Adam's Apple
| Adam's Apple | ||||
|---|---|---|---|---|
| Wayne Shorter's studio album | ||||
|
Publication |
||||
| Label (s) | Blue Note Records | |||
|
Format (s) |
CD, LP |
|||
|
Title (number) |
6 (LP) / 7 (CD) |
|||
|
running time |
47:58 (CD) |
|||
| occupation | ||||
|
Studio (s) |
Van Gelder Recording Studio, Englewood Cliffs , New Jersey |
|||
|
||||
Adam's Apple is a jazz album by Wayne Shorter . It was recorded on February 2 and 24, 1966 in Rudy Van Gelder's studio in Englewood Cliffs , New Jersey and released by Blue Note Records . A remastered CD with a previously unreleased title followed in 2003.
The album
The studio album Adam's Apple was after the recordings in October 1965 for the LP The All Seeing Eye, the seventh recording session of the tenor saxophonist under his own name for Alfred Lions label. As in JuJu (August 1964) and Et Cetera (June 1965), Shorter did not add any further wind players. The rhythm section here was formed by Herbie Hancock (piano), Reggie Workman (bass) and Joe Chambers (drums), all of whom had already played in previous sessions.
Except for an adaptation of Jimmy Rowles ' title "502 Blues (Drinkin 'and Drivin')" the musicians played five original compositions by Wayne Shorter; the Hancock composition "The Collector", which was also created during the session, was not recorded on the original LP (BLP 4232).
The title track “Adam's Apple” is played by the quartet in the popular style of soul jazz ; Don Heckman pointed to the expansion of the blues scheme by combining jazz and modern dance music ; the critic sees references to the Lee Morgan title " The Sidewinder ", which was popular at the time . He also points to the similar in soul-jazz idiom "Tom Thumb", composed the month before, which Shorter recorded with Bobby Timmons for Prestige and again in 1967 on his album Schizophrenia .
This is followed by the ballad "502 Blues (Drinkin 'and Drivin')" by pianist Jimmy Rowles , which Shorter greatly admired. In the Original Liner Notes, Don Heckman referred in particular to the impressive achievements of Herbie Hancock and Joe Chambers. Shorter's bossa nova composition follows , but it surprises with unexpected chord changes. Bob Blumenthal sees role models in Tom Jobim's title "Sabia".
This is followed by one of Shorter's best-known compositions, the first medium-tempo recording of “Footprints”, which he recorded shortly afterwards with the Miles Davis Quintet on Miles Smiles in a slightly modified form and at a strongly forced tempo for the The Davis Band's live repertoire in 1967 should include. The second ballad "Teru" follows; Shorter's voice-like lines are underlined by Hancock's chord figures.
Shorter dedicated the last track of the original LP, "Chief Crazy Horse", in familiar 32-bar AABA form to John Coltrane, whom he admired . During the last Blue Note session, which created all titles (except the title track), a version of the Hancock composition "The Collector" was also recorded; a version of the title was created with Miles Davis in 1968 under the title "Teo's Bag". Bob Blumenthal emphasizes "the open form" of the Shorter / Hancock version compared to the more conventional elaboration by the Davis band.
Rating of the album
In Allmusic , which gave the album the highest rating, Stacia Proefrock admitted that, with the exception of the composition "Footprints", which has become a jazz standard , Adam's Apple did not get the attention like previous albums from Wayne Shorter's catalog. This is a shame because it is one of the best of his publications during this incredibly productive period. Taken in isolation, Adam's Apple is one of the great works in jazz of the mid-1960s; Shorter has developed a unique style here, compositional class and a perfectly balanced game with his musicians. Shorter shines on this album, but also gives his partner space. Two different pieces are particularly mesmerizing, the ballad "Teru" and Shorter's tribute to John Coltrane , "Chief Crazy Horse", which also give Herbie Hancock the opportunity to show his skills.
On the occasion of the remastered and expanded new edition in 2003, Bob Blumenthal reminds of the three musicians who were not present and who had a great influence on this session; on the one hand it was Miles Davis, in whose quintet his legendary composition Footsprints recorded eight months later for the album Miles Smiles . Blumenthal also mentions Jimmy Rowles, for whose ballad play Wayne Shorter showed great admiration. Another source of inspiration was his former jazz messenger colleague Lee Morgan , whose soul-jazz composition The Sidewinder from 1963 was the inspiration for the title track of the album.
Richard Cook and Brian Morton emphasize in their review of the album, which they awarded with the highest rating, that the importance of Adam's Apple lies particularly in Shorter's compositions. For the authors, it is one of the last climaxes in the saxophonist's creative work phase, which began in April 1964 with the album Night Dreamer .
The titles
- Blue Note BLP 4232 (LP), BST 84232 (LP) 7243-5-91901-2-9 (CD Rudy van Gelder-Edition)
- Adam's Apple - 6:52
- 502 Blues (Drinkin 'And Drivin') ( Jimmy Rowles ) - 6:36
- El Gaucho - 6:32
- Footprints - 7:31
- Teru - 6:15
- Chief Crazy Horse - 7:39
- The Collector ( Herbie Hancock ) - 6:55 bonus track of the CD edition
(All other compositions are by Wayne Shorter)
swell
Web links
- Adam's Apple at Allmusic (English)
Literature / individual references
- ↑ a b c Don Heckman: Original Liner Notes from Adam's Apple , 1966
- ↑ a b c Bob Blumenthal: Liner Notes from Adam's Apple , 2003
- ^ Richard Cook , Brian Morton : The Penguin Guide to Jazz on CD . 6th edition. Penguin, London 2002, ISBN 0-14-051521-6 , p. 1340.
Further remarks
- ↑ Rowles returned his admiration by recording several compositions by Shorter, lester Left Town with Stan Getz , two versions of The Chess Players or Music is the Only Thing on My Mind in a duo with George Mraz ; see. Bob Blumenthal, Liner Notes.