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6 of 6 people found the following review helpful:
3.0 out of 5 stars
Wayne "jazz" fans: don't write this off without a listen, February 9, 2004
I'm writing this review as a counterpoint to the other two already here (which are a bit too sunny for confirmed jazzheads to want to take seriously, I'd imagine): to let fellow fans of Shorter's fabulous 60's Blue Note LPs, and work with the '65-'69 Miles Davis quintet, know that Wayne's later music, although much-maligned by jazz traditionalists, is not without its merits.The polished production style, electric instruments, and lack of swing and jazz forms may well, on the face of it, put off real jazz listeners, who might be tempted to dismiss albums like _Atlantis_ as "smooth jazz" and wash their hands of it. Admittedly, the first track does not bode well. Its cheesy synths and glossy sound will be immediately off-putting to enthusiasts of Wayne Shorter's 60's acoustic jazz output. But it gets better. I realized I had to check out some of this stuff once I heard the song "The Three Marias" on some compilation somewhere. Although the track opens itself up to the "smooth jazz" designation by its polish and form, I listened past it to the melody and what Shorter does with it. It's hard to describe, but the effect is very colorful, as though with each interval between the notes, new suggestions and dimensions are opened up. The music is spacious and adventurous in that distinctively Shorterian manner--don't be put off by the production-sound: it's good music. "The Three Marias" turned out to be representative of the rest of the tunes; most of the rest of the disc is on a par with its interest and creativity. Also, I think listening to this period of Wayne's music gives a lot of insight into what Wayne was doing with his recent live album "Footprints," which, while more stripped-down and acoustic in format, seems to draw its structural approach from the same ideas that are in play for this album. Besides the first song, there's another track to be warned about, though: "When You Dream," which with its girls-choir fa-la-la-ing with ultra-corny lyrics, I couldn't get past even with an open ear. But after you program out tracks 1 and 4, you'll be fine. Worth a listen. Give it a shot.
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3 of 3 people found the following review helpful:
5.0 out of 5 stars
Needs close listening, March 12, 2004
By A Customer
I agree, skip tacks 1 and 4.
You might as well start with "The Three Marias", since it's the most catchy, albeit (finally) the least interesting tune.
Take time to listen to the last track, "On the Eve of departure". Listen to it a couple of times in a row. Follow each theme, in the fore- and back-ground. Impregnate yourself with the harmonies. slowly you'll realize that nothing like this has been done before. Then check out to the rest of the album.
This is the greatest,most innovative, most accomplished jazz composing since Duke ellington's suites and Thelonius Monk. Period.
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2 of 2 people found the following review helpful:
5.0 out of 5 stars
MASTERPIECE, January 12, 2004
By A Customer
In my view, this is the most innovative and accomplished jazz album of the 80's annd beyond. This is no improvised, freewheeling jazz, but composed jazz that should be listened to like Bach or Beethoven, although it is extremely soulful and blues-inspired. This album was nearly unnoticed and misunderstood. The thing is that here the genius lies in the details. At each listening, it gets better- deeper, richer, more heart-wrenching and beautiful. This is because it's truely contrapunctal (multi-melodic) music- each little flute line in the background is a great song on its own.
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