Jazz at Lincoln Center Orchestra with Wynton Marsalis The Music of Wayne Shorter

Jazz at Lincoln Center Orchestra with Wynton Marsalis
The Music of Wayne Shorter
Blue Engine Records

In the booklet accompanying this new recording devoted to the music of Wayne Shorter from the Jazz at Lincoln Center Orchestra (JLCO), Christian McBride writes, "How would I describe Wayne Shorter? It would be way too easy to call him something like a "legend" or a "genius." Those are words that get thrown around much too easily in today's 140-character culture. Wayne's career is well-known and widely celebrated by not only the jazz community, but by music lovers all over the world. Simply put, he helped to expand the language of modern American music as both a composer and a saxophonist."

This recording memorializes performances by Shorter with JLCO from Mat 2015. It is one of several recordings celebrating Shorter's music joining those by the San Francisco Jazz Ensemble, David Weiss, Antonio Adolfo, and others. Shorter appears on tenor and soprano saxophones with JCLO. The members of JLCO at these performances included: Reeds - Sherman Irby: Alto & Soprano Saxophones, Flute, Piccolo, Bb Clarinet, Ted Nash: Alto & Tenor Saxophones, C And Alto Flutes, Piccolo, Bb Clarinet, Victor Goines: Tenor Saxophone, Bb & Eb Clarinets; Walter Blanding: Tenor & Soprano Saxophones, Bb Clarinet, and Paul Nedzela: Baritone & Alto Saxophones, Bass Clarinet; Trumpets -Ryan Kisor, Kenny Rampton, Marcus Printup, and Wynton Marsalis, Trombones - Vincent Gardner, Chris Crenshaw, and Elliot Mason, and a rhythm section of Dan Nimmer, Piano, Carlos Henriquez, Bass and Ali Jackson, Drums.

The Shorter compositions performed are: "Yes or No," "Diana," "Hammer Head," "Contemplation," "Endangered Species," "Lost," "Armageddon," "The Three Marias," "Teru," and "Mama 'G'." Most of the compositions date from 1959-1966, but a couple are from his Columbia album "Atlantis." Members of the JCLO wrote the arrangements to these compositions that were generally performed by smaller ensembles.

There is some marvelous music here starting with Victor Goines sterling arrangement of "Yes or No" that opens with Shorter on tenor sax. Goines' rich orchestration of the horns frames some terrific solos from Shorter, Wynton Marsalis, and pianist Dan Nimmer. One thing that also is readily noticeable is the superb rhythm section of Nimmer, Henriquez, and Jackson. Ted Nash's arrangement on "Diana" provides a lush, serene setting for Shorter's soprano sax and the trumpets of Marsalis and Printup." Sherman Irby put together as bouncy big band setting for "Hammer Head," a classic from Shorter's time with Art Blakey. Irby on alto sax and trombonist Vincent Gardner solo in addition to Shorter while rhythm trio keeps a tight groove.

Other notable selections include "Endangered Species" with one of Shorter's best soprano sax solos on this date and one of Ali Jackson's drum solos set against Gardner's imaginative arrangement. There is a bit of organized chaos at the opening of Marcus Printup's arrangement of "Armageddon," with Nimmer's block chords lending a roomy ambiance here. Shorter's swirling soprano sax is spotlighted in Carlos Henriquez's arrangement of "The Three Marias." At the center of this performance though is Shorter's soprano sax set against just the rhythm section. Jackson's accompaniment is especially noteworthy. All three members of the rhythm section get to solo on the vibrant "Mama 'G'," with fiery playing from Shorter. Jackson's volcanic drum solo that brings this performance (and this recording) to a highly charged close.

The Jazz at Lincoln Center Orchestra under Wynton Marsalis' direction has a well-deserved reputation for the quality of its music. The concerts with Wayne Shorter resulted in this vibrant superlative collaboration with Wayne Shorter.

I received my review download from a publicist. Here the JLCO perform "Hammerhead."

