorter Blue Note discs. I'm willing to ignore this problem & concentrate on the music, as will other Shorter aficionados, but the casual listener will be put off.

This is one of Wayne's best from his Blue Note period... I'm not sure why they waited so long to issue it?

It ranks right up there with Night Dreamer, Speak No Evil, Juju and Adam's Apple...

Look at all these great musicians... Hubbard, Tyner, Spaulding, Carter & Williams, in addition to Wayne's great blowing and compositions!

Buy it, you'll like it! A great 60's Blue Note sextet!

Left in the vaults during this prolific period of recording for Wayne Shorter (doubling as a solo artist and as a key member of Miles Davis' mid-60's quintet), the apparent reason that SOOTHSAYER was shelved is that it is not quite up to the lofty standards of his best recordings of this period. The songs are never less than challenging, but there's a general absence of truly memorable compositions, although "Lady Day" is among his better ballad efforts. The group is impressive, with drummer Tony Williams trumpeter Freddie Hubbard, bassist Ron Carter, pianist McCoy Tyner, and James Spaulding on flute. The solos are of course worthy of repeated listens, yet the big-picture impression of this date is that there's something subtly lacking to keep it from being a memorable addition to Shorter's legacy (although for most other jazz artists it would be a bold act of overachievement).

i really enjoy Wayne Shorter's music.from his time with Art Blakey then onto Miles which were magical moments to my ears.i really dig Angola&the big push.Blue Note has the jams.and what a strong band as well.the man is a genius.