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Speak No Evil
 
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Speak No Evil

11 Mar 1999 | Format: MP3

5.49 (VAT included if applicable)
Buy the CD album for 5.76 and get the MP3 version for FREE. Does not apply to gift orders.
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Song Title
Time
Popularity  
30
1
8:11
30
2
5:53
30
3
6:45
30
4
8:23
30
5
6:54
30
6
6:07
30
7
6:35


Product details

  • Original Release Date: 11 Mar 1999
  • Release Date: 11 Mar 1999
  • Label: Blue Note Records
  • Copyright: (C) 1999 Blue Note Records
  • Record Company Required Metadata: Music file metadata contains unique purchase identifier. Learn more.
  • Total Length: 48:48
  • Genres:
  • ASIN: B001JL2V3S
  • Average Customer Review: 4.8 out of 5 stars  See all reviews (17 customer reviews)
  • Amazon Bestsellers Rank: 3,954 in MP3 Albums (See Top 100 in MP3 Albums)

Customer Reviews

4.8 out of 5 stars
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Most Helpful Customer Reviews

38 of 39 people found the following review helpful By R Jess on 17 Dec 2004
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.
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10 of 10 people found the following review helpful By A Customer on 9 Jun 2001
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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24 of 25 people found the following review helpful By A Customer on 30 Nov 2004
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.
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21 of 23 people found the following review helpful By Mr. S. J. Jouanny on 1 Oct 2005
Format: Audio CD
This album is proof that the criticisms of Wayne Shorter being just another Rollins-Coltrane imitator were indeed fatuous. Shorter, who has always incorporated a stronger element of the blues to his playing than Coltrane did in the mid-sixties, mixes this with some masterful composition and improvisation. Couple this with some astounding support from the polyrhythmic Elvin Jones, a (sometimes over) brassy and exuberant Freddie Hubbard, with the mercurial Herbie Hancock and journeyman Ron Carter.
The compositions themselves are wondrous, opening with "Witch Hunt", an interesting piece with a separate intro that moves straight into the main theme. It is a haunting blues with great solos from Shorter and Hubbard, driven along by Jones' fiery beat. "Fee-Fi-Fo-Fum" is a track that is utterly ruined by Hubbard, who seems to be content on blowing everyone off the song with no regard for the wonderful introduction. Hancock mimicks the rhythmic chanting of Fee Fi Fo Fum with dissonant chords at the beginning, before moving into a fantastic opening theme over an unusual blues progression. Shorter and Hancock redeem the song with more searching solos. "Dance Cadaverous" is an interesting take on "Valse Triste" by Sibelius, and it is an effective example of a classical progression being adapted for jazz. The title's association with the grislier side of life is well preserved by eerie solos by the two horns. The title track stands out due to challenging solos by all which seem to disregard tonality, indeed, Shorter would continue to develop tonal ambiguities through his compositions with the Miles Davis quintet. This creates an unsettling effect, but it is also combined with Shorter's angular lyricism.
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4 of 4 people found the following review helpful By A Customer on 1 May 2000
Format: Audio CD
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. It all holds together very well and the air is maintained throughout the album. It also marks a turning point in jazz and Shorter's career. He abandon's the coolness of bop and begins to suggest more abstract phrasing and harmonies. A very good album.
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