Antonio Adolfo HYBRIDO - from Rio to Wayne Shorter

Antonio Adolfo
HYBRIDO - from Rio to Wayne Shorter
AAM Music

Brazilian composer-pianist-arranger Antonio Adolfo explains about his latest project which focuses on the music of Wayne Shorter, "The mixing of races and different cultures is irreversible in today's world. In music, this trend has been happening for a long time and has resulted in a very healthy hybridism of different musical genres. …The music of the great Wayne Shorter is predominant in this recording. It has especially inspired me through his melodies and harmonies, which have continued to influence musicians of several generations and continents." Adolfo also notes that Shorter himself has been influenced by the music of different cultures. Focusing primarily on Shorter's repertoire from the 60's, he is joined on this project by Lula Galvão - (electric guitar); Jorge Helder - (double bass); Rafael Barata - (drums and percussion); André Siqueira - (percussion); Jessé Sadoc - (trumpet); Marcelo Martins - (tenor/soprano saxes, flute); Serginho Trombone - (trombone); Claudio Spiewak - (acoustic guitar on #3) and Zé Renato - (vocals on #2).

There is plenty of superb musicianship starting with "Deluge," the only performance on which the leader plays Fender Rhodes piano. It is followed by nicely reimagined "Footprints," with Renato's vocalization joining the horns as the breezy tempoed adaptation has a  cleanly articulated solo from Galvão followed by some gruff trombone, piano and a short bass break. "Beauty and the Beast," derives from one of Shorter's mid-seventies collaboration with legendary Brazilian composer, musician and singer Milton Nascimento and the bossa nova flavored rendition here sports not simply a typically sonorous arrangement, but a feathery flute solo from Martins along with Adolfo's lyrical solo with Spiewak chording on acoustic guitar with Martins switching to soprano.

"Prince of Darkness" from Miles Davis "ESP" album is nice reworked with colorful rhythmic accents and soaring, lyrical soprano sax, dancing piano, lithe, scintillating guitar with a sparkling rhythm section. A heated "Black Nile" has an energetic horn ensemble  with Martins' brawny tenor sax, and nicely developed solos from Adolfo and Galvão. Brazilian rhythms are incorporated into the rendition of "Speak No Evil" with  rousing trombone, focused, vigorous tenor sax, and with the leader's imaginative free-flowing playing. It is followed by Adolfo's deconstruction of "ESP" with Martins spotlighted with his graceful soprano along with some thoughtful, nimble chordal playing from Galvão and Adolfo's choice playing. "Ana Maria," from the collaboration with Nascimento is a lovely Bossa performance with exquisite piano, Martins' soaring, twisting soprano and Galvão's shimmering guitar.

Adolfo's original "Afosamba," provides a lively conclusion with Sadoc's fiery, brash trumpet featured along with dynamic percussive interplay leading to more delightful piano on a composition that displays the influence Shorter has had on Adolfo himself. It concludes a well conceived and performed tribute to one of music's most significant figures for over half a century. With Adolfo's arrangements, the marvelous ensemble playing and the thoughtful, as well as imaginative, solos make for a fascinating, superb recording.

I received my review copy from a publicist.

Rebirth of the Cool: Discovering the Art of Robert James Campbell

Rebirth of the Cool: Discovering the Art of Robert James Campbell
Jessica Ferber
Powerhouse Books

Robert James Campbell was a photojournalist whose work appeared in the Village Voice and DownBeat among other publications. At the height of his photographic career Campbell captured the likes of The Modern Jazz Quartet, Philly Joe Jones, Wayne Shorter, The Staple Singers, Bill Monroe, Dave Brubeck, Count Basie, Lee Morgan, Bud Powell, Richie Havens, Chuck Berry, and more. He vigorously documented New York's jazz era, and its metamorphosis into the beat and folk movements although later in his life he was wrought by mental demons, financial hardship, and health failure, had to give up his passionate work at what should have been the prime years of his career, having succumbed to his deteriorating body and mind. He died homeless in Vermont in 2002. Jessica Ferber has been curator of Robert James Campbell's life and photography since her graduation from the University of Vermont in 2002.

In 2012, I came across her Kickstarter campaign for this project and joined in after looking at her video explaining this. Marc Myers, who does the award-winning blog, Jazzwax, did an interview with her which he put on his blog and endorsed the campaign, helping her reach her goal. This was an ambitious project, and while the original date for publication was not met, the wait for publication has been worth it. Marc Myers has written the introduction for this, while Jessica  details the circumstances that led her to work on the project related to Campbell's work. There is a lengthy introduction that includes Campbell's biography including his unfortunate last years This introductory portion of "The Rebirth of the Cool" is illustrated by a variety of pictures of Campbell and early prints of his work.

