Alan Shorter

One of only two sessions led by flügelhornist Alan Shorter (Wayne's older brother), this set is a near-classic. Shorter and his quartet (with tenor saxophonist Gato Barbieri, either Charlie Haden or Reggie Johnson on bass, and Muhammad Ali or Rashied Ali on drums) perform six of the leader's complex originals. Barbieri lets out some strong screams in places but sounds more restrained and coherent than on his other avant-garde recordings of the period. The rhythm sections are stimulating and alert, while Shorter, although not a virtuoso, comes up with consistently inventive ideas. The style is sometimes slightly reminiscent of Ornette Coleman (partly due to the presence of Haden), but Shorter had apparently not heard Ornette's band before recording this music. Well worth several listens.

Alan Shorter - Tes Esat (1970) {Universal 067 864-2 rel 2004}
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© 1970, 2004 America Records / EmArcy / Universal Music France | 067 864-2
Jazz / Avant-Garde Jazz / Free Jazz / Trumpet

Unfortunately, Alan Shorter didn't get the chance to lead very many sessions. The limited commercial potential of his music – coupled with a rather unhealthy lifestyle – limited him to only a couple of titles under his own name and a dozen or so as a sideman. Like perhaps Eric Dolphy or Albert Ayler, though, the dates upon which he only played a supporting role still heavily bear his stylistic stamp. On this, the last of his leader dates, Shorter's compositions employ relatively vague stutter-step heads and then quickly dive right into free improvisation without looking back. What follows is free jazz along the lines of many BYG or ESP releases from the same era.

The All Seeing Eye is the ninth jazz album by saxophonist Wayne Shorter, recorded on October 15, 1965, and released on the Blue Note label as BLP 4219 and BST 84219. The album features performances by Shorter with Freddie Hubbard, Grachan Moncur III, James Spaulding, Herbie Hancock, Ron Carter and Joe Chambers with Shorter's brother Alan Shorter guesting on one track. The Allmusic review by Scott Yanow states: "it is clear from the start that the music on this CD reissue is not basic bop and blues… the dramatic selections, and their brand of controlled freedom has plenty of subtle surprises. This is stimulating music that still sounds fresh over three decades later".

With such titles as "The All Seeing Eye," "Genesis," "Chaos," "Face of the Deep," and "Mephistopheles," it is clear from the start that the music on this LP is not basic bop and blues. Wayne Shorter (who composed four of the five originals) picked an all-star cast (trumpeter Freddie Hubbard, altoist James Spaulding, trombonist Grachan Moncur III, pianist Herbie Hancock, bassist Ron Carter, and drummer Joe Chambers, along with brother Alan Shorter on flügelhorn for the final song) to perform and interpret the dramatic selections, and their brand of controlled freedom has plenty of subtle surprises. This is stimulating music that still sounds fresh.

Marion Brown Septet - Juba-Lee (1966) {Fontana Japan PHCE-1007 rel 1990}
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© 1966, 1990 Fontana Japan | PHCE-1007
Jazz / Avant-Garde Jazz / Saxophone

Recorded only a month before his classic Impulse debut, Three for Shepp, this much overlooked session, though quite different, is more than reputable in its own right. The reason for its obscurity is pretty simple. Juba-Lee, as of May 2003, had yet to see formal release anywhere in the world other than its original Dutch pressing and subsequent reissues in Japan. Otherwise, it bears a good deal of resemblance to his Marion Brown Quartet date on ESP, so listeners familiar with that session should know what to expect here. Among other reasons, this is because both sessions share the talents of Alan Shorter and bassist, Reggie Johnson. Also on hand were tenor man Bennie Maupin, pianist Dave Burrell, drummer Beaver Harris, and trombonist Grachan Moncur III.

Marion Brown - Marion Brown Quartet (1965) {ESP-Disk' ESP 1022-2 rel 2002}
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© 1965, 2002 Syndicope / ESP-Disk' / ZYX Music | ESP 1022-2
Jazz / Avant-Garde Jazz / Saxophone

This 1965 release was saxophonist Marion Brown's debut recording as a leader. There are three tracks here, two of which go on for some time. As was the case with most of ESP's releases from the period, this is a free jazz blowing date. There are two bassists on the program, Ronnie Boykins and Reggie Johnson, along with John Coltrane's future drummer Rashied Ali, and Brown playing with either trumpeter Alan Shorter or saxophonist Bennie Maupin.

From 1964, Archie Shepp's first date as a leader featured – as one would expect from the title – four tunes by John Coltrane, his mentor, his major influence, and his bandleader. The fact that this album holds up better than almost any of Shepp's records nearly 40 years after the fact has plenty to do with the band he chose for this session, and everything to do with the arranging skills of trombonist Roswell Rudd. The band here is Shepp on tenor, John Tchicai on alto, Rudd on trombone, Trane's bassist Reggie Workman, and Ornette Coleman's drummer Charles Moffett. Even in 1964, this was a powerhouse, beginning with a bluesed-out wailing version of "Syeeda's Song Flute." This version is ingenious, with Shepp allowing Rudd to arrange for solos for himself and Tchicai up front and Rudd punching in the blues and gospel in the middle, before giving way to double time by Workman and Moffett. The rawness of the whole thing is so down-home you're ready to tell someone to pass the butter beans when listening.