Cheap Speak No Evil (Music) (Wayne Shorter) Price

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Customer Reviews of Speak No Evil

Few Albums Can Compare
In the space of only about four years in the mid-1960s, Wayne Shorter put out about 7 albums, any one of which could have revolutionized jazz music. In my view, Speak No Evil is the best of them all (though the competition is incredible). Basically, jazz music entered a new and original phase through Shorter's compositions. In the '30s and '40s, people played swing and then bebop, which were "jazzed up" approaches to standard tunes. The '50s and early '60s saw a period of new jazz composition, and a self-conscious introduction of new styles that were centered around instrumental style rather than around standard tunes. These new styles definitely broke new ground, but they still were mostly built around virtuoso-style improvising that exploited the harmonic possibilities of the chord structure of a song. Though it is obviously indebted to this tradition, Shorter's compositions shifted the focus away from "blowing" and onto the beauty of the compositions. Playing these songs emphasized more the evoking of the appropriate mood and texture rather than just using them as generic platforms for playing the same scales and licks. Basically, these songs invited new forms of exploration--and for that reason they remain some of the most popular songs for contemporary jazz bands to play. This album, Speak No Evil, is a real pleasure to listen to, and that is true the first time and the five-hundredth time. This is one of the tiny handful of albums that can without question be called the greatest in the history of jazz. Everyone should have the pleasure of listening to this album.

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Wayne , Wayne, Wayne, Wayne
Looking for a different sound? Not the same old feel form or structure? This might be the kind of album you've been looking before. It features an allstar cast of some of the greatest musicians alive at the time. Arguably the greatest drummer to attempt jazz and quite possibly my personal favorite Elvin Jones. Hes played it all from swinging hard bop to the most intense music ever recorded (John Coltrane's A Love Supreme also recorded the same year I believe)

Legendary Trumpeter with the most intensely pure sound in all three registers, Freddie Hubbard (It is worth checking out some of his solo albums "The Artistry of Freddie Hubbard" and "Hub-tones"

The backstop of the band, the god of the bass, Ron Carter, whose ear and innovative inspire every band he plays in including Miles Davis' legendary quartet also featuring Wayne and Herbie Hancock to take new and original directions. His contributions on this album are equal to those of any other bandmember.

The harmonic engine of the band, Herbie Hancock need I say more? whether pandering to the audience during his more commercial years or taking on the more serious role within an innovative quintet, he never fails to both please asthetically and communicate musically. Check out his classic albums, Empyrean Isles, Maidon Voyage, immensley popular funk album Headhunters, as well as his latest great album, Gershwin's World. I had the privilege of seeing him live at the Blue Note in NY City and I reccomend that anyone interested in seeing a mind blowing great show do the same wherever hes playing.

Last but not Least is Wayne himself. This tenor Sax master was allready contributing most of the compositions to Miles Davis' legendary quartet on the album Miles Smiles and his compositions and improvisations on this album are largely what make it the masterpiece that it is. Especially insightful on this album are the now often covered tunes Witch Hunt FEE-FI-FO-FUM

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Brilliant Album, But...
I agree with all the other reviews, but there is one thing that has been bothering me for a while. I have the sneaking suspicion that Wayne owes a lot to Lee Morgan, which hasn't been credited. Listen to Lee's 'Melancholee,' on "Search For The New Land." Then listen to 'Dance Cadaverous.' Then, after a while, listen to 'Melancholee' again. I think you'll see what I mean. The melody and voicing are eerily similar. And it's no surprise. Wayne played on "Search" in February of 1964 and then recorded "Speak" in December.

I don't mean to detract from the greatness of this recording, but I think credit must be given where it's due. Lee Morgan should be acknowledged. If you are a serious jazz fan, consider buying "Search For The New Land" as well.