The core of this book is the wonderfully reproduced photography of Campbell. There is a mix of street photography (including lovers in a park, a touch football game near Cooper Union in New York City, chess players in Washington Square Park) along with a variety of jazz and folk performers from a variety of locations. Among the images are Bud Powell at a recording session for "The Return of Bud Powell," drummers Elvin Jones, Philly Joe Jones and Mel Lewis at a Gretsch drum battle at Birdland, Mississippi John Hurt on the steps outside the Gaslight Cafe (and there are also two wonderful performance shots of him), Son House and John Hammond Sr. smiling broadly and clasping each other's hands (I believe when House had signed his contract with Columbia Records), Chuck Berry at the Newport Jazz Festival (likely the Festival documented in the film "Jazz on a Summer's Day"), Wayne Shorter, Cecil McBee and Roy Haynes at Birdland, comedian Dick Gregory at the Village Gate, a couple of Flip Wilson portraits, and several of Myrlie Evers, shortly after the assassination of her husband Medgar.

I reiterate that the reproduction of the black and white images is superb and reveals the eye Campbell had. Arguably the finest book of music photography (and more) to come out in 2015 and would make a terrific Holiday gift. I know this is a book I will be returning to look at the images many more times.

As mentioned I was a Kickstarter Supporter of this project. There are some sample images on amazon.com from this. It is also available from Barnes and Noble and other stores with official publication date of December 15.

Some Hot Jazz and Blues Festivals

We are in the middle of the Festival season and there are any number of festivals of interest for Blues and Jazz lovers upcoming. As this issue gets circulated the annual Portland Waterfront Blues Festival and Mississippi Valley Blues Festival will have likely wrapped up as will the major Jazz Festivals in Victoria, Vancouver, Edmonton, Toronto, Ottawa and Montreal in Canada. This is a very selective list of festivals that include two I will be attending. First, three blues festivals, and then three jazz festivals.

John Primer will be laying down some real blues with no filler at the Pennsylvania and
Riverfront Blues Festival. Photo is from the 2005 Pocono Blues Festival. © Ron Weinstock

The 3rd Pennsylvania Blues Festival takes place at the Blue Mountain Ski Resort in Palmerton Pennsylvania, from Friday evening July 26. through Sunday July 28. Friday evening will feature the Lehigh Valley Blues Showcase with performers including Bev Conklin and Georgie Fame. There is a buffet available in addition to the music.  Saturday July 27’s line-up has performances by John Primer, Bonerama, Sista Monica, Guy Davis, Robert Randolph presents the Slide Brothers featuring Calvin Cooke, Chuck Campbell, Darick Campbell and Aubrey Ghent; and Robert Randolph and the Family Band.  OnSunday July 28, the lineup includes Alexis P Suter with both a gospel and a blues show; Eddie Shaw and the Wolf Gang; Johnny Rawls; Electro-Fi Canadian Blues Showcase with Harrison Kennedy, Diana Braithwaite and Chris Whitley; Ivan Neville and Dumpstaphunk, Ruthie Foster, and Bobby Rush (performing acoustic and full show sets). For more information (including directions and tickets) check out Blue Mountain’s website, http://www.skibluemt.com/seasonal-activities/pa-blues-festival/. I will be there.

James Cotton will be at the Riverfront Blues Festival
Photo from 2007 Western Maryland Blues Festival. © Ron Weinstock

The Riverfront Blues Festival takes place at Tubman-Garrett Riverfront Park, Wilmington Delaware August 2 to August 4. The  lineup on August 2 includes John Primer, Moreland and Arbuckle, Lil Ronnie & the Grand Dukes and The James Cotton Band. On Saturday August 3 the performers include Eden Brent, Jimmy D. Lane, Eric Lindell and the Sunliners featuring Anson Funderburgh; and Rod Piazza and the Mighty Flyers Reunion Band. The lineup for Sunday August 4 includes The Lee Boys, Mac Arnold and Plate Full O’ Blues; and Elvin Bishop. For information on tickets and other matters visit http://riverfrontbluesfestde.com.

The Heritage Music Blues Festival takes place in Wheeling WV on August 9 to August 11. Blues highlights of Friday August 9 include Lionel Young and the Golden State-Lone Star Blues Revue featuring Anson Funderburgh, Little Charlie Baty, & Mark Hummel. Performers on Saturday, August 10 include Little G Weevil (IBC solo winner), Joe Louis Walker and Dr John. Sunday highlights include IBC band winner Selwyn Birchwood, Harrison Kennedy and Ruthie Foster. For more information, check out http://heritagemusicfest.com.

