It reminds me of what it was like to hang out with him and talk. One minute he's talking about quantum physics, the next minute he's talking about pop culture. I miss talking to Wayne. When I play this particular composition, it feels like I'm continuing the conversation with him.
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Jazz critic Giovanni Russonello
“House of Jade”
Appropriately, the music on Wayne Shorter's second Blue Note album, “Juju,” has a dark artistic energy. These six tracks spiral you into yourself, groaning out unnamed emotions, but always somehow manage to center you, reaffirm your strength, and leave you feeling empowered. That's partly due to Elvin Jones' steady drumming: his thumping ride cymbal, his measured, destructive kick drum. Add in Reggie Workman's bass and McCoy Tyner's piano, and you have a rhythm section that's all a nod to Shorter's mentor, John Coltrane. But as a songwriter and soloist, Shorter has learned to take only what he needs from Coltrane's style, and he's also swayed that rhythm section to his own ear. He works the band particularly slyly on “House of Jade,” where a sticky, slow-moving bass line illuminates Shorter's melodies from strange angles.
When he recorded this album in August 1964, the 30-year-old Shorter was on his way to join Miles Davis's band at Coltrane's recommendation. With Davis's second great quintet, Shorter created some of the greatest small-scale jazz in history, but his commitments prevented him from touring with his own group. When you listen to Shorter's historic and brilliant work as a bandleader in the mid-to-late '60s, when he wrote and played better than any living musician, what we have is basically a studio record. And the first mantra you should give yourself is “Juju.”
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George Burton, composer and producer
“Aung San Suu Kyi” by Wayne Shorter and Herbie Hancock
As someone who delves deeply into Wayne Shorter’s entire catalog, the concept of space comes up often in my thinking, especially in relation to the way a musician’s career trajectory often evolves to reflect their perception of music and life. “Aung San Suu Kyi,” written and performed by Shorter, was inspired by the Burmese politician, Nobel Peace Prize winner, and former leader of Myanmar, known for her long struggle for democracy and human rights. From the simple beauty of the melody to the powerful groove the song leans into, you can hear a range of ideas that can be related to an individual like her. It also offers a sense of comfort in the unknown, with the notion that we are all working together to provide this experience.
As seen in “Aung San Suu Kyi,” Shorter’s ability to create beautiful melodies embodies the essence of the highest form of artistic expression that runs through the history of black music. The tone and pitch of his horn, combined with the individuality of each player in his ensembles, demonstrates his deep understanding of sound exploration. From his bands with Lee Morgan, McCoy Tyner, and Elvin Jones to his ensemble Weather Report, and his final band with Danilo Perez, John Patitucci, and Brian Blade, Shorter’s music reflects an understanding of the transformation of not only music but life itself. His compositions are not mere tunes; they are narratives that captivate the listener and invite them to explore the depths of the musical and emotional landscape.
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Pianist and composer Zaharie Stampley
“Eyes of a Child”
Fascinating. Dreamy. Inspiring. Controlling. Free. These are just a few words to describe my favorite song, “Infant Eyes,” written by the brilliant songwriter Wayne Shorter. It was included on his 1966 album, “Speak No Evil.” The influential ensemble of musicians who participated in this revolutionary composition and recording helped nurture the beginnings of my musical lineage. From my mother, who credits Wayne Shorter as the catalyst for my musical journey as an artist, to my early experiences as a pianist, composer, and bandleader through my mother, his musical influence has spanned generations.