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(JazzPlanet) Wayne Shorter - Adam`s Apple (Eac S-Flac Cue)(UF)

Torrent: (JazzPlanet) Wayne Shorter - Adam`s Apple (Eac S-Flac Cue)(UF)
Description:


Wayne Shorter - Adam's Apple {RVG Edition}








Artist Wayne Shorter
Title Adam's Apple {RVG Edition}
Format: Extra tracks, Original recording remastered, {RVG Edition}
Label Blue Note
Orig Year 1966
Release Date Sep 02, 2003
Studio/Live Studio
Mono/Stereo Stereo
Engineer Rudy VanGelder
Genre: Jazz
Style: Hard Bop Straightahead/Mainstream
Number of Discs 1
Source: Original CD
Size Torrent: 287 Mb
Artwork Included



Extractor: EAC 0.99 prebeta 4
Read mode : Secure
Utilize accurate stream : Yes
Defeat audio cache : Yes
Make use of C2 pointers : No
Codec: Flac 1.2.1; Level 8
Single File.flac, Eac.log,
File.cue Multiple wav file with Gaps (Noncompliant)
Cannot be verified as accurate (confidence 13)
You may have a different pressing from the one(s) in the database



Track listing:

01) Adam's Apple

02) 502 Blues (Drinkin' and Drivin')

03) El Gaucho

04) Footprints

05) Teru

06) Chief Crazy Horse

07) The Collector



Personnel:
Wayne Shorter (tenor saxophone);
Herbie Hancock (piano);
Reggie Workman (bass);
Joe Chambers (drums).


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Biography

Though some will argue about whether Wayne Shorter's primary impact on jazz has been as a composer or as a saxophonist, hardly anyone will dispute his overall importance as one of jazz's leading figures over a long span of time. Though indebted to a great extent to John Coltrane, with whom he practiced in the mid-'50s while still an undergraduate, Shorter eventually developed his own more succinct manner on tenor sax, retaining the tough tone quality and intensity and, in later years, adding an element of funk. On soprano, Shorter is almost another player entirely, his lovely tone shining like a light beam, his sensibilities attuned more to lyrical thoughts, his choice of notes becoming more spare as his career unfolded. Shorter's influence as a player, stemming mainly from his achievements in the 1960s and '70s, has been tremendous upon the neo-bop brigade who emerged in the early '80s, most notably Branford Marsalis. As a composer, he is best known for carefully conceived, complex, long-limbed, endlessly winding tunes, many of which have become jazz standards yet have spawned few imitators.

Shorter started on the clarinet at 16 but switched to tenor sax before entering New York University in 1952. After graduating with a BME in 1956, he played with Horace Silver for a short time until he was drafted into the Army for two years. Once out of the service, he joined Maynard Ferguson's band, meeting Ferguson's pianist Joe Zawinul in the process. The following year (1959), Shorter joined Art Blakey's Jazz Messengers, where he remained until 1963, eventually becoming the band's music director. During the Blakey period, Shorter also made his debut on records as a leader, cutting several albums for Chicago's Vee-Jay label. After a few prior attempts to hire him away from Blakey, Miles Davis finally convinced Shorter to join his Quintet in September 1964, thus completing the lineup of a group whose biggest impact would leap-frog a generation into the '80s.

Staying with Miles until 1970, Shorter became at times the band's most prolific composer, contributing tunes like "E.S.P.," "Pinocchio," "Nefertiti," "Sanctuary," "Footprints," "Fall" and the signature description of Miles, "Prince of Darkness." While playing through Miles' transition from loose post-bop acoustic jazz into electronic jazz-rock, Shorter also took up the soprano in late 1968, an instrument which turned out to be more suited to riding above the new electronic timbres than the tenor. As a prolific solo artist for Blue Note during this period, Shorter expanded his palette from hard bop almost into the atonal avant-garde, with fascinating excursions into jazz/rock territory toward the turn of the decade.