Gregory Porter will be at the Newport, Chicago and Detroit Jazz Festivals.
My photo of him is from the Mid-Atlantic Jazz Festival

The legendary Newport Jazz Festival returns to the Rhode Island community Friday August 2 through Sunday August 4. Highlight of this year’s festival maybe the Wayne Shorter 80th Birthday Celebration and Chick Corea will be leading an All Star new band. It opens Friday night, August 2, Natalie Cole and the Bill Charlap Trio with Special Guest Freddie Cole.

Espernaza Spalding (seen at 2009 New Orleans Jazz & Heritage Festival) is at Newport this summer.
Photo © Ron Weinstock

The line-up on Saturday, August 3 includes Wayne Shorter's 80th Birthday Celebration: Wayne Shorter Quartet featuring Danilo Pérez, John Patitucci & Brian Blade plus special guest Herbie Hancock; Esperanza Spalding's Radio Music Society, Michel Camilo Sextet; Terence Blanchard Quintet; Robert Glasper Experiment; Gregory Porter; Bill Charlap Trio with special guests Bob Wilber & Anat Cohen; Edmar Castañeda with special guest Andrea Tierra; Lew Tabackin Quartet with Randy Brecker, Peter Washington & Lewis Nash; Ray Anderson Pocket Brass Band and more. 

The great Eddie Palmieri will be at the Newport Jazz Festival
He is pictured at the 2007 Duke Ellington (now DC) Jazz Festival. Photo © Ron Weinstock

The line-up on Sunday, August 4 includes Chick Corea & The Vigil with Christian McBride, Tim Garland, Marcus Gilmore, & Charles Altura; Eddie Palmieri Salsa Orchestra; Dizzy Gillespie™ Big Band under the direction of Paquito D'Rivera; Joshua Redman Quartet; Roy Haynes Fountain of Youth Band; Steve Coleman Projects: Five Elements, Talea Ensemble and Duo with David Bryant; Jim Hall with Scott Colley, Lewis Nash and special guest Julian Lage; Dirty Dozen Brass Band; Jon Batiste & Stay Human  and more.

For more information on the Newport Jazz Festival (including travel pacakges through radio station WBGO), visit http://www.newportjazzfest.org.

Christian McBride leads his quartet at the
Chicago Jazz Festival. Photo from 2008
Duke Ellington Jazz Festival.
Photo © Ron Weinstock

Chicago and Detroit both host major Jazz Festivals over Labor Day Weekend. I will be attending the Chicago Jazz Festival that starts Thursday August 29 and runs through Sunday September 1. The Detroit Jazz Festival starts Friday August 30 and runs through labor Day, September 2.

There is quite of range of music at the Chicago Jazz Festival from the trad jazz of Fat babies to the cutting edge sounds of Hamid Drake (who is the Festival’s Artist In Residence), Fast Citizens and Jack DeJohnette who will lead all star special band that with Muhal Richard Abrams, Roscoe Mitchell and Henry Threagill. The Chicago Jazz Festival is a free festival.

While the bulk of the Chicago Jazz Festival takes place at Millennium Park, on Thursday, August 29 performances take place at several locations including the Chicago Cultural Center at, 78 E. Washington with performers including Fat Babies, and the Harrison Bankhead Sextet. At Roosevelt University’s Ganz Hall at 430 S. Michigan Ave.there will be a 5:00PM performance of Hamid Drake’s Chicago Trio with Ernest Dawkins and Harrison Bankhead. That evening at the Jay Pritzker Pavilion in Millennium Park (201 E. Randolph St.) is Made in Chicago: World Class Jazz -Jack DeJohnette: Special Legends Edition Chicago featuring, Muhal Richard Abrams, Larry Gray, Roscoe Mitchell and Henry Threadgill. 

Evan Christopher (see at d.b.a's in New Orleans) will bring his marvelous clarinet to the Chicago
Jazz Festival. Photo © Ron Weinstock

Starting Friday, August 30 performances are at Millennium Park. In the afternoon one can see bassist’s Christopher McBride’s Quartet;  the Ben Paterson Organ Quartet; the Mike Smith Quartet, and Hamid Drake with Michael Zerang, Eigen Aoki and Tsukasa drummers directed by Tatsu Aoki. Highlights of the evening performances Wadada Leo Smith’s Ten Freedom Summers, performed by WLS’s Golden Quartet and Pacifica Red Coral with video artist Jesse Gilbert; and Charles Lloyd and Friends featuring Bill Frisell.

