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Posts Tagged ‘Wayne Shorter’

2013 year in review

alex sipiagin

2013 was a good year for jazz. The highlights were many and diverse, with fabulous classic straight ahead releases and new fusion and funk influenced dates from artists big and small, including a fascinating archival release of early electric period Miles Davis. I struggled to pare to my inevitable best of list down to 10 items, which I suppose says something about the futility of these sorts of tasks. I enjoyed quite a lot of new stuff this year and no matter what your tastes are, you probably can find something to fit them too. Still, I feel compelled to present a year end list, partly because that seems to be what people do and partly because I enjoy the opportunity to rethink all the new music that’s come out this year. My list is after the break, in alphabetical order of first name.

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Miles Davis Lost Quintet

 

MilesDavisLiveInEurope1969

In 1969 Miles was touring with a quintet containing Chick Corea on piano and Rhodes, Wayne Shorter on saxophone, Dave Holland on bass and Jack Dejohnette on drums. Any appreciator of modern jazz will recognize that as a band of heavyweights and 1969 as a year pregnant with musical revolution. Indeed, Corea, Shorter and Holland were part of the band behind Miles’ seminal In a Silent Way, and the whole quintet with Dejohnette, along with a number of other musicians, were part of the even more seminal Bitches Brew. Despite the generally well recorded associations Miles had with the members of this band, the band by itself was never captured in its element and up until recently there were no official releases of the band. This earned the 1969 quintet its own moniker: along with the First Great Quintet with John Coltrane and the Second Great Quintet with Herbie Hancock, Wayne Shorter, Ron Carter and Tony Williams, this was the Lost Quintet.

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New Album Roundup: Carrington & Shorter

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Revisiting the classics this week with a new release by living legend Wayne Shorter and a new take on Duke Ellington by Terri Lynne Carrington.

Terri Lynne Carrington, Money Jungle: Provocative in Blue: Duke Ellington’s 1963 Money Jungle is a singular artistic statement. Enlisting the support of Charles Mingus and Max Roach, both not only heavyweight musicians, but musicians with very distinct personalities, Ellington created an album for the ages: the rebellious, almost subversive quality hinted at in the title mirrored by the palpable tension in the band. It was Ellington’s date and the band played all Ellington compositions (and one not by Ellington but generally associated with him), with the exception of ‘Caravan’ and ‘Solitude’, all of which were written specifically for the date. There can be no doubt that the album was shaped by Ellington’s vision, yet he was working with a rhythm section that would be hard to corral; hearing how he attempts to keep Mingus in check is half the fun. All this together, the tension, the possible subversive nature, means that, depending on your perspective, Money Jungle is either an untouchable idiosyncratic statement or prime material for a reimagining. Now, 50 years later, drummer Terri Lynne Carrington has taken the latter view and released her, very much reimagined and reinterpreted take on Money Jungle.

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