Dwain

• Speak No Evil is regarded by many as Wayne Shorter’s finest work and the proof is in the pudding on this album. All of the elements fall right into place on this quintessential Blue Note recording; the compositional determination and the elite group of musicians in the prime of their careers. This album has withstood the test of time and is still so well-regarded by current musicians. The compositions have so much character and are incredibly dynamic as is the playing on them.

• There cannot be enough said about the players on this album. Wayne and Freddie are a match made somewhere beyond heaven. Freddie compliments Wayne so well and stands out when called upon. There are not enough words to describe Wayne’s playing on this album. It feels like a true coming of age, “I’m here to stay, this is me” kind of performance. Wayne does Wayne so well and it’s beyond a pleasure to soak in.

• This rhythm section will be living in my dreams for the next few weeks and deservedly so. This is perfection in rhythm section form. Ron Carter and Elvin Jones could be twins for all I know with the inherent level of telepathy and togetherness. And I cannot even get started with Herbie Hancock’s performance here. His playing on this album stands out to me in many ways. He shows he has every single trick in the bag and can do it all. Herbie was certainly ahead of his time and lots of what he is playing here puts this on full display. He brings what would now be considered a “modern approach” to a 1964 Blue Note recording. Enough said.

• This album deserves all the praise it receives and there is a warm seat for it in any jazz hall of fame. It simply does not get much better.

Overall score: 9.5/10

Max

• This Blue Note classic is a collection of originals by saxophonist Wayne Shorter, who’s accompanied with an all-star cast (basically Miles’ second quintet without Miles, and swapping out Tony Williams for Elvin). We’re graced with Herbie Hancock on piano, legendary bassist Ron Carter, the fantastic drummer Elvin Jones in addition to getting trumpeter Freddie Hubbard on most of these tunes. The compositions speak for themselves, as well as the solos.

• Witch Hunt starts the record off, equipped with an interestingly energetic introduction that leads us into a melody defined by its use of the 4th interval. There is a sense of attitude behind this head, which helps aid the passion expressed in the tune’s improvisations. Wayne starts off nice and strong before he heads into some longer notes followed by great, short runs that go into a playful, repetitive theme, working to continue drive, energy and interest. You can also clearly get a sense of Wayne’s distinctive sound and approach right off the bat. I think his sound has a unique, almost duckish quality to it. Its obvious distinctiveness, at first, seems like an acquired taste but trust me, it grows on you real quick. The first track also includes my favorite trumpet solo on the record from Freddie. A sense of true freedom is felt in the iteration of Freddie’s lines and ideas. Herbie swings well on this one too. The only thing more swingin’ than that would be the next track, “Fee-Fi-Fo-Fum.” The bridge is directly related to the Blues, while the feel has a deeper pocket and swing than we’d normally expect from Mr. Shorter. It’s got a great medium tempo too (which is being taken advantage of by everyone here, especially trumpeter Freddie Hubbard). Ron Carter’s bass makes the track come alive too. Listen for how well he is locked in with Elvin and the depth of the quarter note. “Dance Cadaverous” is a similar tempo but in a 3 feel. Wayne’s melody uses lingering notes in very interesting ways. This use of longer notes is a defining element to this album and will be utilized in other tunes on the album too. Wayne also plays a lot with sound, using all parts of his range at varying dynamics. He’s definitely organic too. Herbie’s solo is interesting. He almost floats atop everything else while playing this ‘almost-classical’ feel around the 2:40 mark (perhaps a little out-of-place?...it seems like a moment of third-stream).

• The next track, “Speak No Evil,” is a masterpiece. If you listen to the fills of Herbie, the bass lines of Ron, the togetherness of the horns, and the in-the-pocket cymbals of Elvin then you understand why. We also get more digging-in from Wayne’s solo and a top-notch piano solo from Herbie. “Infant Eyes” is likely the most referenced tune from this album. It is hauntingly brilliant, complete with Wayne’s moving yet slightly quirky tone and light-but-powerful accompaniment from the rhythm section. Wayne’s use of vibrato is great too. This track is the ultimate example of what one can do with expressive long notes. “Wild Flower” is the last tune on the album, giving us a second song with a different time signature. The dynamic synchronicity between Wayne and Freddie is on-point. Herbie’s double-time improvisations are also a nice touch. It’s also important to listen to the varying ways Elvin Jones accompanies the solos. He’s building along with each soloist and listening while engaging in endless swinging activity. His presence raises that level of musical engagement, making sure the album concludes in a satisfactory manner.

• Wayne Shorter’s Speak No Evil is a stellar recording that exemplifies the quirkiness and creative artistry that one imagines when that name, Wayne Shorter, is mentioned. Along with catchy melodies and a hauntingly brilliant ballad, we get terrific solos and important collaborative contributions that end up making a huge impact. The rhythm section accompaniment on the title track is the prime selection of that occurrence, in addition to Elvin’s drumming on “Wild Flower.” In general, this album is deserving of serious engagement with your ears. Even though Wayne Shorter passed away earlier this year, his music continues to live on. Speak No Evil is a must-listen when one takes into account the organic solos, positive swing, engaging accompaniment, and the presence of a legendary lineup.

Overall score: 9.3/10