On Saturday August 31, afternoon performers include Hamid Drake Quartet with Kidd Jordan, William Parker and Cooper-Moore; Ernie Krivda Quartet; Nick Mazzarella Trio and the Erin McDougald Quartet. Evening performances feature Stafford James String and Percussion Ensemble featuring M’BOOM; Gregory Porter; Rudresh Mahanthappa’s GAMAK and Jason Moran: Fats Waller Dance Party. 

Sunday, September 1 afternoon performers include Fast Citizens;  Evan Christopher; and Fareed Haque and Tony Monaco; The evening performers include the legendary Jimmy Heath Quartet with Jeb Patton; Hamid Drake & Bindu: Reggaeology; Robert Glasper Trio; and Donald Harrison and The Congo Square Nation with special guest Willie Pickens.

For more information visit http://www.cityofchicago.org/city/en/depts/dca/supp_info/chicago_jazz_festival.html.

Danilo Pérez is the Artist-in-Residence at this year’s Detroit Jazz Festival. This is also a free festival The Detroit Jazz Festival occupies two million square feet of downtown Detroit – from Hart Plaza on the riverfront, three blocks north to beautiful Campus Martius Park. There are two stages on the North end and three stages at Hart Plaza, plus a Jazz Talk Tent. While a free festival, the Festival offers VIP passes for donations.

The Cookers will be among the acts performing at the Detroit Jazz Festival

The Festival line-up includes performances by Danilo Pérez including his Panama Suite and other works for a large orchestra; David Murray Big Band with Macy Gray; Ahmad Jamal; Joshua Redman with Strings; Shelia Jordan with Strings featuring the Alan Broadbent Trio; Charles Lloyd Quartet with Bill Frisell; McCoy Tyner Trio with special guest Savion Glover; Saxophone Summit – Joe Lovano, David Liebman, Ravi Coltrane; Gregory Porter; Bill Frisell – Lennon Project; Eddie Daniels and Roger Kellaway, with Celo-Duke at the Roadside; Geri Allen and the Detroit Homecoming Band; Danilo Pérez and Geri Allen Acoustic Piano Duo; Jon Faddis, Jesse Davis & the Bill Charlap Trio; Tribute to Detroit’s Pepper Adams – Gary Smulyan, Howard Johnson, Frank Basile; Lee Konitz Quartet; Freddie Cole; The Cookers featuring Billy Harper, Eddie Henderson, George Cables, Cecil McBee, Billy Hart, David Weiss; and more. 

The day to day schedule had not been posted when I prepared this overview. For more information on the Detroit jazz Festival, visit http://www.detroitjazzfest.com/schedule.html.

September brings the annual Monterey Jazz Festival which your editor and publisher highlights and early October brings the annual king Biscuit Blues Festival which I hope to highlight in the next issue.

Michelle Mercer's Insightful Wayne Shorter Biography

FOOTPRINTS: THE LIFE AND
WORK OF WAYNE SHORTER
by Michelle Mercer 
JEREMY P. TARCHER/PENGUIN

At the Hollywood Bowl not too long before he passed, Miles Davis told Wayne Shorter, “You know, you need to be more exposed.” A rather intriguing comment about Shorter who certainly has had a most distinguished career in jazz as a musician, a composer and a person. Shorter was a central figure in the bands of Art Blakey & the Jazz Messengers and the second great Miles Davis Quintet, before forming Weather Report with Joe Zawinul, and then having the fruitful partnership with Brazilian singer, Milton Nascimento, and in more recent years lea ing his own highly regarded group. Throughout this tenure, he has enriched the jazz corpus with such classic compositions as Africaine, Native Dancer, Lester Left Town, Footprints, Delores, E.S.P., Infant Eyes, Neferiti, Mysterious Traveler, Super Nova, and Speak No Evil, to list a few. At the same time, Shorter’s playing, which fortunately is fairly well documented, shows him to be one of the great saxophonists of the past few decades and certainly one who may have shown influence from John Coltrane, but certainly developed his own approach.

Michelle Mercer was fortunate enough to get Wayne’s cooperation in writing her biography and overview of his music, Footprints: The Life and Work of Wayne Shorter. Not only was she able to interview and spend time around Shorter, but this also enabled many of Shorter’s associates to cooperate with her. Shorter is not the simplest interviewee, and as Herbie Hancock notes Shorter does not simply answer questions, he reacts. “Reactions, not just answers, that are chock-full of wisdom. In his jovial way, and with an innately uncanny sense. Wayne says what a person needs to hear in order to expand himself.” As Ms. Mercer notes in her introduction, getting to write this biography involved more than simply charting the events of Wayne’s life, which she does. It involved being around him and realizing his still evolving life and career.

