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Product Description
Amazon.co.uk Review
On this 1964 session, Speak No Evil, Wayne Shorter's band is a quintessential Blue Note group of the period combining Shorter's most frequent and effective collaborators. Wayne Shorter's compositions helped define a new jazz style in the mid-60s, merging some of the concentrated muscular force of hard bop with surprising intervals and often spacious melodies suspended over the beat. The result was a new kind of "cool," a mixture of restraint and freedom that created a striking contrast between Shorter's airy themes and his taut tenor solos and which invited creative play among the soloists and rhythm section. Here, trumpeter Freddie Hubbard, pianist Herbie Hancock, bassist Ron Carter, and drummer Elvin Jones merge their talents to create music that's at once secure and free flowing, sometimes managing to suggest tension and calm at the same time. --Stuart Broomer, Amazon.com
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Most Helpful Customer Reviews
34 of 35 people found the following review helpful
Format:Audio CD
'Speak No Evil' was produced during one of the most innovative eras of jazz music, the early to mid-60's. 1964 was also the year John Coltrane produced 'A Love Supreme' and Eric Dolphy 'Out To Lunch'. Wayne Shorter managed to assemble some of the best players of that age to produce another jazz masterpiece. Ron Carter from Miles Davis's group, as well as Herbie Hancock on an upward slope to greatness. Elvin Jones fresh from his playing on 'A Love Supreme' and Freddie Hubbard who we heard on 'Out To Lunch' earlier in the year.
Shorter had been playing with Coltrane in the late 50's but his style ended up more melodic as can be heard on the opener 'Witch Hunt', which sounds like the basis of his work with Weather Report in the 70's. Hubbard plays an ode to the past as Hancock arrives with a mellow swing. By the end of the track Shorter and Hubbard are beginning to sound like a full orchestra. 'Fe-Fi-Fo-Fum' has all the smokey charm of a bluesy barroom band much like Hancock's piano on 'Dance Cadaverous'. A track with a smouldering melody, Hubbard and Shorter play in unison, each with an ear for it's seemingly spontaneous development as it builds to a mid-track crescendo. On the title track itself, Hancock's playing is infectious and infused with feeling. Jones lets loose on Shorter's first solo before Hubbard takes over with his energetic and melodic playing. More beautiful and airy sax on 'Infant Eyes' before we get Shorter's introverted solo on 'Wild Flower' followed by Hubbard's loud and engaging one. Hancock is again amazing against Jones's drumming.
Shorter was extraordinarily lucky to have these players at the peak of their powers.
21 of 22 people found the following review helpful
Format:Audio CD
On Speak no Evil Wayne Shorter manages to reach a level of brilliance that he never even achieved with the great Miles Davis Quintet of the late '60s. Compositionally it is a fantastic album with the open track witch hunt and the title track being particular gems.
There is beauty and joy to this album that comes from Shorter himself. He has a far less serious and intense style than John Coltrane, whom comparisons are inevitably drawn with, which makes his work far less effort to listen to. The other collaborators are more than competant in their perfomances as well with the expert touch of Herbie Hancock on the piano and the bewitching tones of Freddie Hubbard on trumpet blending well.
For me this is one of the classic jazz albums, and it proves the lack of justice in the world when John Coltrane is remembered more fondly by the public than the master behind this work.
6 of 6 people found the following review helpful
Format:Audio CD
Speak No Evil has for 13 years captivated me with the clear elegance of its melodies. Witchunt opens the album with a loud shout, and some level of risk. Fe-fi-fo has less jagged angles and blends more into the nearly sickly velvety angles of Dance Cadaverous. Speak No Evil in the centre captures the classic signature of the album. Watch for the fullness of the saxophones voice build lush in track five Infant Eyes, and wonder if the Wild Flower was right sound for the album overall? Overall, one of the finest examples of the Blue Note sound.
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Most Recent Customer Reviews
Shorter on top form!
If you only want one Wayne Shorter album ( which I would find hard to believe!)then there is a very strong case for making it 'Speak No Evil'. Read more
Published 4 days ago by os
Background Cool
One of those jazz deals that just carries you along for an hour while you get long with whatever is occupying yourself. Read more
Published 6 months ago by Blanche
Wayne`s world
Strange to think that Wayne Shorter, at 77, is now an elder statesman of jazz. I tend to think of him as much younger than Miles, Coltrane and the other movers & shakers of the 50s... Read more
Published 11 months ago by GlynLuke
Timeless classic!
I totally agree with our friend from Limerick. This is one of the truly great albums, no weak track. Each of the musicians involved was a peerless master of his craft. Read more
Published 14 months ago by B. J. Morrison
Speak no Evil
As far as I know (if I am right) this recording is one of the first of Wayne Shorter's album as the leader of a group. Read more
Published on 8 Feb 2009 by Y. Candela
Best Shorter
This is the best of the Wayne Shorter albums I have with no dud tracks. All the band are top rate musicians at the very top of their game in 1964. Read more
Published on 2 Feb 2009 by Smudge
Haunting, elliptical and mysterious
This album is proof that the criticisms of Wayne Shorter being just another Rollins-Coltrane imitator were indeed fatuous. Read more
Published on 1 Oct 2005 by Mr. S. J. Jouanny
A peak in jazz ensemble playing.
'Speak No Evil' was produced during one of the most innovative eras of jazz music, the early to mid-60's. Read more
Published on 17 Dec 2004 by R Jess
Essential Blue Note
This is one of the top five albums recorded on Blue Note and even if the compositions have become tarnished over the years due to an innumerable number of amateur bands murdering... Read more
Published on 10 May 2004 by Ian Thumwood
Outstanding
This album contains brilliant compositions. The theme is of witchcraft and sorcery and Shorter's dark sax is contrasted by Hubbard's clean and lyrical breaks. Read more
Published on 1 May 2000
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