Jazz Archives

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.

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:::Review Scott Yanow@allmusic.com:::

Wayne Shorter - The All Seeing Eye (1965)

1.The All Seeing Eye (10:30)

2. Genesis (11:42)

3. Chaos (6:54)

4. Face Of The Deep (5:27)

5. Mephistopheles (9:39)

Credits

Bass - Ron Carter

Drums - Joe Chambers

Flugelhorn - Freddie Hubbard

Piano - Herbie Hancock

Producer - Rudy Van Gelder

Saxophone [Alto] - James Spaulding

Saxophone [Tenor] - Wayne Shorter

Trombone - Grachan Moncur III

Trumpet - Freddie Hubbard