In November 1970, Shorter teamed up with old cohort Joe Zawinul and Miroslav Vitous to form Weather Report, where after a fierce start, Shorter's playing grew mellower, pithier, more consciously melodic, and gradually more subservient to Zawinul's concepts. By now, he was playing mostly on soprano, though the tenor would re-emerge more toward the end of WR's run. Shorter's solo ambitions were mostly on hold during the WR days, resulting in but one atypical solo album, Native Dancer, an attractive side trip into Brazilian-American tropicalismo in tandem with Milton Nascimento. Shorter also revisited the past in the late '70s by touring with Freddie Hubbard and ex-Miles sidemen Herbie Hancock, Ron Carter, and Tony Williams as V.S.O.P.

Shorter finally left Weather Report in 1985, but promptly went into a creative slump. Still committed to electronics and fusion, his recorded compositions from this point became more predictable and labored, saddled with leaden rhythm sections and overly complicated arrangements. After three routine Columbia albums during 1986-1988, and a tour with Santana, he lapsed into silence, finally emerging in 1992 with Wallace Roney and the V.S.O.P. rhythm section in the "A Tribute to Miles" band. In 1994, now on Verve, Shorter released High Life, a somewhat more engaging collaboration with keyboardist Rachel Z.

In concert, he has fielded an erratic series of bands, which could be incoherent one year (1995), and lean and fit the next (1996). He guested on the Rolling Stones' Bridges to Babylon in 1997, and on Herbie Hancock's Gershwin's World in 1998. In 2001, he was back with Hancock for Future 2 Future and on Marcus Miller's M². Footprints Live! was released in 2002 under his own name, followed by Alegría in 2003 and Beyond the Sound Barrier in 2005. Given his long track record, Shorter's every record and appearance are still eagerly awaited by fans in the hope that he will thrill them again. Blue Note Records released Blue Note's Great Sessions: Wayne Shorter in 2006.




review us

Recorded on February 3 & 24, 1966. Includes liner notes by Don Heckman and Michael Cuscuna.

For ADAM'S APPLE Wayne Shorter returned to the simple quartet format for the last time in his solo career. This date from 1966 shows the saxophonist firmly between his modal style of the early '60s and his more experimental avant-garde period that was to come with albums like SCHIZOPHRENIA and SUPER NOVA. The effect of Shorter's membership in Miles Davis' legendary group is evident, as his improvisations here are more adventurous and his rhythmic drive more pointed and angular than previous efforts. Above all, this session gives us one last look at Shorter at his most unveiled.

The soulful opening title track is a direct precursor to the jazz-rock style that would dominate the jazz world in the late '60s and '70s. A more traditional feel is incorporated for the dark "502 Blues (Drinkin' and Drivin')," a beautiful showcase for Shorter's sensitive side. The bossa nova "El Gaucho" is a highlight and one the saxophonist's most overlooked compositions. Of special note, the classic "Footprints" is presented here for the first time, several months before it was recorded by the Davis group. The delicate ballad "Teru," the bouncing "Chief Crazy Horse" and the bonus swinger "The Collector" complete this must-have session.

One often returns to classic recordings with mixed feelings. On one hand, there's the anticipation of hearing great music, and on the other, trepidation that the recording has failed to hold up over time. By 1966 Wayne Shorter had entered one of his most creative periods, both as a solo artist and as a member of Miles Davis' second classic quintet. Besides his skills as a saxophonist, he also proved to be a prolific writer, penning five of Adam's Apple's seven pieces. It didn't hurt Shorter's musical vision to have pianist Herbie Hancock, bassist Reggie Workman, and drummer Joe Chambers onboard here, sensitive players who were attentive to the thin lines connecting these post-bop concoctions. Hancock's solo in Jimmy Rowles' "502 Blues (Drinkin' and Drivin')," for instance, skirts gently into another realm, offering a tender counterpoint to Shorter's more aggressive horn. The band quickly sets "El Gaucho"'s framework only to let each player wonder freely in the fashioned space, creating a beautifully layered effect. There's also an early version of "Footprints" that would show up on Miles Smiles the very same year (with both Shorter and Hancock onboard). The 2003 reissue of Adam's Apple includes a nearly seven-minute take on Hancock's "The Collector," offering yet one more reason to pick up this lovely album.

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Added: 2010-06-21 17:19:30
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