Growing up in Newark, Wayne was fortunate to have a mother that nurtured his creative whims which included an early display of artistic talent and allowed his imagination to flourish., as well as be critical of social norms and institutions, and in their neighborhood where some of the immigrant families were less fortunate than the Shorters, his parents pointed this out “to discourage racial stereotyping and encourage self-reliance.” Then he went to Arts High whose alumni include Sarah Vaughan, Melba Moore, Connie Francis and Woody Shaw where his artistic bent was encouraged and while there discovered music, namely bebop, which led him to develop an interest in playing music at the age of 15.

Perhaps a late beginner, nevertheless Shorter quickly picked up the technical aspects of music, including reading quickly, and started playing in local bands and going to New York University as a music education major while still playing and starting to compose, and playing the Palladium on a bill with Tito Puente who recalled to Wayne years later how Wayne’s band from Newark had kicked his band’s ass. He met and started working with Horace Silver, and later met John Coltrane, with whom he would practice together, and then begin a friendship with Joe Zawinul. While with Maynard Ferguson, he was recruited by Art Blakey to replace Hank Mobley, where his talent a saxophonist and composer blossomed. It was one of the great editions of Blakey’s Band with Lee Morgan on trumpet. While with Blakey, some called him a Coltrane clone but Sonny Rollins noted that while Wayne liked Trane and himself, he was innovative himself and it came out in how he constructed his solos, “He was an honest boy and a real player.”

With Blakey he introduced such songs as Lester Left Town and Africaine. With Blakey, he toured Europe for the first time and the closing concert in Paris featured several expatriates including Bud Powell who sat in with the Messengers. Afterwards Powell, Blakey and others socialized, but Wayne went back to his room, drinking some wine and work on some tunes. At 3 A.M., there was a knock on the door, and opening it he was surprised to see Bud Powell, not Lee Morgan or Walter Davis, who came in and asked Wayne to play something. Wayne launched into Dance of the Infidels, after which Bud thanked him and left, an event that stuck in Wayne’s mind like other encounters he had with famous jazz legends.

The time with Blakey was the first major exposure of Shorter’s talents and contemporaneous with his first recordings as a leader on Vee-Jay, which have been followed over the past few decades by his tenure with Miles Davis in Davis’ Second Quintet, and contemporaneous with his Blue Note releases like Speak No Evil, and Super Nova. Then with long-time friend Joe Zawinul he was an integral part of perhaps the greatest fusion band, Weather Report, where he focused on soprano sax in order to be heard. Then there was the V.S.O.P reunion at the 1976 Newport in New York Jazz Festival and the accompanying tour, and after a number of years he recorded his first solo album in years and introduced the United States to the remarkable Milton Nascimento, and on to later gigs with Joni Mitchell and a tour with Carlos Santana, to his present band.

Mercer chronicles the life as well as the personal evolution of Shorter as he adapted and became committed to Buddhism attempting to balance the religion’s demands to the conflicting demands of a musician’s life, his marriage to Ana Maria, his ailing first child Isak whose brain damage may have been as a result of a vaccination and the devotion of the family to the child, sheltering Tina Turner through the worst of her times with Ike at the point where she finally broke away and went on her own, and when Ana Maria changed flights to meet him in Europe and boarded the tragically fated Flight 800 in 1995.

This rather sterile description of the book fails to convey the richness of the narrative. Footprints doesn’t describe Wayne’s compositions in technical detail but conveys a sense of the recordings and his playing. More importantly it conveys the complexity of his person and his relationships. The book opens and repeats with the narrative Wayne going backstage to meet Miles Davis at one of Miles’ last, if not the last, performances, and after others were sent out, being told he needed to be exposed. Shorter has never had a flamboyant personality and while sometimes shy, he has always been thoughtful and caring and has known when to say things. Fortunately he continues to expose himself as he plays and bring us his magic in performance and on record. Footprints includes 19 pages listing Wayne’s compositions and the first recordings (if they were recorded) of the composition.

One wishes there had been a discography of Wayne’s recordings, but that probably would have been a book in itself. Footprints was a fascinating and enlightening read that will be hard to stop reading at times, and like I often do after being engaged with the book has led me to reexamine Wayne’s musical legacy. 

This review originally appeared in the July-August 2007 jazz & Blues Report (Issue 295).  I do not remember if I purchased this or received a review copy. I close this review with this 2003 video of Wayne Shorter performing Footprints.